An interview with Lee Serle on 18 June 2010, before the beginning of his mentoring year with Trisha Brown.
At what age did you begin dancing?
I was 11. I began thanks to some friends of mine who went to dance school. They had bring-a-friend day. I was the friend, I went along and that was it. I’ve been dancing ever since.
Was there any moment or any performance that you saw which made you decide to become a professional dancer?
It was gradual, my interest shifted gradually to contemporary dance. Initially I didn’t know much about it. Then, in my teens, I saw performances by the Sydney Dance Company and Chunky Move, which sparked more interest on my part.
Is it difficult to make a living as a freelance dancer?
Initially it was difficult after I finished my studies at VCA [the Victorian College of the Arts, where he took a bachelor of dance degree]. It took time to get the ball rolling. But, in recent years, I’ve got regular work particularly with [Melbourne-based dance companies] Lucy Guerin and Chunky Move. But occasionally I work as an usher at Her Majesty’s Theatre in Melbourne to supplement my income.
You’re a tall dancer. Is that an advantage?
I’m 6 foot 3 inches [190cm] tall. It’s more of an advantage for me as it has made me stand out a bit more. For some people, it could be a hindrance. It all depends on what the choreographer is looking for.
You’re a choreographer as well as a dancer.
I’ve recently started branching into choreography, mainly creating short works for emerging artist festivals. It’s something I’m very interested in and want to pursue. I hope there will be a chance to do this in the mentoring year, but I’m not insisting on it. I’m in the beginning stages in choreography.
Lighting, sound effects and other technical effects play a large part in many of the dances you’re involved in. How important are these elements?
Definitely some of the works I’ve been involved in have had a large technical component, which has been integral to the work. This adds an extra layer to the dance. But the aim is always to integrate all elements so they support and inform the other.
Why is dance important to you?
It’s been a part of my life since I was a child. It’s something I’ve always enjoyed, especially the physicality of it. Contemporary dance is interesting because it’s so varied and you work with so many different artists, which keeps it interesting and evolving.
Does Australia have a strong dance culture?
I don’t know if I can speak for the whole of Australia, but Melbourne [where Serle lives] has. There is always something going on and dance has a good following. There is a handful – four or five – strong dance companies, but also many independent choreographers and artists who are creating interesting work.
Did you know much about Trisha Brown before you were invited to apply for the mentorship?
At VCA we covered some of her work in dance history, but I had never seen any of her work live. I had seen footage of her work, and I definitely liked it, especially seeing the development in her work over the years. A lot of techniques I’ve learned came from Trisha Brown as some of the people who taught me have a direct lineage to her.
How would you describe Trisha Brown’s style of choreography?
It’s mainly abstract movement. It can be quite lyrical, but it also uses weighted movement and the body’s natural momentum. Trisha’s work has made a huge contribution to the development of contemporary dance worldwide.
How would you describe your own choreographic style?
It’s quite minimalist and focused, and a lot of it is character-driven.
Where were you when you were informed that you had been chosen as the dance protégé?
I was in Melbourne and frankly, I was amazed. With any big competition, I never think it’s going to happen. You apply and you audition, not with an expectation that you will win. I was overwhelmed when I got the news.
What do you hope to gain from the mentorship?
For me, it’s about broadening my horizons. I’ve been a dancer in Melbourne primarily, so I can branch out and broaden my experience.
How will the mentorship work? Will you dance with Trisha Brown’s company?
There will be a mixture of things, but not everything has been decided yet. There will be times when I learn the repertoire and perform with her company. There will also be one-on-one mentoring with Trisha.
Do you know the music protégé Ben Frost, who is also originally from Melbourne?
He has done sound design for Chunky Move. I know him quite well. Once I heard he had been nominated, I had no doubt he would be chosen as the music protégé. His sound composition is amazing. I have all his albums!