Features
Ahead of the premiere of kösh, Hamburg-based dance artist Sofia Greben breaks down her somatic practice, club culture influences, and the concept of nomadic movement.
Profiles
Tracing the thread from Blocks to Just Keep Waiting, Italian-born choreographer Sara Pizzi explains why the best contemporary art leaves room for multiple perspectives.
Reviews
In a compelling fusion of psychological crime thriller and contemporary dance, Scorched Earth at Brisbane Powerhouse lays bare the tangled wounds of colonization, capital, and loss. Reviewed by Leila Lois.
artist's statement by patric da cunha
Features
A documentary follows tap dancer Sarah Reich across the globe, and finds that rhythm, grief, and human connection speak the same language.
Reviews
Choreographer Yashashree Rajendra Chakole uses classical Indian dance and contemporary movement to critique systemic mental health care.
Happening Soon
Steven McRae and Vasko Vassilev on obsession, collaboration, and making Paganini "look cool" at the Linbury
Ahead of the premiere of kösh, Hamburg-based dance artist Sofia Greben breaks down her somatic practice, club culture influences, and the concept of nomadic movement.
Tracing the thread from Blocks to Just Keep Waiting, Italian-born choreographer Sara Pizzi explains why the best contemporary art leaves room for multiple perspectives.
In a compelling fusion of psychological crime thriller and contemporary dance, Scorched Earth at Brisbane Powerhouse lays bare the tangled wounds of colonization, capital, and loss. Reviewed by Leila Lois.
Choreographer Yashashree Rajendra Chakole uses classical Indian dance and contemporary movement to critique systemic mental health care.
Spotlights, news, and events curated and delivered once a month.
From courtly sleeves to military uniforms, the body remembers what texts forget. An essay by Kari Fu.
Ling Huang's solo turns fan, rice, and red thread into physical restriction the body has to work against. Rainy J. reviews the performance.
What do we take from this life, this land, this community, and what do we leave behind? Leila Lois talks to Ebony Bott and the artists shaping her first Brisbane Festival programme (4–26 September, 2026) to find out.
Tianyi Li reviews Harper Wang's Mo, a dance film where emptiness becomes an active force, and the camera, shadow, and frame choreograph alongside the solitary performer.
This fall in Leipzig and Dresden, Germany, six performers move through loops, glitches, and half remembered images, tracing the body's back as the site where memory lives.
Leila Lois spends an afternoon in Newport to witness how a fiercely local, radically inclusive company is redefining classical ballet through the lens of Welsh heritage and contemporary bodies.
Filmmaker and choreographer Aneta Parpouli discusses how an obscure figure from Hesiod's Theogony became the framework for a multimedia dance performance exploring modern mental health.
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.
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.
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.