Eva Sifis has been involved with the disability arts scene since 2003 and has worked with companies in Melbourne such as Club Wild and the City Of Port Philip. Originating from Adelaide, her work has been extensive over the years with most of the companies there. In 2006/2007, Eva held an assistant facilitator role with Arts Access SA and was responsible for aspects of the Highbeam Festival in 2007. Since then her career focus has changed. This year’s Come Out Youth Arts Festival in SA has programmed a series of integrated circus skills workshops Eva has produced.
Her professional work as a dancer, entertainer and manager has spanned continents. The memorable moments are many and she wouldn’t change them for the world.
Sunday, April 5, 2009
Impressions of AOD
Impressions of Art Of Difference Festival
Having been involved in the disability arts scene both here and in Adelaide since 2003, my experience of this festival was positive to be sure. I felt catered for and welcomed no matter my creed or design.
The venues were appropriate and sympathetic in plan. In other words; you could watch the performances comfortably where ever you were positioned, interpret them no matter your chosen manner of sensory perception and most of all, you were able to enjoy the full impact of accomplished and talented entertainers without hindrance.
At times in my viewing past at disability arts festivals, I have found myself cringing at self-deprecating comedy. Because of this I have tended to shy away from watching ‘the funny stuff’. This time, however, I was impressed by the sheer professionalism and wit displayed by the comedians, both the Australian and the international. I laughed along with everyone else without hesitation.
The symposiums, while lengthy at times, held me spellbound. Especially the ‘round – table discussion’ format of the forum hosted by renowned television presenter . I do wish there was more allowance for ‘question time’ especially on this particular occasion as the audience was just busting to become part of the discussion, to ask their questions and to put their ‘two bits’ in.
And so, together with all those others I spoke to regarding the quality of this festival and the performances therein, I congratulate Gasworks on a job well done.
Having been involved in the disability arts scene both here and in Adelaide since 2003, my experience of this festival was positive to be sure. I felt catered for and welcomed no matter my creed or design.
The venues were appropriate and sympathetic in plan. In other words; you could watch the performances comfortably where ever you were positioned, interpret them no matter your chosen manner of sensory perception and most of all, you were able to enjoy the full impact of accomplished and talented entertainers without hindrance.
At times in my viewing past at disability arts festivals, I have found myself cringing at self-deprecating comedy. Because of this I have tended to shy away from watching ‘the funny stuff’. This time, however, I was impressed by the sheer professionalism and wit displayed by the comedians, both the Australian and the international. I laughed along with everyone else without hesitation.
The symposiums, while lengthy at times, held me spellbound. Especially the ‘round – table discussion’ format of the forum hosted by renowned television presenter . I do wish there was more allowance for ‘question time’ especially on this particular occasion as the audience was just busting to become part of the discussion, to ask their questions and to put their ‘two bits’ in.
And so, together with all those others I spoke to regarding the quality of this festival and the performances therein, I congratulate Gasworks on a job well done.
D-Lite Art of D's Variety
D-Lite Art Of D’s Variety Showdown - Northcote Town Hall 15 March 2009
This was a veritable cornucopia of comedic artists, each with their own unique translation of the wry side of life. Every artist’s character was immediately evident and shone strongly without a hint of disguise as they entered the stage.
Tom Shakespeare‘s presence was strong as he spoke about his take on friends and Facebook. He ended his eloquent presentation with the beautiful image of the ‘fruit salad of your dreams’.
Mazer came on with her usual cheery charisma. Her dog entered the fray of her banter as she assured us all he, in fact, was not the act. She spoke about her identity and being blind in a light-hearted manner that left us all with a smile on our faces.
Sandy Jeffs was a force to be reckoned with as she described how she is an ‘interpreter’s nightmare’. Her take on climate change, the social milieu and her poems read about witnessing and craziness lent a view in on the ‘far side of madness’. Her publication – ‘Poems From The Madhouse’ is out now!
Christine Bruno’s entertaining skit centred around her (very obviously unworn) pair of Jimmy Choo’s. A ‘Bruno Faceplant’ is her unintended but much rehearsed move that can be imagined. I dearly hope she will find her ideal man and experience all that will come with him… you had to be there!
Liz Carr drew all into her circle and availed us with her much desired airport security check and pat down. The teaming of the words ‘Rohypnol’ and ‘Rose’ are ones I will not forget in hurry either.
I absolutely loved the ‘Deaf Can Dance’ wonderfully choreographed bop hopping in silence. A fellow dancer, the hush accompanying the moves was at first a shock however I found myself questioning the need of that which has been ever-present in my career. Their synchronicity and the unheard but tangible feel of the beat within me was a joy to experience. I can’t help but say this was personally my favourite segment of the night. I could be a little biased though, just a little!
On the whole, this night left me with a huge smile on my face and a few internal wonderings I certainly did not expect to be posed with. I know those I spoke with felt the same way. I was very impressed with the obvious professionalism of all the acts. The showdown was entertaining in the extreme. 10 out of 10.
This was a veritable cornucopia of comedic artists, each with their own unique translation of the wry side of life. Every artist’s character was immediately evident and shone strongly without a hint of disguise as they entered the stage.
Tom Shakespeare‘s presence was strong as he spoke about his take on friends and Facebook. He ended his eloquent presentation with the beautiful image of the ‘fruit salad of your dreams’.
Mazer came on with her usual cheery charisma. Her dog entered the fray of her banter as she assured us all he, in fact, was not the act. She spoke about her identity and being blind in a light-hearted manner that left us all with a smile on our faces.
Sandy Jeffs was a force to be reckoned with as she described how she is an ‘interpreter’s nightmare’. Her take on climate change, the social milieu and her poems read about witnessing and craziness lent a view in on the ‘far side of madness’. Her publication – ‘Poems From The Madhouse’ is out now!
Christine Bruno’s entertaining skit centred around her (very obviously unworn) pair of Jimmy Choo’s. A ‘Bruno Faceplant’ is her unintended but much rehearsed move that can be imagined. I dearly hope she will find her ideal man and experience all that will come with him… you had to be there!
Liz Carr drew all into her circle and availed us with her much desired airport security check and pat down. The teaming of the words ‘Rohypnol’ and ‘Rose’ are ones I will not forget in hurry either.
I absolutely loved the ‘Deaf Can Dance’ wonderfully choreographed bop hopping in silence. A fellow dancer, the hush accompanying the moves was at first a shock however I found myself questioning the need of that which has been ever-present in my career. Their synchronicity and the unheard but tangible feel of the beat within me was a joy to experience. I can’t help but say this was personally my favourite segment of the night. I could be a little biased though, just a little!
On the whole, this night left me with a huge smile on my face and a few internal wonderings I certainly did not expect to be posed with. I know those I spoke with felt the same way. I was very impressed with the obvious professionalism of all the acts. The showdown was entertaining in the extreme. 10 out of 10.
Wednesday, March 18, 2009
if you didn't catch Liz Carr at Art of Difference try your luck at the glasshouse on Friday night for King Victoria drag kings.
Roundangle's In the Dark continues at Northcote Town Hall.
Rollercoaster's real eyes is nearly sold out
As is the Grimstones by the wonderful Asphyxia, and then there's an opening of Diff'rent Strokes at Brunswick Arts Space.
enjoy
Tuesday, March 17, 2009
Observations and reviews from Eva Sifis - Dance Masterclass, Saturday 14 March
Integrated Dance Practise Masterclass, Saturday 14 March.
Held in a building at the VCA, members of the Touch Compass Company worked in a masterclass for dance practitioners and choreographers.
Upon entering the space, I saw series of couples working with each other. They worked with tandem exercises of directional weight bearing. They used the support of one another to progress the movements and with constant connection there was exploration of the possibilities of what conjoined body mass can capable.
The encouragement to forget the rules and to make it up gave free reign to spontaneous initiation. The group worked in silence til the last hour when music was introduced. This was interesting. It was said that the use of music can be deemed too provocative and that it can effect the movement adversely. It was hoped by bringing the music in at that later point would lend a lightness to the product.
The couples varied in ‘ability’, intertwining about each other. Constant rolling about each other meant the leading partner was not obvious with some couples and it was suggested that a focus for next time could be to work in opposition.
Some more improvisation showed how the work could be developed. The physical demand upon a dancer can be huge and finding a place to move together can confront the preconceived idea of what is possible. This can make it unsettling and challenging to watch.
This process was a serious exercise and set up parameters for future works. Indeed, it was felt that some of the pieces could be developed for performance. It was noted there was a lot going on with the relationships between the bodies that could be worked upon with the intention of a legitimate performance.
Held in a building at the VCA, members of the Touch Compass Company worked in a masterclass for dance practitioners and choreographers.
Upon entering the space, I saw series of couples working with each other. They worked with tandem exercises of directional weight bearing. They used the support of one another to progress the movements and with constant connection there was exploration of the possibilities of what conjoined body mass can capable.
The encouragement to forget the rules and to make it up gave free reign to spontaneous initiation. The group worked in silence til the last hour when music was introduced. This was interesting. It was said that the use of music can be deemed too provocative and that it can effect the movement adversely. It was hoped by bringing the music in at that later point would lend a lightness to the product.
The couples varied in ‘ability’, intertwining about each other. Constant rolling about each other meant the leading partner was not obvious with some couples and it was suggested that a focus for next time could be to work in opposition.
Some more improvisation showed how the work could be developed. The physical demand upon a dancer can be huge and finding a place to move together can confront the preconceived idea of what is possible. This can make it unsettling and challenging to watch.
This process was a serious exercise and set up parameters for future works. Indeed, it was felt that some of the pieces could be developed for performance. It was noted there was a lot going on with the relationships between the bodies that could be worked upon with the intention of a legitimate performance.
Observations and reviews from Eva Sifis - City of Voices, Thursday 12 March 2009
City Of Voices – ‘waiting, meeting, chasing… the station’
This was a charming collection of stories all interwoven around a platform at a train station. The program tells us that the stories are often autobiographical. The poignancy one feels at some of the skits surely is indicative of this.
The actors are a collection of characters, each unique and engaging from first sight. The costumes enhance but the faces are the tellers here.
The stories told range from little stories of childhood romances long lost but still haunting; raps about someone at London Central Station: ‘gotta get back where my kids are at’; a thief taking advantage of the frippery ladies drunken with their liberally laced tea and a story of lovers, the lady of which is kidnapped and tied to the train track in a classic story we are reminded of that is set in sepia tones in our memory. Her lover wins her freedom (with a much larger gun!) and the sweethearts reunite.
The simple tales are played out with heartfelt emotion and a sincerity that touches. A guaranteed smile will accompany the end of this play, believe me.
This was a charming collection of stories all interwoven around a platform at a train station. The program tells us that the stories are often autobiographical. The poignancy one feels at some of the skits surely is indicative of this.
The actors are a collection of characters, each unique and engaging from first sight. The costumes enhance but the faces are the tellers here.
The stories told range from little stories of childhood romances long lost but still haunting; raps about someone at London Central Station: ‘gotta get back where my kids are at’; a thief taking advantage of the frippery ladies drunken with their liberally laced tea and a story of lovers, the lady of which is kidnapped and tied to the train track in a classic story we are reminded of that is set in sepia tones in our memory. Her lover wins her freedom (with a much larger gun!) and the sweethearts reunite.
The simple tales are played out with heartfelt emotion and a sincerity that touches. A guaranteed smile will accompany the end of this play, believe me.
Reviews and observations from Eva Sifis - Touch Compass Friday 13 March 2009
Touch Compass
There was a film projected onto the back of the stage area in the opening of a debauched picnic. The ensuing exploration of balance and control was remarkable to watch. The honed ability to bear one’s own weight in whatever fashion, a demonstration of the body being used as an instrument quite separate to the one most of us use every day. There was a display of contorting to an insect, a crustacean, claws / pincers at the ready. Moving in and splaying out… was it threat? Was it show?
The bearing of another’s weight, how the two could meld into one, distinguishing between made difficult. The disintegration of reality, of the existence of body made malleable, the lines being blurred. Costuming of the two dancers was appropriate and contributed to the fantasy.
The second part of the show began with another film of a man readying for bed. As he fell into dream, shadows of ghostly arms beckoned, drawing him from one consciousness to the next.
All the members of the cast were introduced during this dance. The sylphs an ever present flow of weaving body currents. Here existed a blurring of the lines between need and use of the vehicles of ability. The dance was centralised around the figure of the ‘sleeping’ man. However the moments made tangible through the teaming of dissimilar couple or groups was at once cohesive and complementary. Each set of dancers found new ways to show their roles, individual or tandem
The tale progressed using swings and leaves of spinach to a place where the dream figures floated from the stage leaving the man to light his way with a torch to sleep once more.
There was a film projected onto the back of the stage area in the opening of a debauched picnic. The ensuing exploration of balance and control was remarkable to watch. The honed ability to bear one’s own weight in whatever fashion, a demonstration of the body being used as an instrument quite separate to the one most of us use every day. There was a display of contorting to an insect, a crustacean, claws / pincers at the ready. Moving in and splaying out… was it threat? Was it show?
The bearing of another’s weight, how the two could meld into one, distinguishing between made difficult. The disintegration of reality, of the existence of body made malleable, the lines being blurred. Costuming of the two dancers was appropriate and contributed to the fantasy.
The second part of the show began with another film of a man readying for bed. As he fell into dream, shadows of ghostly arms beckoned, drawing him from one consciousness to the next.
All the members of the cast were introduced during this dance. The sylphs an ever present flow of weaving body currents. Here existed a blurring of the lines between need and use of the vehicles of ability. The dance was centralised around the figure of the ‘sleeping’ man. However the moments made tangible through the teaming of dissimilar couple or groups was at once cohesive and complementary. Each set of dancers found new ways to show their roles, individual or tandem
The tale progressed using swings and leaves of spinach to a place where the dream figures floated from the stage leaving the man to light his way with a torch to sleep once more.
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