In their 60-year history, this will be The Australian Ballet’s fifth take on Swan Lake. It has opened in Melbourne before touring nationally.
The Australian Ballet’s new double-bill Identity stages the work of Daniel Riley and Alice Topp in a reflection of the identity of Australian dance – and Australia.
Some offerings were political and academic, some were celebratory. Some told us personal or cultural stories, some had 100 dancers, some had one.
Choreographer Krzysztof Pastor reproduces something familiar with a dash of local flavour.
With former Chunky Move founder and choreographer Gideon Obarzanek as co-director, dance had a heavy presence at this year’s Rising festival.
Choreographer Stephanie Lake brings together nine dancers and nine drummers in this thrillingly original work.
Rachel Arianne Ogle’s new chorography is an exploration of mortality and death.
From Broome-based dance company Marrugeku, this new work is a throbbing protest about the violence experienced by Indigenous, racial, trans and queer Australia.
This new dance work from Chunky Move is mesmerising and wondrously odd.
Minor human errors beautifully show Tokyo’s opening ceremony for what it is: real people in real time.
Embedding traditional dance stories and modern dance within Bangarra’s signature style, SandSong is a rich, evocative and powerful production.
From choreographer Emma Fishwick, this slow, dreamy performance and its cast of 15 dancers, speaks especially loudly to Australia of today.
This new work from Restless Dance Theatre is staged in a bowling ally, and asks us to consider the possibilities of perspective.
Force Majeure’s The Last Season, directed by Danielle Micich, forges a stimulating but disjointed narrative.
The most exciting work at OzAsia cuts across genres, styles, and cultures to create something distinctive and new. This year, three new dance works did just that.
As part of the 2019 Perth Festival, dance-theatre performance Sunset takes place in a former men’s home on the banks of the Swan River.
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.
We Love Arabs is a complex satire that blends dance, theatre and hummus to investigate the politics of Israeli Jews and Arabs.
British dancer Aakash Odedra performed four solo works, drawing on classical Indian dance, in a fitting close to the OzAsia festival.
Canadian artists Crystal Pite and Jonathan Young take the audience on a searing journey through the emotionally stunted landscape of a grieving father.