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Chimene Steele-Prior

Chimene is a Melbourne based Performer, Choreographer, and Teacher. In 2013, Chimene was the inaugural Choreographic Secondment recipient at Chunky Move during the creation of 247 Days.

She was awarded an Ian Potter Cultural Trust Grant to travel to Impuls Tanz Vienna as a participant of the intensive ATLAS program for young choreographers in 2014. Upon return she performed her solo work In Formation II (Melbourne Fringe Festival Hub), which was later nominated for a Green Room Award for Concept and Realisation in 2015. Her other choreographic explorations include dance film A Busy Lonely Mind (Supported by the City of Melbourne – Young Artists Grant), Kristy’s World (Commissioned by Banyule City Council – Winter in Banyule Festival), Blue Poles and Archway (National Gallery of Australia), Filling Up Empty (Melbourne Fringe Festival/Short and Sweet Dance) and In Formation (Melbourne Fringe/Dancehouse). Chimene has been granted choreographic residencies through Dancehouse, Dirty Feet, Liquid Skin Studio and Window 99.

Chimene has worked with artists including Sheridan Lang (Icemilk, The Frailty of the Human Heart), Shaun McLeod (The Weight of The Thing Left its Mark), Shian Law (Psycho), Melissa Jones (Disquiet), Rob McCredie (Who Knows What?), Luke George/Bec Reid (Special Mention) Restless Sleepers (UK)/Nat Cursio Co. (A String Section). She has worked with Opera Australia over several years in productions of TurandotThe Ring Cycle, La Boheme, Eugene Onegin, Rigoletto, FaustMacbeth, Madame Butterfly and HANDA opera on Sydney Harbour 2016. Last year she also performed works by the Late Choreographer Eleo Pomare as part of an independent production celebrating the 50th Anniversary of Australian Dance Theatre.

She studied at the New Zealand School of Dance (Diploma of Dance Performance) and at WAAPA as a member of LINK Dance Company (Bachelor of Performing Arts).

Class with Chimene

Through Countertechnique I have found a huge amount of freedom as a dancer and an artist. What I love about it, is that it gives the dancer agency to work with themselves and what they are dealing with each day. It takes the psychology of the dancer in to account and gives the dancer a way to work through their fears, insecurities and the pressure to be ‘perfect’. Dancers become involved in the process of what they are doing and through that, the enjoyment and magic returns. I have found a great deal of strength, ease, dynamism and trust in my body through Countertechnique. I know that this is not a rare occurrence and I am excited to facilitate this possibility in others. As a teacher I love to share my joy and passion for movement and create space for each individual to experience their own enjoyment and freedom.