{"id":7535,"date":"2016-05-26T18:49:47","date_gmt":"2016-05-26T08:49:47","guid":{"rendered":"https:\/\/wordpress-711166-2356953.cloudwaysapps.com\/?p=7535"},"modified":"2016-05-26T19:38:31","modified_gmt":"2016-05-26T09:38:31","slug":"blood-on-the-dance-floor","status":"publish","type":"post","link":"https:\/\/peril.com.au\/topics\/blood-on-the-dance-floor\/","title":{"rendered":"Blood on the dance floor: Interview with Jacob Boehme"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/165252839\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Blood on the Dance Floor <a href=\"https:\/\/vimeo.com\/165252839\">trailer<\/a> from <a href=\"http:\/\/ilbijerri.com.au\/\">ILBIJERRI Theatre Company<\/a><\/p>\n<p>Raina Peterson is a dancer and choreographer trained in the classical Indian dance form of mohiniyattam. They\u00a0recently had the\u00a0pleasure of speaking with multi-disciplinary theatre-maker, dancer, choreographer and puppeteer <a href=\"http:\/\/www.jacobboehme.com.au\/\">Jacob Boehme<\/a>. Jacob is a Narangga and Kaurna man who was born and is currently based on Kulin land. He is Artistic Director of the 2017 <a href=\"http:\/\/www.melbourne.vic.gov.au\/news-and-media\/Pages\/miaf-creative-director-appointed.aspx\">Melbourne Indigenous Arts Festival<\/a>, and Associate Producer of Ilbijerri Theatre Company with whom he is partnering to produce his solo work, <em><a href=\"http:\/\/ilbijerri.com.au\/event\/blood-dance-floor\/\">Blood on the Dance Floor<\/a><\/em>, which will be premiering June 1 at <a href=\"http:\/\/www.melbourne.vic.gov.au\/arts-and-culture\/arts-house\/whats-on-arts-house\/pages\/blood-on-the-dance-floor.aspx\">Arts House<\/a>, North Melbourne.<\/p>\n<figure id=\"attachment_7558\" aria-describedby=\"caption-attachment-7558\" style=\"width: 340px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o.jpg\" rel=\"attachment wp-att-7558\"><img data-attachment-id=\"7558\" data-permalink=\"https:\/\/peril.com.au\/topics\/blood-on-the-dance-floor\/attachment\/20297334443_062152b327_o\/\" data-orig-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o.jpg\" data-orig-size=\"5244,3498\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark II&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1425050853&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;67&quot;,&quot;iso&quot;:&quot;3200&quot;,&quot;shutter_speed&quot;:&quot;0.033333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"20297334443_062152b327_o\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jacob Boehme in &#8220;Blood on the Dance Floor&#8221;&lt;br \/&gt;\nPix: Dorine Blaise&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-340x227.jpg\" data-large-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-1024x683.jpg\" loading=\"lazy\" class=\"size-medium wp-image-7558\" src=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-340x227.jpg\" alt=\"Jacob Boehme in &quot;Blood on the Dance Floor&quot; Pix: Dorine Blaise\" width=\"340\" height=\"227\" srcset=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-340x227.jpg 340w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-768x512.jpg 768w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-1024x683.jpg 1024w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-600x400.jpg 600w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20297334443_062152b327_o-900x600.jpg 900w\" sizes=\"(max-width: 340px) 85vw, 340px\" \/><\/a><figcaption id=\"caption-attachment-7558\" class=\"wp-caption-text\">Jacob Boehme in &#8220;Blood on the Dance Floor&#8221;<br \/>Pix: Dorine Blaise<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p><strong>Raina: Could you please tell us a bit about <em>Blood on the Dance Floor<\/em>?<\/strong><\/p>\n<p>Jacob: Yes, it\u2019s a solo performance, its been written autobiographically, it takes from my life and the life of my family. It\u2019s pretty much a story about love, about fear, fear of loneliness, and ultimately courage.<\/p>\n<p>It&#8217;s taken from my experiences as being an Indigenous man who\u2019s lived with HIV for the past eighteen years, so in that way it\u2019s looking at not the things that we\u2019re probably used to seeing around work that touches on HIV or AIDS because most of the work that we do see is about memorialising \u201cthe plague\u201d\u00a0 from the 80s.<\/p>\n<p>We\u2019ve moved on, we have medications, we <em>live<\/em> with HIV now, so it\u2019s touching on what we do, what we must face, living with something, and I suppose a lot of people that have chronic illnesses will relate to but more broadly it\u2019s about facing those challenges. It\u2019s like when you fall for somebody and, you know, you want to put yourself out there but you\u2019re not quite sure, you\u2019re scared of rejection, you\u2019re also fearful of being lonely and of not having \u201cthe one\u201d and all, it\u2019s a bit like that.<\/p>\n<p><strong>Raina: <em>Blood on the Dance Floor<\/em> sounds like intensely personal work. What were some of the challenges and joys which came out of creating autobiographical theatre work?<\/strong><\/p>\n<p>Jacob: I suppose the main challenge is to make it relatable to other people and that was sort of, you know, separating what I felt I needed to say for my own personal gratification as compared to what would be best for the story so that audiences would\u00a0 understand what I was trying to say. That\u2019s one of the main challenges.<\/p>\n<p>The other challenge has been [\u2026] right from the start it was always going to be this experiment between theatre and dance and how those two worlds work, but you know yourself as a classical Indian dancer that they do co-exist. [\u2026] Narrative and story-telling and movement are just natural partners, really, but when you\u2019re trying to create that for another, for.. yeah, I suppose, Western theatre, that can be a challenge. The joys has been working with a really great bunch of creatives.<\/p>\n<figure id=\"attachment_7560\" aria-describedby=\"caption-attachment-7560\" style=\"width: 340px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o.jpg\" rel=\"attachment wp-att-7560\"><img data-attachment-id=\"7560\" data-permalink=\"https:\/\/peril.com.au\/topics\/blood-on-the-dance-floor\/attachment\/20295742494_3e8ea01c53_o\/\" data-orig-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o.jpg\" data-orig-size=\"5616,3744\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark II&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1425050738&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;82&quot;,&quot;iso&quot;:&quot;3200&quot;,&quot;shutter_speed&quot;:&quot;0.04&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"20295742494_3e8ea01c53_o\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jacob Boehme in &#8220;Blood on the Dance Floor&#8221;&lt;br \/&gt;\nPix: Dorine Blaise&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-340x227.jpg\" data-large-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-1024x683.jpg\" loading=\"lazy\" class=\"size-medium wp-image-7560\" src=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-340x227.jpg\" alt=\"Jacob Boehme in &quot;Blood on the Dance Floor&quot; Pix: Dorine Blaise\" width=\"340\" height=\"227\" srcset=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-340x227.jpg 340w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-768x512.jpg 768w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-1024x683.jpg 1024w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-600x400.jpg 600w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20295742494_3e8ea01c53_o-900x600.jpg 900w\" sizes=\"(max-width: 340px) 85vw, 340px\" \/><\/a><figcaption id=\"caption-attachment-7560\" class=\"wp-caption-text\">Jacob Boehme in &#8220;Blood on the Dance Floor&#8221;<br \/>Pix: Dorine Blaise<\/figcaption><\/figure>\n<p><strong>Raina: Speaking of storytelling, like you said I\u2019m a classical Indian dancer, and in classical Indian dance storytelling and narrative is a central part of the art form, but storytelling and narrative isn\u2019t something I really see much of in the contemporary dance scene here in Melbourne. Can you please comment on its absence, and tell us a bit about why story-telling is an important part of your work?<\/strong><\/p>\n<p>Jacob: I don\u2019t know that I can make any other comment on the absence of narrative and storytelling in the Melbourne dance scene other than, you know, being an outsider &#8211; and both of us are outsiders to the Melbourne dance scene, we don\u2019t fit the current scene [\u2026] for the past 10 years really \u2013 \u2018cause the the dance scene particularly in Western-centric contemporary dance seems to be about exploration, experiment and basically just playing with form. \u00a0So I come out of watching contemporary dance going \u201cEh, what? And you were saying..?\u201d But yeah, I don\u2019t know what that is.<\/p>\n<p>From my training in traditional dance, and with your training, it&#8217;s very similar. [\u2026] The rule is with the elders: \u201cif you don\u2019t have your story, you don\u2019t have your dance.\u201d What are you dancing for? \u00a0 You dance for a reason, you dance to keep these stories alive, you dance to keep your culture alive, you dance to keep passing on these yarns because that in turn informs you of your place and your belonging [\u2026] and so in that respect I think we\u2019re very similar.<\/p>\n<p><strong>Raina: <a href=\"http:\/\/www.maggiejournal.com\/dance\/blood-on-the-dance-floor-by-jacob-boehme\/\">Elsewhere<\/a> you\u2019ve talked about how one of the objectives for <em>Blood on the Dance Floor<\/em> was to bring Indigenous ways of making theatre to the fore rather than as an afterthought. Could you please elaborate on what you mean by that?<\/strong><\/p>\n<p>Jacob: There is a movement that has been going on for a while within the Indigenous theatre and dance sector\u00a0 &#8211; contemporary theatre and dance sector &#8211;\u00a0 where we\u2019re bringing some of the foundations of our theatre making process which is 75,000 years old &#8211; its ceremony and ceremonial practice, and there are definite methodologies and processes that are used to make that and to&#8230; perform, I suppose, that. And so what we were trying to do here is to bring those methodologies and process that are 75,000 years old, not 2000 years old, and make theatre that fits in a space that we understand, not taking our stories and having to abstract them and mould them and completely gut them so that they fit into the Western-Euro way of being able to be understood. [\u2026] We gave ourselves permission to be unapologetic about our choices and to reference our culture as we choose, not to explain it all the time.<\/p>\n<p><strong>Raina: On your <a href=\"http:\/\/www.jacobboehme.com.au\/#!about\/c136u\">website<\/a> you talk about how you create contemporary theatre that is influenced and has its foundations in traditional Aboriginal dance and storytelling. Could you please explain to us a bit about the process of how you create contemporary theatre out of traditional culture<\/strong>?<\/p>\n<p>Jacob: Well, that practice has come from being invited into communities where traditional dance and practice is at threat of being extinct, so it will normally be an invitation from a cultural centre at the request of elders\u00a0 who are looking to pass on stories, language, song, dance to other generations.<\/p>\n<p>So firstly, we go into the cultural maintenance of that and try to get youth and elders together so that that knowledge transfer can happen and in that space is where you can start introducing contemporary dance techniques. I use puppetry a lot, it\u2019s a very accessible medium, everybody understands puppetry. So it\u2019s using different contemporary tools to bring generations together [\u2026] It\u2019s kind of a cultural maintenance thing, actually, just so that we can keep stories alive and some traditional practices alive, but also being able to evolve them too, into contemporary dance, puppetry, spoken word and generally those kind of choices. You could offer things up to different mob and go \u201cok, maybe you could tell that version in puppetry and dance,\u201d but then if somebody comes up with a rap it\u2019s like \u201cwell, go for it!\u201d<\/p>\n<p><strong>Raina: <a href=\"http:\/\/performing.artshub.com.au\/news-article\/news\/performing-arts\/richard-watts\/indigenous-artists-challenge-dance-sector-over-lack-of-representation-247497\">Elsewhere<\/a> you\u2019ve talked about art not being a choice but a responsibility as keepers and guardians of your communities\u2019 culture and stories. Could you please explain a bit about that?<\/strong><\/p>\n<p>Jacob: So from my training, and from choreographer <a href=\"http:\/\/www.dubaikungkamiyalk.com.au\/about\/\">Mariaa Randall<\/a>\u2019s training &#8211; we went to <a href=\"http:\/\/www.naisda.com.au\/\">NAISDA<\/a> together [\u2026] that\u2019s been the rule for, God, thousands and thousands of years: the next generation takes the responsibility to learn, to understand, and then to pass that on to the next generation. So that\u2019s how culture is maintained, it\u2019s not dropped, it\u2019s not forgotten, it\u2019s not lost. And you would understand that too, it\u2019s the same rules as like\u00a0<a href=\"http:\/\/www.thehindu.com\/features\/friday-review\/dance\/torchbearer-of-tradition\/article1506450.ece\">Tara [Rajkumar]<\/a>\u00a0<span style=\"line-height: 1.75;\">passing on all those songs and dances to you, because now it\u2019s your responsibility, and the next generation of classical Indian dancers in mohiniyattam, to pass that on and keep that tradition alive. It\u2019s the same, it\u2019s exactly the same. It\u2019s just about protecting traditions, and in those traditions that\u2019s where you find your culture\u2019s values and philosophies.<\/span><\/p>\n<p><strong>Raina: At last year\u2019s <a href=\"http:\/\/performing.artshub.com.au\/news-article\/news\/performing-arts\/richard-watts\/indigenous-artists-challenge-dance-sector-over-lack-of-representation-247497\">National Dance Forum<\/a>, you <a href=\"https:\/\/ausdancensw.com.au\/sites\/default\/files\/images\/NDF%20Reports%20published.pdf\">protested<\/a> against the inadequate representation of Indigenous dance at<a href=\"http:\/\/dancemassive.com.au\/\"> Dance Massive<\/a>. What are some of the changes that you would like to see for Indigenous dance in Australia?<\/strong><\/p>\n<p>Jacob: Well, I don\u2019t know that it was a protest even though that\u2019s how people reported it, it was more like pointing things out, really. Just sort of making people aware while they\u2019re all talking about inclusivity and diversity that the room wasn\u2019t exactly diverse or inclusive. Just pointing the obvious out, really. And I think the tide is changing. It\u2019d be great&#8230; and this would be the same for you again, like, you know, where\u2019s your representation in that world? It\u2019s the same. [\u2026] And then if you do get representation in that world or a space in that world, why do you have to adhere to <em>those<\/em> rules just so that <em>that<\/em> mob can understand you, you know? That\u2019s all I\u2019m asking. Ok, if you like what we\u2019re doing, then give us the space to grow and move and be. You know? That\u2019s all really, I think. Do you understand?<\/p>\n<p><strong>Raina: I do, it\u2019s hard to be a dancer when you can\u2019t really see yourself out there. It was hard for me to make that decision to be a dancer.<\/strong><\/p>\n<p>Jacob: And then, if you do put the work out there, then you\u2019ve got somebody who doesn\u2019t even understand your form critiquing that and to a whole range of people who don\u2019t\u2026 who reading that will have absolutely no understanding, so when they get this other version of what you\u2019ve done, and the person that\u2019s written it is not culturally competent enough to have written on it in the first place, then you\u2019ve lost an audience because they\u2019ve got no \u201cin\u201d. Its just frustrating, eh?<\/p>\n<p><strong>Raina: I\u2019ve had experiences where my work becomes quite exoticised and sensationalised in this really kind of orientalist lens. Instead of engaging with what\u2019s in front of you, they\u2019ll kind of go off on some imaginary \u201cexotic India\u201d thing. Do you have experiences of objectification?\u00a0<\/strong><\/p>\n<figure id=\"attachment_7559\" aria-describedby=\"caption-attachment-7559\" style=\"width: 340px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o.jpg\" rel=\"attachment wp-att-7559\"><img data-attachment-id=\"7559\" data-permalink=\"https:\/\/peril.com.au\/topics\/blood-on-the-dance-floor\/attachment\/20730204830_fa2c0d3f46_o\/\" data-orig-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o.jpg\" data-orig-size=\"3744,5320\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark II&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1425038302&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;50&quot;,&quot;iso&quot;:&quot;3200&quot;,&quot;shutter_speed&quot;:&quot;0.025&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"20730204830_fa2c0d3f46_o\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jacob Boehme in &#8220;Blood on the Dance Floor&#8221;&lt;br \/&gt;\nPix: Dorine Blaise&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-340x483.jpg\" data-large-file=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-1024x1455.jpg\" loading=\"lazy\" class=\"size-medium wp-image-7559\" src=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-340x483.jpg\" alt=\"Jacob Boehme in &quot;Blood on the Dance Floor&quot; Pix: Dorine Blaise\" width=\"340\" height=\"483\" srcset=\"https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-340x483.jpg 340w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-768x1091.jpg 768w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-1024x1455.jpg 1024w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-600x853.jpg 600w, https:\/\/peril.com.au\/wp-content\/uploads\/2016\/05\/20730204830_fa2c0d3f46_o-900x1279.jpg 900w\" sizes=\"(max-width: 340px) 85vw, 340px\" \/><\/a><figcaption id=\"caption-attachment-7559\" class=\"wp-caption-text\">Jacob Boehme in &#8220;Blood on the Dance Floor&#8221;<br \/>Pix: Dorine Blaise<\/figcaption><\/figure>\n<p>Jacob: Oh God, yeah. That\u2019s probably precisely why we don\u2019t have the sound of a didge or anything in this work, it&#8217;s like we\u2019ve just stripped all those symbols that people expect of us. Just stripped it. We&#8217;ve gone, \u201cok, <em>now<\/em> write about it\u201d.<\/p>\n<p><strong>Raina: And finally, do you have any advice for emerging Indigenous dancers?<\/strong><\/p>\n<p>Jacob: Train. Keep training, keep interested, seek out your allies. Yeah, find allies, \u2018cause they\u2019re out there. And don\u2019t think you\u2019re on your own, cause you\u2019re not.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/ilbijerri.com.au\/event\/blood-dance-floor\/\"><em>Blood on the Dance Floor<\/em><\/a>\u00a0 presented by Ilbijerri Theatre Company &amp; Jacob Boehme is on at Arts House, North Melbourne Town Hall from 1-6 June.<\/p>\n<p>Bookings info <a href=\"http:\/\/www.melbourne.vic.gov.au\/arts-and-culture\/arts-house\/whats-on-arts-house\/pages\/blood-on-the-dance-floor.aspx\">here<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Blood on the Dance Floor trailer from ILBIJERRI Theatre Company Raina Peterson is a dancer and choreographer trained in the classical Indian dance form of mohiniyattam. They\u00a0recently had the\u00a0pleasure of speaking with multi-disciplinary theatre-maker, dancer, choreographer and puppeteer Jacob Boehme. Jacob is a Narangga and Kaurna man who was born and is currently based on Kulin land. He is Artistic Director of the 2017 Melbourne Indigenous Arts Festival, and Associate Producer of Ilbijerri Theatre Company with whom he is partnering to produce his solo work, Blood on the Dance Floor, which will be premiering June 1 at Arts House, North Melbourne. &nbsp; Raina: Could you please tell us a bit about Blood on the Dance Floor? Jacob: Yes, it\u2019s a solo performance, its been written autobiographically, it takes from my life and the life of my family. It\u2019s pretty much a story about love, about fear, fear of loneliness, and <a class=\"read-more\" href=\"https:\/\/peril.com.au\/topics\/blood-on-the-dance-floor\/\">Read More &raquo;<\/a><\/p>\n","protected":false},"author":426,"featured_media":7559,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true},"categories":[38,164],"tags":[1360,1642,1643,1644,1646,1647,1648,1649,6],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v18.4.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Blood on the dance floor: Interview with Jacob Boehme - Peril magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/peril.com.au\/topics\/blood-on-the-dance-floor\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Blood on the dance floor: Interview with Jacob Boehme - Peril magazine\" \/>\n<meta property=\"og:description\" content=\"Blood on the Dance Floor trailer from ILBIJERRI Theatre Company Raina Peterson is a dancer and choreographer trained in the classical Indian dance form of mohiniyattam. They\u00a0recently had the\u00a0pleasure of speaking with multi-disciplinary theatre-maker, dancer, choreographer and puppeteer Jacob Boehme. Jacob is a Narangga and Kaurna man who was born and is currently based on Kulin land. He is Artistic Director of the 2017 Melbourne Indigenous Arts Festival, and Associate Producer of Ilbijerri Theatre Company with whom he is partnering to produce his solo work, Blood on the Dance Floor, which will be premiering June 1 at Arts House, North Melbourne. &nbsp; Raina: Could you please tell us a bit about Blood on the Dance Floor? Jacob: Yes, it\u2019s a solo performance, its been written autobiographically, it takes from my life and the life of my family. 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