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Registered members get to search through this showcase for talents to employ, collaborate with, and develop new and exciting projects in the creative industries. You will also get invites to future LASALLE events. Don't miss out!
Luvenia started her dance training in Bharatanatyam and ballet at a very young age. She became interested in tap dance and jazz dance. She has performed in many commercial works that involve Bollywood, belly dance, jazz dance, and hip-hop dance. At LASALLE, she was involved in productions such as The Wake, On the Edge (2013, 2014), The Winter’s Tale and participated in the Esplanade’s Yfest. Besides dance, Luvenia spends her weekends teaching tap dance at the Australian Teachers of Dancing Limited and also performs at Universal Studios Singapore.
Now is the springboard from which we launch our graduating students into the dance industry. It acknowledges their development as artists and looks to their future. We invite you to join us in this ephemeral moment where their journey as artists up to this point and their hopes for their future are condensed in the now. To that end, it is an evening of exciting experiments, contemplative moments, and energetic dancing that will have you swaying in your seats.
This piece was inspired by Portuguese and British visual artist Dame Paula Rego's Dog Woman (1994). Rego explains, “The dog woman series (of pastels depicting women posturing and behaving like dogs) is about the love I had for my husband. It just happened. I first of all got this wonderful model called Lila Nunes. She looked after my husband when he was dying. She used to help him paint. Then she took up nursing. Then she could sit for me in her spare time. ... She is really myself. I don’t like doing self-portraits but she’s like a self-portrait. The dog woman was her. I don’t know why, I just said to her, ‘Now crouch there, and growl.’ And she did. ... So she became the dog woman, the first dog woman, where she’s trapped, but she can bite.”
Excerpts from Interview with Paula Rego, by Benjamin Eastham and Helen Graham, The White Review, February 2011