Classical dance in the here and now: Can it accommodate a new generation of artists trying to find their own voice?
Just like the Constitution, how can classical dance respond to society, accommodating the ways in which artists derive new meanings from it?
Does the act of watching or seeing always function in relation to the ‘live’? Can one ‘embody’ on a screen and still find something tangible, material and multi-dimensional in the experience of engaging with a dancing body on screen?
Motion Control: When dance intersects with the camera and technology, we arrive at interesting junctures in form
We relate to each other through the digital interface, and yet there can be discomfort and anxiety around how technology intersects with dance
Swan Lake attracts choreographers who want to re-evaluate what the tale signifies, as well as the question of who gets to fall in love on stage
Does ‘performance’ exist in a detached capsule of time that is a respite from daily life, or do we see it in the context of how dance relates to society?
'Ability' and the spectrum of performative possibilities: Dismantling notions of the 'perfect' dancing body
Dancers whose bodies aren't 'perfect' or 'symmetrical' find ways of reconciling their strengths to the demands of concert performance
Dance forms that now seem consolidated and ‘permanent’ are themselves works in progress, snowballing into accumulations of their past, present and future selves
What clarity of intention can a dancer bring to the mere act of walking? What do you make when all a dancer does is hold your gaze, locking eyes with you for an uncomfortably long span of time?