Next Move Commission
14 – 22 June 2012
Chunky Move Studios, Melbourne
Director & Choreograper:
Julian Hamilton & Kim Moyes
System Design & Operation:
Costume Design Consultant:
“a killer electronic soundtrack from The Presets’ Julian Hamilton and Kim Moyes… an intensely rich soundscape throughout” ArtsHub
“an exhilarating and hilarious work” The Guardian
“mashes movement with voice with technology and for 60 minutes our world evolves, devolves and revolves before us in a chaos that is disorderly ordered.” InDaily
“Keep Everything is a gloriously bizarre piece.” Street Press Australia
“The dancers are superhuman avatars in Hamilton’s universe.” The Australian
“After watching this performance, I think the future of contemporary dance is in safe hands.” Dance Australia
“Keep Everything was Chunky Move’s 2013 Next Move commission. You can’t fault their taste.” Deborah Jones
ArtsHub, 25 July, 2014
The Guardian, 17 July, 2014
InDaily, 17 July, 2014
The Australian, 18 June, 2012
Street Press Australia, 16 June, 2012
Australian Stage Online, 19 June, 2012
Theatre Notes, 22 June, 2012
Dance Australia, 23 June, 2012
Keep Everything is a genre-defying fusion of dance and performance from one of Australia’s most innovative choreographers, Antony Hamilton. Combining forces with ARIA award winning musicians, Kim Moyes and Julian Hamilton, Keep Everything splices choreography, electronica, spoken text and improvised movement to trace human evolution from primates to robots and back again.
Keep Everything is a scrapbook for the stage – a collection of things that don’t fit. Via a series of divergent offerings, it presents a glimpse into the human psyche, which ultimately offers a broader understanding of the individual. It champions the absurd and sometimes vulgar nature of the spontaneous, by understanding that sometimes, it’s important to keep everything.
A Note from Antony Hamilton
The development of Keep Everything began with the premise that from a single point of departure, an endless array of events can unfold when the subconscious is given permission to lead. With this in mind, I used remnants of creative material from the cutting room floor of previous works as starting points. I was interested in attempting to keep everything created and edit nothing. I was also interested in avoiding contextual analysis of the content as it unfolded, consciously attempting to avoid organising events into a logical and well crafted dramaturgical narrative. What emerged was a realisation that I could not avoid this organising, crafting and contextualising of ideas alongside each other. A larger issue however, emerged from this creative problem – the realisation that as a species we apply this same rule to everything.
We organise. We devise elaborate ways to understand our surroundings, and we can only contextualise events based on past experience and what we already know. We believe we are on the one and only path, and we believe that path is the right one. This has arguably imprisoned us in a concept of our universe that is ultimately fixed and unchangeable. I wondered whether the human invention of recording history through storytelling, art, myth and symbolism was the catalyst for our concept of linear time, defined by past, present, future and an unchangeable universe.
What I found so unsettling about this was that perhaps ideas such as forward, up, and tomorrow are not necessarily positive in and of themselves. With the weight of history on our shoulders, will we ever be able to truly find contentment in the present? These questions have become the main drivers of the work’s narrative.
“Featuring a killer electronic soundtrack from The Presets’ Julian
Hamilton and Kim Moyes… masters of their art utilising bass,
rhythm and disturbing feedback whines to create an intensely
rich soundscape throughout.”
ArtsHub online, July 2014
“rejected ideas find brilliant second life… an exhilarating and
hilarious work” The Guardian, 17 July 2014