Francis Williams of the Naygayiw Gigi Dance Troupe in a scene from Carriberrie.
Joshua Flavell © Carriberrie Pty Ltd
A new virtual reality film showing at the Australian Museum immerses viewers in remote Indigenous communities. Such films can be a path to reconciliation and understanding.
Performance of « Sorcieres: dance together with smartphones » at ENSCI les Ateliers.
Smartphones are new tools for body rehabilitation, sports training and motor development.
Ngathu, in Bangarra’s Ones Country, is a brilliant combination of the contemporary and traditional, telling the story of the ngathu, or cycad, in Arnhem Land.
Photo by Daniel Boud
Bangarra’s current season of three new works, Ones Country, is uneven in parts but worth seeing for the diversity of Indigenous stories from some new choreographic voices.
Hummus becomes a “choreographic texture” in We Love Arabs.
We Love Arabs is a complex satire that blends dance, theatre and hummus to investigate the politics of Israeli Jews and Arabs.
Tree of Codes is less about drama, and more about the technical union of dance, music and art.
Stephanie Berger HR
When it comes to plot, emotions or even themes, Tree of Codes is a mystery. But its technical prowess is undeniable.
7 Pleasures: to explore body politics with a troupe of muscular, lean, able bodied dancers, limits the kinds of questions one might ask.
Mette Ingvartsen’s 7 Pleasures aims to upend
clichés about nudity. But the 'confrontational' use of nudity in dance and performance art is itself now something of a cliche.
Choreographers could offer engineers tools to stimulate new ideas in city-making.
Aakash Odredra in Rising.
British dancer Aakash Odedra performed four solo works, drawing on classical Indian dance, in a fitting close to the OzAsia festival.
... and does it work?
Borrowing dance movements may be degrading culture heritage.
Tade Biesinger as Billy Elliot in the West End musical.
Dance isn't just for girls - but boys need more support and inspiration to get them moving.
Ballet dancers can apply their intensive training to tasks they haven’t practiced.
Highly trained dancers provide insights for researchers helping design improved rehab programs for people with mobility impairments. The next step could include rehab robots as dance partners.
When the classroom is your dance floor.
L-E-V comes at you like a freight train with Killer Pig in the Adelaide Festival.
Media Credit Gil Shani
This year has got off to an awful start. Thank God for the Adelaide Festival, a blaze of hope, skill and fun. Here are our critics' highlights of a beautifully crafted program.
Why can’t we see the spaces?
The reason you feel things as solid is all to do with electrons.
George the dancing Albert’s lyrebird.
© Kimbal Curtis
Many argue avian movements are too simple or repetitive to be classed as dance. But George the lyrebird puts on quite a show – as do a number of other bird species.
The Strictly Come Dancing final looks to be somewhat dull – all glitter, no Balls.
The OzAsia Festival will showcase innovative and youthful performance art from across Asia.
Hiroaki Umeda's split flow and Holistic Strata. Credit Ryuichi Marui Yamaguchi Center for Arts and Media
From a dancer moving against a wash of static, to a show that takes the audience hostage, Adelaide's OzAsia Festival celebrates both high art and high energy performances.
Ping-pong balls pour from the ceiling onto a dancer.
Renowned American choreographer Jonah Bokaer's show Rules of the Game is an adventurous collaboration that doesn't quite meet expectations.
En avant, Marche! An energetic – sometimes frenetic – show.
A trombonist is forced to play the cymbals, while a pair of marching girls dance out his frustrations. A full brass band slips from classical, to jazz, to folk and cabaret. En Avant, Marche! is a strange show, but worth your time.