Analyses the work of choreographer and director Kai Tai Chan whose different pathway through dance and theatre opens up discourses about the nature of non-ballet concert dance in Australia. Orthodox paradigms of training and performance making are interrogated and a greater understanding of the relative nature of those practices is established by analysing the competing ideologies, philosophical frameworks and aesthetic understandings of these practitioners
Notes
Submitted to the School of Contemporary Arts of the Faculty of Arts, Deakin University
