But simultaneously he began seeking Winton’s novels and Butler’s music. “It was hard to reset … and build a life in Europe, being a young man.”

The books and music “were a way to bring me back to that identity of being Australian, being from Queensland, being someone who grew up so close to the beach.”

Breath features movement reflecting the shapes of cresting waves, tidal landscapes and the rhythms of Winton’s words.

“It’s a rite of passage, that experience, that surge of energy when you go into the water knowing the danger.”

Piran Scott

“He says the beach is our veranda … that we’re always looking out – that there’s a sense of being able to breathe, reset, escape. It’s a rite of passage, that experience, that surge of energy when you go into the water knowing the danger. You submit yourself to something so visibly visceral and living around you.”

Scott began creating Breath while SDC toured Western Australia, in a studio overlooking the ocean. “Down south where it’s so rugged … seeing the power of the ocean smash into our coastline. It transports you to that sense of being so small but at the same time just grateful for what we experience around us.”

Scott says much has changed in Australian dance during his 10 years away.

“Coming back to Australia, it’s really interesting to see how dancing is shifting as well,” he says. “It’s got a lot of opportunities and possibilities still to be awoken. [Australia] doesn’t have the history of Europe in terms of dance in general. Or how dance is really pushing the boundaries now in Europe – dancers are becoming very versatile. They not only have those skills of incredible technique through the body, but also being able to use the voice, to sing, even to use different props and set design to create imagery.”

In Australia, Scott enthuses “it’s still a fresh sort of dynamic. Which is also exciting because new things can pop up.”

Scott says it’s been a long career trajectory from Mackay. He credits his parents, both passionate English and drama teachers.

“Alongside doing dance at a young age, I also was studying drama from my parents,” he says. “And they made all of my siblings and I go to piano lessons and sports – they really wanted us to be well-rounded, which is beautiful.”

Scott’s father was his main support through dance training. “He took me to this class when I was a toddler, a Tiny Tot’s dance class called ‘Mummy and Me’. Then he said to the dance teacher: ‘You can’t call it ‘Mummy and Me’, it has to be ‘Parent and Me’! That was so funny. They actually did change the name, too.”

Scott’s father found the dance school scene “a nightmare with the dance mums at the local eisteddfod”.

“He would help me do my stage make-up because he had a drama background. But the looks we got … these two guys amid the whole hairspray dynamic. We definitely felt out of place. But I’m glad my parents persevered.

“Now it’s like a beautiful moment that I get to share: not only being a dancer in Australia and coming back, being immersed in the cultural scene here, but also being able to create.”

New Breed by Sydney Dance Company, until December 14, Carriageworks