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.
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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.
Gadi Dagon
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.
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.
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.
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.
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