Perspectives
Naween A. Mangi spent twenty years working in rural Sindh and assumed farming communities had no use for dance. A choreographer's tour through small towns proved her wrong, and changed how she thinks about what "community development" means.
Essays
Maria Pickart can trace the shame historically, culturally, pedagogically. She has written papers on it. And then she walks into the studio, and the imagined audience assembles before she has taken a single step.
Essays
Mary Kate Sheehan is a freelance dancer trained to be versatile, to embody any aesthetic, to deliver whatever the room required. In this essay, she traces what happens when that is no longer enough, and the long search for a dancing self that belongs to no one but her.
A dance theatre work leaves the stage and enters the landscape. In mountains, beside waterfalls, on uneven ground, the body has to negotiate the world around it. Having seen both versions, Rainy J. reviews Ning Qiang's The Wind.
"Dance chose me long before I chose dance." Choreographer Mohsin Babar on reclaiming Pakistani performance culture after decades of systemic neglect.
Dila Yumurtaci reviews Alice Ripoll's Adorno, finding that beneath a striking mass of balloons lies a brilliant, vulnerable study on how our ordinary choices reconstruct who we are.
What seven years in New York looks like, and what it asks of you
Leila Lois speaks to the artists of Melbourne's RISING Dance Biennale and reveals a programme that feels urgent, uncomfortably alive, and may have saved an important contemporary dance festival.
On dance floors lost and found, queer Palestine, languages that carry whole worlds, the slow burn of academia, and Mei, a blind Shih Tzu who knows more about love than most of us ever will.
Spotlights, news, and events curated and delivered twice a month.
A dance theatre work leaves the stage and enters the landscape. In mountains, beside waterfalls, on uneven ground, the body has to negotiate the world around it. Having seen both versions, Rainy J. reviews Ning Qiang's The Wind.
"Dance chose me long before I chose dance." Choreographer Mohsin Babar on reclaiming Pakistani performance culture after decades of systemic neglect.
Dila Yumurtaci reviews Alice Ripoll's Adorno, finding that beneath a striking mass of balloons lies a brilliant, vulnerable study on how our ordinary choices reconstruct who we are.
Rennie McDougall’s Nonstop Bodies strips the history of dance in New York away from the canon and hands it back to the streets. Next on our reading list.
In the Jardim da Estrela in Lisbon, transdisciplinary artist Myrna Renaud films her shadow as she moves through rehabilitation exercises on a park bench; second position reduced to what a broken wrist allows. The video and this text are the same work.
What seven years in New York looks like, and what it asks of you
Leila Lois speaks to the artists of Melbourne's RISING Dance Biennale and reveals a programme that feels urgent, uncomfortably alive, and may have saved an important contemporary dance festival.
What headlines reveal about institutional decolonization
By Loïc Magliano — A Pole Dancer on Cabaret, Theft, and the French-American Gaze
By Madison Vomastek — Madison traces her discovery of flow through two unlikely parallel, the hip-hop cipher and Forsythe's Improvisational Technologies, and finds the same thing at the heart of both: community, witnessing, and the freedom to be seen.
By Will McGregor — The 19th-century village is gone. In its place: a concrete wall, factory light, and bodies that already know their place. Ten years on, Akram Khan's Giselle has grown into its own weight.
By Carol Pierre — A relationship with a choreographer reveals oral history as embodied practice. Like dance, research arranges testimonies, holds space, moves through memory with narrators, and performs stories that transform audiences into witnesses of alternative realities.
