A regular feature that shines a light on our artists.
Janessa Dufty is a dancer with Sydney Dance Company
Where were you born and what is your ancestry?
The Grafton Base Hospital, an hour away from Yamba, NSW, where I grew up. My ancestry on my father’s side is Australian and dates back to Scottish and French. On my mother’s side it’s Filipino and Spanish.
What do your parents do?
My parents John and Jovita live and work in Yamba. Dad works as Yamba's local gardener and Ma works with her friend at the Main Beach Kiosk. Once upon a time they ran the most famous pie shop in the main street of Yamba. Yes my childhood was filled with treats, yum.
Any siblings?
I have a loving older brother, Michael. He joined the army 14 years ago but now works in the Army Reserves, as well as doing IT as a systems administrator for the Qld Government. He is also trying to get into the firefighters. But I know him as one of the most consistently funny men in the world. When I told him I would mention him in this article he pulled a quick joke: Why can't the pirate say the alphabet? Because he always gets lost at C.
What is your first memory of dancing?
Probably dancing in the lounge room to mums 90s tunes
What was your first public performance?
My first stage, lights, camera, action was at the age of five -- my first end of year ballet concert with Adele Lewis School of Dance. I was a red Smartie and my entrance to stage was a forward roll out of a chocolate Smartie box and a big wave out to the audience.
Where did you train?
I started at Adele Lewis, furthered my studies at Qld Dance School of Excellence, then majored in contemporary at NZ School of Dance.
What was your first big break?
Actually venturing out of Yamba was my big break. Thank you to my teacher Adele Lewis and the pianist from one of my RAD ballet exams Jenny Pickering. After my exam the examiner Prudence Bowen said I needed to go full-time, and right there and then Jenny kindly gave me a scholarship. I did my full-time course at QDSE where I finished all my exams, received my Solo Seal, finished my high school education and found my love for contemporary dance.
You performed with Black Grace Dance Company in New Zealand for two years before joining SDC in 2009. What was a highlight of that time?
Definitely performing Human Language choreographed by Neil Ieremia -- one of Black Grace's older works and my all time favourite -- at the WOMADelaide world of music and dance festival in Adelaide. The atmosphere and vibes were incredible. We performed straight after the John Butler Trio, so you can imagine we were amongst so many talented artists. We couldn't wait to share our dance with hundreds and hundreds of people. We felt like dance rock stars.
Have you had to adapt your technique to perform with SDC compared with Black Grace?
Yes, the style is quite different, each of the companies has its own uniqueness. Both are very technical in their own way and work accordingly towards the show at the time. Both train with ballet and various contemporary techniques. At Black Grace Neil Ieremia would integrate his traditional Samoan/South Pacific roots with contemporary dance. The dancers he works with help to tell traditional stories of beautiful rawness and precise power. It wouldn't be a complete day without some kind of sports or ball game. At SDC the flavour I experience with Rafael Bonachela is Passion, Attack and Execution. The difference with SDC is that we are constantly adapting and exploring many different works and styles. We are privileged to work with many world-renowned national and international choreographers.
What is the best venue you have performed in?
There is no place like our home venue at Sydney Theatre at Walsh Bay. Abroad I would have to say the festival venue for Movimentos in Wolfsburg Germany. The set-up is incredible , the entire venue is made in a massive warehouse. I’m so thrilled to know we have been invited back in April this year to perform Rafael's 2 One Another.
Any on-stage disasters or funny incidents you would like to reveal?
There have been numerous slips, falls, costume malfunctions, micro blanks and infectious giggles along the way. This is the magic of live art and being human. You just pick yourself back up and make it seamless; it's all part of the show and show bizz! A few years ago in Rafael's 6 Breaths I unfortunately tore my calf muscle. I danced my way off stage and couldn't return to finish the show. It took 6-8 weeks before I was back on my feet and dancing.
What do you always take with you to a performance?
No one knows this, but I have a special little something that my mother gave me as a child, which reminds me of how grateful I am to be where I am. I especially take it with me when we go on tour to keep me safe. I also have my famous “Love Oil” -- well, that’s what I call it. It's just rose geranium oil, which helps me to come from the heart and spread the love.
Do you have a memory of a particularly unusual audience?
It wasn't too unusual but actually quite magical: we were doing a technical rehearsal in Mexico and a busload of people came to watch because they couldn't afford to come to the actual show. Naturally we collectively gave them the best show we could. It was by far my favourite show of the tour.
What is your most challenging role to date?
The most challenging and deeply satisfying role I have performed was last year in Jacopo Godani's Raw Models, as part of our “Interplay” season.
What do you admire in people?
I admire most things about people. I love courage, openness and patience.
What is your pet hate?
Selfish people. When my boyfriend gets road rage and curses in French. And when my drink bottle leaks in my bag.
What word(s) would you use to describe your feet?
My feet are handy.