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  • 06/10/2021

    BASS & BURN is an exciting new dance class that was first debuted in the Tracks studio in May 2021. Hosted by dance artist Aimee Chong, and accompanied by Kuya James with a live non-stop DJ set, the series is a fusion of styles such as afro-beat, dancehall, hip hop and reggaeton.

    We're doing it all again!

    This November Aimee Chong and Kuya James are back with a special BUILD UP edition of BASS + BURN!
    Come dance and feel the BURN under the lovely, super fun guidance of Aimee Chong,  with a live non-stop DJ set from Kuya James - expect to bring the heat to these classes, IN AIR-CONDITIONED COMFORT!

    Start your week right with us, 4 classes every Monday starting on November 15th through to December 6th.
    Class level: beginner to intermediate
    Class time: 6-7pm
    Ages: 18+ only


    Earlier in the year we caught up with Aimee to talk to her about all things dance and what she's looking forward to most about BASS & BURN.

    You live in Darwin right now, how do you like it?
    I'm originally from Sydney and moved up to Darwin about a year ago. I don’t have any relatives up here but I definitely feel like I have found a Darwin family of my own. I love Darwin not only for its sunsets and troppo vibes but also because it has been a place where I have been able to explore my creative interests.   

    What is your background in dance and what do you enjoy most about it? 
    I've been dancing since I was five years old and went to Brent Street and the Australian Performing Arts College in Sydney, and trained in Ballet, Jazz, Tap, Acrobatics and completed advanced foundation in Royal Academy of Dance. I rediscovered dance as an adult when I moved to Canberra and became a member of the Subsdance Queenz – an interstate commercial fusion dance crew based in styles of Hip Hop, Reggaeton, Afrobeats and Dancehall. Now in Darwin, I regularly teach reggaeton classes at Rix Kix Arts and at Viva Nights, and occasionally run fusion workshops. I am excited to see what else Darwin has in store for me and this collaboration with Kuya James and Tracks for BASS & BURN is just the start.   

    What inspires you to dance, and bring dance to others? 
    The feeling of joyfulness when I dance is what initially inspires me. However, now I have found inspiration outside of myself and in others. I am inspired by the space that I can help create for others to dance freely, confidently and with support.  

    How did the concept of BASS & BURN come about and what part of the program are you most excited about?  
    Personally, I love a good bass drop and James knows this all too well. As we began brainstorming ideas for this collaboration, we realised we wanted to emulate a party. A  party to celebrate the connection between dance and music, which gather people and foster an outlet for individual expression. Because of this, our shared likeness to bass in music and my high intensity dance style, BASS & BURN was born.

    I am most excited about discovering the dynamics in the studio between James, myself and the participants.  

    We’re so excited to be collaborating with you and James! Have you worked with Tracks before or danced in our studio?  
    This will be my first time working with Tracks which is exciting! I have danced at Tracks studio a few times as part of Jess Devereux’s studio residency and I love studio space! 

    Is there anything else you’d like to tell us about yourself and/or BASS & BURN? 
    I am excited to meet and dance with you all! Let's party! 

    More about Aimee and James

    Aimee Chong

    Aimee Chong has been dancing since she was five years old at dance schools such as Brent Street and the Australian Performing Arts College in Sydney. Aimee trained in Ballet, Jazz, Tap, Acrobatics and completed advanced foundation in Royal Academy of Dance. Aimee was part of the Subsdance Queenz- an interstate commercial fusion dance crew based in styles of Hip Hop, Reggaeton, Afrobeats and Dancehall. Aimee currently teaches Reggaeton at Rix Kix Arts and is a member of Flow Theory, a Darwin based dance crew.

    Kuya James

    Multi faceted and iconically recognised producer Kuya James (aka James Mangohig) grew up in the tropical and multicultural metropolis of Darwin; the capital of the Northern Territory on Larrakia land in Australia. 

    The first born son to a Filipino migrant father and Australian born Dutch mother, James would earn his stage name early in life simply by being the eldest. “Kuya” in the national Filipino tongue means “older brother”. A term of endearment and respect that he would gain not only from his biological family, but from the families he has made within communities spanning music, dance, culture and theatre; locally in Darwin, nationally and internationally.  

    Combining his natural affinity for rhythm and melody with an obsessive passion of high quality sonic experiences, Kuya James crafted his production talents over years of collaboration in bands and production duos; resulting in a large catalogue of songs and award nominations and wins.

    Although his primary love is for music, Kuya James is not just an artist. From years of experience and leadership, he has created a movement by shining a light on a thriving and important community. He’s building a bridge to highlight the similarities and celebrate the differences of culture by strengthening Australia’s understanding of their place in South East Asia through music, dance, art and live performance. An ongoing pursuit which lies in one-on-one relationships with aspiring and experienced creatives as well as recorded musical releases.


  • 23/09/2021

    2020 Darwin Festival - Intertwine first presented as a solo within a triple bill called North of Centre
    2021 Darwin Festival - Intertwine performed as a trio within the Track's Seasons of Skin and Bark
    2021 SPRING.LOADED.DANCE - Intertwine remounted as a solo for North of Centre in Alice Springs

    Choreographed by Jess Devereux in collaboration with Kelly Beneforti

    Kelly and Jess traveled to Mparntwe Alice Springs to present the third iteration of Intertwine. 
    We had a chat with Kelly about the experience of returning to dance with Tracks and returning to this piece.

    You’re currently rehearsing to perform Intertwine in Mparntwe Alice Springs at SPRING.LOADED.DANCE, a terrific dance festival initiative by GUTS Dance. How are you feeling about the trip?

    I’m really excited to reconnect with the other dancers from North of Centre – Jocelyn Tribe, Putu Desak Warti and the crew from GUTS, and it feels really special to remount Intertwine.

    SPING.LOADED.DANCE is also being performed in a warehouse, so I'm looking forward to seeing how this piece translates into a different place. I first performed it in a theatre, then it was performed as a trio outside in the dry season on Larrakia country as part of Seasons of Skin and Bark, and now it will be performed in this new environment on Arrernte country. I see this as another opportunity for the work to say something different, on a different country that has different light and shapes, and a different feeling. 

    As you mentioned, this is the third time that Intertwine has been performed over the last two years. Has the piece shifted or changed for you between the first time you performed it and now?

    When I performed Intertwine the first time, I was carrying and growing my baby in my belly, so I felt his presence in the work from the beginning. Jess too, through her care for my body and attention to how I was feeling, allowed his little being to influence the way I was moving. Now with Florian on the outside, my body feels different again, somewhat neglected I would have to say! But the approach to the work for me has become softer, less urgent. Jess and I often used the phrase ‘quiet ferocity’ in the making of the piece to describe the tone that we were looking for. Perhaps last year I was more in the ferocious, and this time more in the quiet.

    It was also incredibly special for me to be in the audience at Seasons of Skin and Bark, and watch this piece unfold before me; to actually be able to sit back and just witness it. Of course, it had changed because Bryn (Wackett), Maari (Gray) and Ru’s (McElroy) personal performance styles and movements influenced it, so it had a new life - but it also had the essence of what I felt when I performed it so that was amazing to see. I also feel like it has now also given back to me which I feel very grateful for; I get to take what I saw with me in Seasons into this new rehearsal space to help generate for myself an entry point back into the work.

    Intertwine is a solo work that was choreographed by Jessica Devereux and yourself, do you have any reflections on this collaboration and the experience of doing multiple remounts?

    Well I guess every work has a unique group of people who come together to bring it to life and I've worked with Jess in lots of contexts and through lots of processes, but this is probably the most consolidated time that we've worked just the two of us.
    Something very unique happened while we worked together in the studio on this piece and so coming back to it, even over just a few rehearsals, it feels like we've been able to hold that space of when we made the piece originally. It also still feels like it has a really strong energy lifeforce to it. 


    2021 SPRING.LOADED.DANCE is happening this week in Mparntwe Alice Springs
    2021 Seasons of Skin and Bark
    2020 North of Centre

  • 04/08/2021

    Creative Team

    Concept and Artistic Directors: Tim Newth and David McMicken
    Choreographers: David McMicken, Jessica Devereux and Kate Mornane
    Designer: Tim Newth
    Musical Director: James Mangohig
    Musical Collaborator: Lena Kellie
    Lighting Designer: Chris Kluge
    Costumes: Cj Fraser Bell


    Anokai Susi, Bintang Daly, Brinda Magar, Bryn Wackett, Eleanor Rushforth , Ellen Hankin, Jenelle Saunders, Kate Mornane, Lucy Found, Maari Gray, Omaya Padmaperuma, Perrin Orlandini, Piper Mules, Ruttiya McElroy, Sarah Lacy, Sheila Rose, Sophia Hodges, Stephanie Spillett, Stephanie Thompson, Tara Schmidt, Teresa Helm and Venaska Cheliah

    Seasons of Skin and Bark


  • 21/07/2021

    "A costume adds meaning and context to both the performer and audience alike".

    Costuming a Tracks major performance is a balance between artistic vision, function, meaning and collaboration with performers and the artistic team. We talk with Tim Newth, and Cj Fraser Bell who are teaming up to design and produce the costumes for this year’s show Seasons of Skin and Bark.

    Tim Newth is the Tracks Artistic Co-Director and has been the designer of all the company's major works since 1988. He kicks off by explaining why the costumes are important to a Tracks show.

    “A costume adds meaning and context to both the performer and audience alike. For the majority of Tracks dancers, this is not their profession. Often it can be someone's first performance experience. If you are asking someone to dance in front of their community...they need to feel good about what you are doing and how they look. A costume can connect the performer to their heritage, add to their sense of self or take one beyond oneself, to be larger than life.”  

    Cj is a published poet and interdisciplinary artist with 10 years of experience in the making and presentation of performance works as a designer, writer, performer, and stage manager. 

    "So every piece in this costume "collection" is unique"

    Here in the Tracks office, we’ve been seeing some delicious samples appearing on the costume rack behind Cj’s desk - how would you describe the costuming for this show and what inspired your concepts?

    Cj: Seasons of Skin and Bark has such a conceptional bedrock to draw from, the natural seasons of this place and the seasons of the body, so a colour profile quickly emerged from growing up here and from referencing the Larrakia seasonal calendar with Tim. I was inspired by fashion collection launches and how each piece is distinct but together they come together to make a cohesive unit. So every piece in this costume "collection" is unique in this way, no colours or cuts are repeated, but together they form the seasonal calendar of the top end, of the breadth of our skin tones, and the blooms that pop up in the bush.

    Tim:  We definitely utilized the Larrakia calendar used it as our boundaries and a place to start. So colour has been the key thing, rather than it being about having a flared skirt, or being in a particular style. The concept of the show is influenced by the seasons of nature that we experience as human beings - the rain, the wet, the dry, the dew. 

    The best person to do the costumes for this show?

    Tim, what drew you to Cj as the best person to do the costumes for this show?

    Two years ago when Seasons was just in the concept stage we had engaged another designer, but COVID happened and things changed. I knew we needed somebody who was really good with people, because putting someone in a costume is just about as much about that relationship of putting them in a garment and making them feel competent in it, as it is about whether it's red, orange, yellow, or whatever. Somebody suggested Cj who had worked with Tracks for many many years; firstly as a volunteer; then as a Stage Manager, but I had never worked with them creatively. It's been a really wonderful experience and we’re looking forward to the first dress rehearsal in a couple of weeks. 

    "Working collectively to create a shared vision is really addictive"

    Cj, As an artist who works across multiple art forms and mediums, what do you enjoy most about the type of work you’re doing for this project?

    I thrive in a collaborative space - working collectively to create a shared vision is really addictive compared to solo work or leading a project. I've never worked under an artistic director before as an artist in this way so it's been exciting to try a new way of making and dreaming big and then making that a reality.

    A Tracks alumni

    You’re also a Tracks alumni, having taken part in a number of our dance and choreography programs, have these experiences influenced your concepts for this project?

    Hahahah, I don't know about being a dance alumni, but technically yeah, I did the choreo program in 2019 which was so great - after working in stage management for the company for the better part of a decade - I thought it was time I dipped my toe in creatively! Tracks is a truly remarkable company. I love their whole-of-movement approach, and the ephemeral quality of their shows. Having stage managed their shows, and created movement with them definitely helps a first time costume designer wrap their head around the unique requirements these costumes will need to meet!

    Cj’s recent design credits include Highway of Lost Hearts by Mary Anne Butler for Brown's Mart, CUSP by Mary Anne Butler for Australian Theatre for Young People and Brown’s Mart (2019/20), and Queer Territory, a performance tour and visual installation Cj created in residence at the Northern Territory Library (2018/19). 

    Seasons of Skin and Bark

    Seasons of Skin and Bark will be performed at the George Brown Darwin Botanic Gardens from 8-16 of August as part of the Darwin Festival.

    Read more about Seasons of Skin and Bark

  • 17/06/2021

    This year Tracks is doing something a little different for the Darwin Fringe Festival. Tim Newth (Tracks Artistic Co-Director) and Jessica Devereux (Tracks Animateur) sat down to chat about the Homebodies dance film installation.

    What are you hoping the audience will take away from this show?


    There will be multiple experiences; there's one experience in just seeing the film work that was shot during 2020 for the Homebodies project, which is about where those individual dancers live, and the places they call home. The locations featured in the films range from rural properties, to the cliffs in Nightcliff, to backyards in the Northern Suburbs; they say something about how we choose to live in the Northern Territory, particularly in Darwin, and that's what I love about the project. 

    I feel that people will come away from this with a real sense of pride and joy in the place that they've chosen to live, because it really does celebrate this place and it reminds you of the things that you love about creating a home in or around Darwin.


    To me this has quite a sense of occasion - I like that we're taking what I would say is quite an experimental art idea, a series of abstract dance films, into industrial Darwin, and giving these films a home for a couple of nights. What I love about dance for camera is the potential to get up close and personal, in a way that you can't always get in a show; it just provides a slightly different perspective to look at dance, and learn about a performer. 

    I'm excited to give the audience an opportunity to really see the 12 artists move in their home, it felt special that the dancers let us witness a part of them and their homes that we would not ordinarily experience when they are performing live in a Tracks project.

    How does Homebodies compare to other Tracks’ shows?


    Tracks has quite a strong practice throughout our shows of documenting the work and creating screen content, and then making sure that everything is archived.

    For Homebodies, it was a very particular choice to find a home for the footage that we shot in 2020 so that an audience could experience the final films in a live context; so rather than simply putting the footage online like we normally do for Tracks’ works, we’re creating a physical place where Darwin audiences can congregate and experience the work in a new way. It's still super local to Darwin. Temporarily elevating the films from say, an online experience alone at home, to a communal experience.


    I guess what is similar is that this work is about creating an experience for people to enter into; and what's particular about this experience is that it's taking people to a space that, unless they're in the arts and unless they're maybe a technician or production person, they would never otherwise see. So, it's a little bit like taking somebody backstage and creating a more intimate kind of personal experience. 

    In regards to the work being viewed on screens as opposed to live, it's almost like we're turning a normal Tracks production inside out so that the audience sees it from the other end of the process and this time the documentation of the performances is the show itself.

    What does the warehouse represent? 


    I'm adding a layer of meaning to this which is sort of personal, but I suppose the warehouse provides a place for all of the things that make up a Tracks show in the background. It's kind of a gathering place full of memories from previous shows, so it’s a bit like a second home for Tracks and the other local arts organisations who use it to store all their belongings. 

    The vision for having it in a warehouse was to provide an expansive place so that people can meander and walk through; to go on a journey to experience the films.


    That's true, we’re allowing the audience to control their own timeframe for how long they want to experience the installation, even though there's a structure. 

    We were a little bit inspired by what happens in the big major art galleries in the other capital cities; quite often film is experienced in an intimate dark room. And I guess what we're doing here is providing content that is very Darwin, but we're not taking you into a black box to experience it, we're taking you into a very uniquely Darwin space.


    Find out more about Homebodies


Latest News

Subscribe to Tracks Newsletter and receive it in your inbox.

Get Involved

Find out the many ways you can 'Get Involved' with Tracks Dance Company.

Read about our exciting activities throughout the year. 
Tracks Works.

Latest News

For all of our most updated news and information 'follow' our Facebook & Instagram accounts.

Contact us today to find out how you can get involved with Tracks!

Explore Further

   Iconic Tracks Works