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.
On the surface – and when compared to the Oscars – the 2016 Tonys looked like a groundbreaking moment for diversity in entertainment. But when it comes to inclusion, Broadway has a long way to go.
Legendary critic Deborah Jowitt’s visit to Australia for the Keir choreographic awards is focussing attention on the paucity of our dance criticism. Yet informed reviews are vital to the health of an art form.
South Africa’s foremost contemporary dance festival is celebrating its 28th birthday in 2016. It has remained relevant, vital and – despite the format’s esoteric nature – hugely popular.
Dance and music move together in Anne De Keersmaeker’s new work at the Sydney Festival. Erin Brannigan was able to watch this layered and intricate performance come together in Berlin.
Is this a dance work, an exhibition, or a melding of the two? Xavier Le Roy’s latest work, in Sydney, raises many questions, such as: Is it enough to present dancers as interactive, moving art objects?
The founders of Belgian dance company Peeping Tom draw their performance language from the influential Flemish Wave movement of the late 1980s and 90s. Their 32 rue Vandenbranden is part of Melbourne Festival.
Flex, a dance style that originated in Jamaica in the 1990s, has evolved into a protest movement in the US that enables its practitioners to articulate their experiences of racism, police brutality and violence.
Last month, the American reality dance competition show So You Think You Can Dance (SYTYCD) celebrated its 10 year anniversary. Why do we keep watching?
For a growing number of artists, academics, researchers and scientists, dance represents a promising new frontier of exploration. The annual DANscienCE festival shines a spotlight on their findings.
Lucy Guerin is a consistent creative and experimental point of contact for many young dancers and choreographers – and her new work, Motion Picture explores the grey area between nostalgia and modernity.
A thrilling double bill of contemporary dance opened this week in Sydney: the Australian premiere of William Forsythe’s Quintett and Rafael Bonachela’s new work, Frame of Mind.
Nothing to Lose, by dance theatre company Force Majeure, invites the audience to engage with the richness, nuance, and variety of fat bodies and fat experiences.
It may seem odd, and a touch ironic, that the act of taking-up-space is of concern to a fierce-fat-femme like Kelli Jean Drinkwater. Speaking about her current collaboration with Force Majeure and choreographer/director…
As part of the Footscray Community Arts Centre’s Womenjika Festival this weekend, Mariaa Randall (Githatbul and Gidabul) and the DubaiKungkaMiyalk (DKM) Dance Company’s moving performance HA LF places…
French circus performer and director James Thierrée famously eschews comparison with his grandfather Charlie Chaplin, to whom he bears a conspicuous resemblance. But as he and his troupe stood on stage…