Inside the Cycle of Self-Silencing: Bharatanatyam Meets the Politics of Healing

Choreographer Yashashree Rajendra Chakole uses classical Indian dance and contemporary movement to critique systemic mental health care.

The Devil's Fiddle, Danced

Steven McRae and Vasko Vassilev on obsession, collaboration, and making Paganini "look cool" at the Linbury

What Chinese Dance Reveals About the Politics of Posture

From courtly sleeves to military uniforms, the body remembers what texts forget. An essay by Kari Fu.

She Ritual : The Female Body as Archive, Offering, and Choreographic Site

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 Remains: A Thematic Journey Through Brisbane Festival

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.

The Weight of Emptiness: A Review of Harper WANG’s Mo

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.

TUNE BACK (time)

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.

Holding the Threads Together: Ballet Cymru at Forty

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.

Aneta Parpouli on Flora & Oizys, a Dance Performance Built From Greek Myth and Depression

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.

What an Auditorium Full of Pakistani Farmers Taught Me About Dance

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.

The Waltz I Cannot Stop

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.

The Hired Body: Being Mary Kate(s)

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.