Ah yes, another Aussie Mentor. What can I say…?… it’s Christmas and I’m the sentimental sort.
Phillip Adams is a very quirky and compelling character. Larger than life in a lot of ways, he also has a strong sense of grounding in who he is and what he wants out of life. I was privileged enough to take his classes at university back in Melbourne, Australia, and though his methods took some getting used to, with more distance and objectivity he’s become an increasingly fascinating dancer and choreographer to me.
Beginning dance for rehabilitative purposes after a car accident at the age of 5 in Papua New Guinea, Adams took to ballet like a duck to water and never looked back. Seeing the Sydney Dance Company performing altered his ideas about dance (he wasn’t the only one!) and broadened the consideration of his dance practice. Heading to the Victorian College of the Arts for University (yay!), then upon graduation to New York (it’s still in my dreams…), Adams spent ten years working with various choreographers including BeBe Miller, Trisha Brown, Irene Hultman, Sarah Rudner, Amanda Miller, Donna Uchizono and Nina Wiener to name a few before returning to Australia and founding his company BalletLab.
A decade on, his achievements and qualifications cover a range of creative ventures including commissions, touring, awards, residencies, mentoring and a highly regarded body of artistic works. Phillip has been commissioned by several leading dance and theatre companies including The Australian Ballet, Arena Theatre, Chunky Move, Back to Back Theatre, Guongdong Modern Dance Company (China), Dance Works Rotterdam (Nederlands), City Contemporary Dance Company (Hong Kong), Tasdance, Sydney Mardi Gras and One Extra Co.
Adam’s discusses his work Amplification (2011):
On his newest work Aviary (2011):
To see the pitch for Aviary look here…
Watching those video clips I get a very strong sense of what my dancing is, and a very moving sense of belonging in regards to style and approach. It’s been a new adventure, seeing and beginning to experiment with the differences between an Australian and British beginning. Of my strengths, I find I can move very quickly, I can process and physically deliver complex cross-matching of movements relatively easily… though I do miss the pure lines, the straightforward choreography of the British approach. I know I’ve still only glazed the surface, but it’s what I’ve perceived thus far.
What stands out about Adams, what I want to take away with me this week, is elements of his personality. That he is the sort to have concepts so well researched, so well considered, and yet attacks the creative process with such clarity and disregard for (or embracing?) absurdity – I find that inspiring. His personality is akin to his choreography – development of complex and intricate work with blasts of complete lighthearted, unrelated gaiety interjected in the interim… He has a strong justification for immersing yourself in your work, of creating work out of your interest in life, delving into something with no excuse to breathe for air (because surely you can breathe while you’re under?). It’s not approach I can quite jump into, but I can try – and keep Phillip Adams on the speed dial of motivation.
If you’re interested, you can find Adams on Twitter, Facebook and Tumblr
Interesting article on ArtsHub…