Report to the Community 2015 - Page 11

DECADANCE BATSHEVA DANCE COMPANY // PHOTO David Harris Programming Highlights VISUAL ARTS AND FILM The visual arts program once again featured a diverse range of styles and genres with the surreal coming from Swedish artists Nathalie Djurberg and Hans Berg in The Secret Garden, to the hypnotising exhibition Torrent and an examination of the controversial nature of art in The Dark Pool. For the third successive year, eight artists were selected as part of the Melbourne Art Trams project, producing vibrant mobile art installations that travelled through the City of Melbourne and surrounding suburbs. Reflecting the stage production of 1984, a series of films were presented at ACMI surrounding surveillance in cinema, entitled Eyes Without A Face. The program included Hitchcock’s masterful Rear Window, and the riveting documentary on Edward Snowden, Citizenfour. Acting Stranger from PS122’s Andrew Schneider invited members of the public to partake in the filming of a movie where the actors only meet as characters and do not speak outside the scene. FREE AND OUTDOOR For the third year the Festival opened with TANDERRUM, a powerful ceremony bringing together Elders from the five clans of the Eastern Kulin to celebrate their rich cultural heritage. The audience were invited to participate creating a powerful connection with the land and community through dance, followed by a free multicultural concert on the Main Stage. Free programs featured daily at MPavilion, and the Festival presented its largest program of free ancillary events designed to encourage debate, including the 30 Year Forums held each Saturday during the Festival period. FESTIVAL FEASTS The Festival’s restaurant program continued with its third successful campaign with 16 partners across the CBD and Southbank. The program offered a diverse selection of dining and feasting options from some of Melbourne’s best establishments to keep Festival–goers nourished. “★★★★ Batsheva’s Decadance, a devastatingly effective odyssey. THE AGE, 19 OCTOBER 2015 ” 9