Accented Body was conceived over two years ago as an international large-scale artistic project, developed by a series of interdisciplinary teams responding to a brief based on two main concepts: the exploration of the body as site and in site, and notions of connectivity. A number of interconnected performance installations were envisaged, to provide a dynamic engagement with the architectural and landscaped environment of the newly constructed Creative Industries Precinct and the soon to be opened Kelvin Grove Urban Village in Brisbane. Twenty-six key artists from Australia, Japan, Korea, Taiwan and the UK were invited to participate because of their highly developed creative practices in interdisciplinary, intercultural, interactive and/or site-specific work. A fluid process evolved in which artists were asked to respond to the creative brief in a way which privileged both the architectural skins of buildings, and the indoor and outdoor screens around the Creative Industries Precinct at QUT. Collaborative teams coalesced, of artists in the areas of dance, music, media and digital performance, with diverse aesthetic sensibilities and cultural backgrounds and with support from academic and cultural organisations in all countries. Together and separately, remotely, and on site in Brisbane, the artists have been layering and refining their responses to accented body. Connective threads - physical, virtual, cultural, geographical and spiritual – have emerged, exposing both commonalities and differences.
As a result of a creative development period in November/December 2005 in Brisbane, six distinct performance installations evolved, which nevertheless located connections within and across sites whilst at the same time maintaining the particular aesthetics and peculiarities of each work. The final stage in June and July further investigated how dancers, visuals and sound could be linked by screen footage and overlapping live elements in the sites, through which the audience wanders altering images and sounds by its presence.
An animated form of urban public art, created by artists in dialogue with interactive technology experts, accented body comprises local performances, global reach, and distributed outcomes. Simultaneous interactive events beyond the Brisbane sites in Korea and the UK, led by the ‘global drifts’ team, provide a global connectivity of real-time performance between all three cities, beyond Australia and its host city Brisbane. Similarly, within Australia, the sound ‘memory’ booths of the ‘ether’ team in locations in Brisbane and Melbourne, feed into the live performance on site at Kelvin Grove.
The promenade performance installation event we are sharing with you is the outcome of over 60 accented body personnel working in small collaborative teams to make up one large creative work. Thank you to the commitment and perseverance of key personnel over the last two years, which has been, quite simply, amazing. I would like to particularly thank Daniel Maddison for coordinating the labyrinthine technical logistics of accented body. Arguably the largest and most complex independent project of this nature staged in Australia, it is also a project of small break-through discoveries and ongoing creative partnerships.
None of this could have happened without the generous support of our many large and small sponsors and funding partners, who took a leap of faith to help realise an ambitious and risky idea. 
At the conclusion of the Brisbane Festival performances, accented body continues as a research vehicle for further investigation and documentation, particularly in the growing area of communicative synergies between technology and creative practice. It will also act as a conduit for other events and concepts, which may flow from the current project, providing an outlet for the exchange of ideas, resources and interdisciplinary, intermedia practices. In this way, accented body and its collective of artists will build on the international and national networks which have emerged to support independent practice and foster future collaborations.

Cheryl Stock, Producer/Director accented body
www.accentedbody.com

Artistic and Project Management
Cheryl Stock creative producer / director
Daniel Maddison logistics and technical coordinator
Bridget Fiske curatorial assistant
Ausdance Queensland project administration and production support
Technical Production
Tony Brumpton sound coordinator
Justin Marshman lighting design / coordinator
David Murray lighting design /advisor
Daniel Sinclair event stage manager
Rosa Hirakata costume design / realisation

Technical crew
Jason Glenwright lighting assistant
Scott Klupfel audio-visual assistant
Jon Penn, Bec Li, Matt Logan, Mark Middleton, Katie Lowah-Bond, Ryan Marks, Bec Paling, Naomi Dalton, Hsin-Ju Chiu crew
Isabelle Lacomde wardrobe assistant
Streaming
Jamie Lonsdale, Tim Morris, Murray King Brisbane
Mick Ritchie London
Hyojung Seo, Seunghye Kim Seoul
Documentation
Adrian Strong documentary director / film crew coordinator
Bronwen Cottle, Derryn Watts film crew directors
Kayne Hunnam sound supervisor / editor
Derryn Watts, Bronwen Cottle, Anna Bandini, Mitchell Doneman, Nicola Alter, Michael Mudd, Karen Flores camera operators
Ian Hutson, Aaron Veryard, Xana Chambers, Erika Fish, Sonja de Sterke photographs
Promotion
Celestine Doyle publicity
David Beal web designer
Tony Yap art work (poster, flyer, program)
Cheryl Stock marketing coordination / program
Audience guides
Csaba Buday coordinator
Sarah Aiken, Kaitlin Bell, Alex Bellemore, Kimberley Byrne, Simone Ivkovic, Ying-Ying Liu, Emma Taylor guides
 
prescient terrain
Richard Causer choreography
Madeleine Flynn and Tim Humphrey sound score
Maria Adriana Verdaasdonk performance concept
Rosa Hirakata costume design
Hsin-Ju Chiu rehearsal assistant
Richard Causer, Shane Weatherby Terrain performers
with QUT dancers: D'Arcy Andrews, Jane Eastwood, Angela Goh, Tegan Ollett, Todd Madden, Sean McColgan, Monique Singh, Kimberly Smith, Hsin-Ying Tsai
    & nbsp;   &n bsp;   &nb sp;
The Brisbane-based team of prescient terrain sites the body in outdoor organic and architectural spaces. Poetic images and word particles become the inspiration for movement, with the notion of transformation between mineral, plant, animal, insect and human states as a key to exploration. The body is located as unsettled topography amidst the grassy terrain of Kulgun Park, venturing into the built environment of Creative Industries Precinct with a prescience of the transformed worlds and states of being they will encounter.
presences
Cheryl Stock direction
Elise May, Tetsutoshi Tabata costumes for Lin/May, original concept Maria Adriana Verdaasdonk
Bridget Fiske, Liz Lea, Elise May, Ko-Pei Lin and prescient terrain cast performers
A meeting of symbolic worlds in which detached, ethereal, yet fractured presences connect momentarily with the transient fluid pathways of global drifters.

separating shadows

Vanessa Mafé direction
Jondi Keane installation & performance
Avril Huddy movement & performance
Charlotte Cutting video designer
Jason Hargreaves cinematographer
David Pyle multimedia
Jason Organ lighting
Janet Crow costumes
separating shadows combines the skills of local Brisbane artists in a series of performance investigations that negotiate site, body and shadow. 
The site has been transformed from its usual function as a foyer into a performance corridor where a wide screen allows the shadows cast by the performers’ live actions to merge with video projections of shadows. The coincidences that appear in the grey-area between the actual and virtual offer an insight into the way that shadows extend beyond an absence of light. Fragments of dance movement juxtaposed with daily actions, sound and text highlight the experiences and sensations explored through shadows. The site also contains an installation that references eighteenth century silhouette portraiture.
separating shadows is devised collaboratively with artists contributing to the process from their area of specialisation.  We would like to thank Grup Valencià pro Música Antiga and the Centre for Public Culture and Ideas (CPCI) for their ongoing support of practice-led research that contributes to the international study of culture and the production of meaning.

ether
Tony Yap director/dancer
Madeleine Flynn composer/musician
Tim Humphrey composer/musician
Naomi Ota visual artist
Ria Soemardjo vocalist
In ether, the performance extends traditional temple rituals and practices into contemporary aural-kinaesthetic realms. The Melbourne-based team creates a ‘virtual temple’ from 10 kilometres of cascading rope, and a sound score incorporating tropical night sounds recorded at the site, reverberances from international temple sites, and testimonies from passers by, collected in memory sound booths in Brisbane and Melbourne and fed live into the performance. The performed song and instrumental ensemble emerges and dissolves as the night chorus re-asserts itself in a ritual dance by Tony Yap, drawing on Malaysian trance dance.

Maria Adriana Verdaasdonk creative concept and project deviser
Tetsutoshi Tabata visual media & artistic technical direction
Takahisa Sasaki media programmer
Dr. Junji Watanabe Moving Ultrasonic Speakers
Elise May, Ko-Pei Lin, Richard Causer, I-Pin Lin performers
Luke Lickfold sound design and live sound manipulation (performance)
Philippa Rijks sound design (installation)
Kirsten Fletcher costume design
Tomofumi Yoshida sound beam speaker programming
living lens comprises a team of Japanese, Australian and Taiwanese artists who are developing their site as a three-dimensional ‘living painting’. Poetic and visual imagery provide the inspiration for performers' movements, derived from the Japanese dance-theatre form known as Butoh. The performers wear motion sensors to create transitions and interdependencies between visual, sonic and bodily elements. The team is developing a beta version graphics program called XV3 that generates visual effects in real time, and a moving ultrasonic speaker system that transmits sonic effects as a sound beam that traces the direction of a performer's movement through camera tracking.
 
Supported by:
media performance unit 66b/cell
PRESTO Japan Science & Technology Agency
Special thanks:
Mitsuru Kotaki and Kim Hosugi


global drifts
collaborative team – Brisbane, London, Seoul
Sarah  Rubidge & Hellen Sky concept direction
Sarah Rubidge co-director, visuals, Brisbane, London
Hellen Sky co-director, live and virtual choreography, Brisbane
Hyojung Seo interactive visual media, Brisbane, Seoul
Seunghye Kim interactive sound, Brisbane, Seoul
Stan Wijnans non-linear sound, London, Brisbane
Liz Lea performer/choreographer, Brisbane
Bridget Fiske performer/choreographer, Brisbane
Diana Henry Associates project management, London
Mick Ritchie streaming, London
Alan Stones and Charlotte Miles technical assistance, London
global drifts is a choreography that permeates our global networks as a live and streamed event occurring simultaneously in London, Brisbane and Seoul.

global drifts Brisbane – QUT Creative Industries Precinct