Independent Dance Classes




Now in its third year, IDC is run as a co-operative, by artists for artists and is supported by ReadyMade Works. Taught by industry professionals it has been formed from a desire and passion to have a regular open space to take class, train, share practice and to connect with an independent dance network in a supportive environment.

IDC will return in 2018 with classes commencing from Tuesday the 16th of January 2018.
If you would like to teach or lead a session, please:

Contact: Patricia Wood
Email: patricia@readymadeworks.com.au

Sydney IDC (Independent Dance Classes) offers weekly classes located conveniently at the ReadyMade Studio in Ultimo.

Classes run every Tuesday so there are lots of opportunities to teach as well! The teaching roster will rotate every 1–2 weeks and we welcome young artists to lead a class. If you are interested please drop us an email with potential dates; a short class description (max 100 words); and a short bio (max 100 words).

Come and connect at IDC with independent dance makers and teachers.

IDC Timetable July–December 2017

(Returning in 2018 from Tuesday the 16th of January)

Time: 10am–11:30am
When: Tuesday mornings
Cost: $10 per class

All proceeds go straight to the guest teacher!



Bianca Mendonça

Bianca Mendonça

Bianca Mendonça is a independent performer and choreographer with a degree in Theatre (USP-Brazil) and an MA in Dance Dissemination (HfMT-Germany). In the DOCH in Stockholm she studied choreography and performance. She has been working in the field of contemporary dance and interdisciplinary practices.

Her choreographic work has been presented in different festivals and venues in Europe and in Brazil including Tanzhaus NRW, Tanzfabrik Berlin, Pact Zollverein, Tanzfaktur Köln, Festival Tanz NRW, Wilde Tendenzen Festival, Festival de Inverno, among others. Recently she was award with a grant from the German government to study with the De Quincey Company in Sydney.

Class with Bianca
This class is a mix of training and choreographic workshop, where participants are encouraged to work in their dance abilities, as well as, in their performative and choreographic skills. The class starts with a warm-up based on BodyWeather principles, to activate the body, its energy, the imagination and sweat. In the second half of the class we start to work with improvisation and composition exercise related with body practices and the practice of mapping.

Rhiannon Newton

Rhiannon Newton

Rhiannon is a Sydney based artist whose choreographic practice concentrates on the live-ness of dance and processes of repetition, problematising how a dancing spirit meets economies of production and authorship. Her work considers repetition’s relation to the wild-ness of the body, it’s role in forming ‘dance’ and pursues how these formations might resist models that militarise, commercialise and capitalise the body and it’s dancing.

Her choreographies ‘Assemblies for One Body’, ‘Bodied Assemblies’, ‘Doing Dancing’, ‘In T(w)o’ and ‘The Check Point Solo’ have been presented at Brisbane Festival, Dancehouse, Dance Massive Festival, The Lock-Up Gallery, Judson Church (USA), Metro Arts, Firstdraft Gallery, Nagib On Stage (SL), PACT Centre for Emerging Artists and Eyes Wide Festival.

She has developed her practice in residencies throughout Australia and abroad with organisations such as Ausdance NSW, Bundanon Trust, Campbelltown Arts Centre, Centre for Interdisciplinary Arts, Critical Path, Dancehouse, FORM Dance Projects, UNSW Creative Practice Lab, Lo Studio (CH), Movement Research (USA), Nagib (SL), Performing Arts Forum (FR) and Tanzhaus Zürich (CH) with support from Create NSW, The Australia Council for the Arts and The Ian Potter Foundation.

Rhiannon has been a part of international forums such as the Australian / Eastern European Choreographic Exchange, Avignon Festival Seminar and the Swiss / Australian Reciprocal Residency. She has worked as a performer with artists such as Rosalind Crisp, Mette Edvardsen, Martin Del Amo, Paea Leach and Brooke Stamp. Rhiannon co-facilitates First Run Sydney, is on the board of ReadyMade Works Studio and teaches at the Australian College of Physical Education.

Class with Rhiannon
Rhiannon’s class is about practising some connections and pathways through the body, with a focus on weight, folding, release, availability, efficiently and ease. There's work on the floor, good beats, lots of moving through the space, maybe some self-guidance, support from a partner and somatic thoughts, and definitely an overarching aim toward enjoyable sensations of dancing.

Martin del Amo

Martin Del Amo

Martin Del Amo, originally from Germany, is a Sydney-based choreographer and dancer. He started out as solo artist, acclaimed for his full-length solos fusing idiosyncratic movement and intimate storytelling. In recent years, Martin has also built a strong reputation as creator of group works and solos for others including Songs Not To Dance To (2015), Slow Dances For Fast Times (2013) and Mountains Never Meet (2011). His Helpmann Award-winning Anatomy of an Afternoon, which premiered at the Sydney Opera House in the 2012 Sydney Festival, was presented with great success at Southbank Centre London in 2014. Matin’s work has toured nationally in Australia and internationally to the UK, Japan and Brazil. Martin is a recipient of the 2015 Sidney Myer Creative Fellowships.

Class with Martin
Martin’s workshops explore various improvisational and compositional strategies of how to generate, structure and analyse solo dance material. The focus will be on improvisation within predetermined structures and the interplay between movement and stillness.

Omer Backley-Astrachan

Omer Backley-Astrachan

Omer Backley-Astrachan trained at the ‘Bat-Dor Dance School’ in Be’er Sheva. In 2010 he joined ‘Kamea Dance Company’, Israel, performing in works by Tamir Ginz, Uri Ivgi, Lior Lev and more. In 2011 Omer joined the ‘Kibbutz Contemporary Dance Company’ and performed in the creations of Artistic Director Rami Be’er. In 2012 Omer moved to Tel-Aviv where he worked with established choreographers such as Rotem Tashach, Maya Levi, Sally-Anne Friedland and more. As well as this Omer worked as a freelance dancer with ‘Jerusalem Dance Theater’ performing in works by choreographer Lior Lev. In 2013 Omer joined ‘Idan Cohen Dance Company’ performing in a number of company works, as well as two solo pieces in Israel as well as: Singapore, USA, Brazil and South Korea. In 2015 Omer has moved with his wife Sharon Backley-Astrachan to Sydney, Australia, where he started working with choreographer Dean Walsh, as well as developing his own art and dance creations.

Class with Omer
In his teaching, Omer puts emphases on aspects he finds are truly important to him as a dancer and performer, such as focus, musicality and dynamics. Omer’s class is a chance to trust the body, let the inspiration take over and simply enjoy the art of dance.

Brianna Kell

Brianna Kell

Brianna Kell is an independent dance artist based in Sydney. Brianna graduated from The VCA in Melbourne with a Bachelor of Dance in 2010. Brianna was awarded the Orloff Family Trust award for “Most Outstanding Talent”. From 2011-2015 Brianna worked with Tasdance touring nationally in works by Anton, Francis Rings, Larissa McGowan, Anna Smith, Marnie Palomares, Byron Perry, Tanja Liedtke, Raewyn Hill, Gavin Webber, Huang Yi, Madalena Victorino, Stephanie Lake and Graeme Murphy. Brianna has worked with Murmuration integrated performance company as a performer and workshop facilitator and is one of the leading facilitators for DirtyFeet’s Right Foot Program. Brianna has choreographed for Tasdance’s Education Program, Ev&Bow, Newtown High School of the Performing Arts, The Sydney Fringe Festival and InMotion Festival. Brianna recently worked with The Farm Company touring Frank Einstein. Brianna was a recipient of a research lab at Critical Path exploring Feminist ideology in the studio.

Class with Brianna
Brianna's class focuses on the body as an invitation to dance. Through a series of improvised and set material we slowly get sweaty, release inhibitions, and enjoy the riddle of movement.

Brooke Stamp

Brooke Stamp

Brooke’s practice spans a rich 15 years of experimentation and collaborative investigation in performance, improvisation and visual & sonic arts. Her development as a solo artist has been paralleled by a notable lineage with iconic experimental dance company Phillip Adams Balletlab. She has worked as a dancer, choreographer, teacher and mentor to young and emerging artists throughout Australia. Brooke’s work has been acknowledged via the Inaugural Balletlab Choreographic Commission, ‘And All Things Return to Nature’, the Keir Choreographic Award, ‘Tearaway, Part One: The crater of Motor Power’ as well as Melbourne’s Next Wave Festival, Lucy Guerin Inc, Carriage Works Nightime Praogram, the Victorian College of the Arts, the MTC, Dancehouse, FUR Salon, the Meat Market, and the LO’real Melbourne Fashion Festival. In 2005 Brooke was awarded the Professional Skills and Development award from the Australia Council for the Arts to spend time in New York City, where she learned and practised with artists including Miguel Gutierrez, Sarah Rudner, Steven Petronio and Yvonne Miers. Her work as a performer has earned her nominations for Green Room and Helpmann Awards in 2008, 2011 & 2012.

Class with Brooke
Brooke’s practice has evolved through a rich 15 year lineage with iconic experimental dance company Phillip Adams Balletlab, synergistically paralleled with her improvisational practices and multi layered approaches to bodily & spatial energy, and concepts of transmission. Her classes for Sydney IDC will bring together avenues of improvisational and technical practice that focus on the dancers core kinetic and energetic impulse to move. Through warming the body into action in the first half of class, dancers will then have an opportunity to fine-tune their understanding of gravity in the body, focussing on internal and external experiences of space & spatial arrangement, line and dynamism within complex & detailed choreographic phrasing. Guiding dancers through modes of abandon versus organisation, the class will harness efficient articulations of the whole body designed in space.

Dean Walsh

Dean Walsh

Dean has been an influential Australian dance and performance practitioner since 1991. He has tutored for many dance and theatre courses across Australia and OS, including 3 months for the New Dance Development Centre, Amsterdam (2004), a 3-week teaching and workshop residency at DanceBase in Edinburgh, Scotland (2007) and a week in residence at Enhime University in Matsuyama, Japan (2006). He’s participated in countless touring strategies for both his performance and / or educational practice, including presenting work in mainstream and fringe festivals in all states of Australia except the NT. He’s choreographed / directed nearly 40 solo and group works, and has toured 14 of these nationally and / or internationally (Japan, UK, Europe and the US). Dean has performed with many reputable dance and contemporary theatre companies in Australia and OS, including DV8 in London (2002-2005). In 2011 he was awarded the coveted 2 year Australia Council Dance Fellowship, researching the compilation of a movement taxonomy and practice inspired by marine environmental science understandings. Dean is also a passionate advocate for disability-inclusive practice and its wider development as a growing, serious arts sector.

Class with Dean
Dean has been teaching dance and performance at tertiary and professional levels since mid 1993. Having worked extensively across dance, contemporary theatre, queer performance, disability inclusive practice and marine environmental science interplay, Dean’s classes are a spontaneous mix of exercises that really get us traversing space and are often immediately adapted to cater for the participants’ needs in front of him. He tends to start with a simple stretch-based and very fluid routine or a series of modality-based instructional directives so as to sense the potential diversity of participants. His classes are a fun yet rigorous workout, physically and mentally.

Chimene Steele-Prior

Chimene Steele-Prior

Chimene is a Melbourne based Performer, Choreographer and Teacher. She studied at NZSD (Diploma of Dance Performance) and at WAAPA as a member of LINK Dance Company (Bachelor of Performing Arts).

Chimene’s choreographic work spans film, installation and live performance and has been presented in galleries, nightclubs, shopfronts and performance venues. Her last work IN FORMATION II was nominated for a Green Room Award for Concept and Realisation in 2015. Chimene has worked with artists including Restless Sleepers (UK)/Nat Cursio Co, Sheridan Lang, Shaun McLeod, Shian Law, Melissa Jones, Rob McCredie, Geoffrey Watson and Luke George/Rebecca Reid. She has worked extensively with Opera Australia since 2011.

Class with Chimene
Countertechnique® provides tools for body and mind to deal with the demanding dance practice of the 21st century. It is a movement system to help the dancer think about the dancing body, focusing on the process of incorporating information into action. Countertechnique® was created and developed by Dutch choreographer, dancer and teacher Anouk van Dijk, currently artistic director of Australian dance company Chunky Move.

Paul Hickman

Paul Hickman

Paul Jesseph Base Hickman is the Artistic Director for Filoz Contemporary Dance Theatre Melbourne & Cebu Philippines and was a company performer for a few years with Liquidskin Dance Company Melbourne. He is a VCA Dance graduate 2000.

Paul’s choreographic contemporary work namely, ‘Infected Kinesthesia’, ‘Micro-org.’,’distorted grace’, ‘ism’ (solo), and more recently, ‘ism’ (duet) with Kathleen Lott toured Asia & Canberra this year, & ‘positive contagion’.

Paul is currently working on his new full length piece ‘caucus’ with the FilOz Contemporary Dance Theatre ensemble to premiere in Philippines early next year. He has performed works professionally for various choreographers internationally and locally.

Class with Paul
My class is designed for those interested in both technique and choreography and will adequately prepare any dancer/mover for a full day of rehearsal, performance or cardio workout.

Callum Mooney

Callum Mooney

Callum is a Sydney based choreographer, dancer and actor who is inspired by the art in dance as well as film-making. He has worked professionally for ‘The Dream Dance Company’ in their 2016 and 17 season, and has starred in Billy Elliot the Musical and ABC’s Dance Academy. Callum’s training has primarily been overseas in London and Europe, training and teaching at studios such as Studio 68, Pineapple Dance Studio, London Contemporary, Greenwich Dance and ‘Dance Adventures’ Contemporary Intensive. Callum is also trained in acting and has completed short course at NIDA, as well as completing a Diploma in Film and Interactive Media at AIT. Using this skill set and knowledge of film and acting he is able to enhance his performances and creations. Callum’s choreography has been performed at industry events such as Carnival, Industry Night, Platform (UK) and Platform Shorts. In March 2017, Callum was granted an AusDance Residency, where he spent a week creating and growing his ideas for his new show this November ‘WeareSOUND Train of Thought’. His work promotes artistic and experimental approaches to dance with unique concepts.

Class with Callum
Imagery-based Improvisation, Flow exercises focusing on continuous movement of energy, floor work and experimental choreography.



Anton currently at Bangarra Dance Theatre as Rehearsal Director has navigated the dance industry for 20 years. He has worked prolifically within the industry as an artistic director, performer, choreographer, movement director and dance teacher. His commissions and choreographies include works for the Sydney Opera House – Spring Dance 2012, Campbelltown Arts Centre, Form Projects, Brisbane Arts Festival, TanzFestival Ingolstadt – Germany, Sydney Opera House – Education Unit, Dance North, Australian Dance Theatre, Tasdance, university dance training institutions, youth companies, live TV events, dance on film, TV commercials, music videos and multimedia dance projects.

His teaching credits include Sydney Dance Company, The Australian Ballet, Legs on the Wall, TASDANCE, Expressions Dance Company, Dance North, Australian Dance Theatre, Australian Opera, Sydney Theatre Company and Beijing Modern Dance LTDX, Dream Dance Company, Tanya Pearsons, Brent St, Ev and Bow, Studio Tibor, AC Arts South Australia, Australian Centre of Physical Education, NAISDA, Western Australian Academy of Performance Arts, Queensland University of Technology and QL2.

Emily Amisano

Emily Amisano

Emily graduated from QUT in 1996. She has performed with Expressions Dance Company, Carte Blanche, Dansgroep Krisztina de Chatel, and Sydney Dance Company. She has worked with many choreographers including Rafael Bonachela, Kenneth Kvarnstrom, Adam Linder, Emanuel Gat, Anton, Clare Dyson, Krisztina de Chatel, Jo Stromgren, Amanda Miller, Eva Cecilie Richardson, Natalie Weir and Maggi Sietsma.

In 2014 Emily created and performed the solo work “between dog and wolf” as part of IOU Dance 3. Other choreography includes “yield” (SDC 2012) and “bending the map” (SDC 2010), “incursion” (2004) and “the last best girl” (2006) for Expressions Dance Company. Emily collaborated with dancer Emma Strapps and video artist Tim Webster on “if I am everywhere” (2008).

In 2010 she received multiple Dance Australia critic’s choice nominations, and a Green Room award for her performance in Bonachela’s “we unfold”.

Emily was engaged as rehearsal director for Bangarra Dance Theatre for 2014–15.

Her teaching credits include; Sydney Dance Company, Studios and Pre-Professional year, Australian College of Physical Education, NAISDA, Ausdance NSW, Dancehouse Winter Intensive, Expressions Dance Company Intensive, Chunky Move, Ev and Bow, and McDonald College.

Class with Emily
Emily’s class will focus on exploring functional and gravitationally satisfying sequencing of the body. The class will work with imagery and myofascial awareness to activate the deep supporting structures, in order to fine-tune the articulate physical form.