Favourite jumper: Igor & Moreno, Idiot-Syncrasy
Caring but not careful – who knew an hour of jumping up and down would touch so many people in so many ways?
Down in one: the single-shot music video
On the appeal and the achievement of the one-shot music video
Dance+: American Psycho
Is that a raincoat or are you just glad to see me? Róisín O’Brien on the choreography of a murder
Tanz im August talkabout #2: portrait of myself as my father (Nora Chipaumire), The Waves (Noé Soulier)
Springback’s Berlin Three discuss patterns and parentage in two very different pieces at the Tanz im August season
Dansathon: an international dance hackathon
A report from the first ‘international dance hackathon’, a joint venture between Liège, London and Lyon that is more than just a competition
Tanz im August talkabout #1: Inoah (Bruno Beltrão) and R. OSA (Silvia Gribaudi)
Springback’s Berlin Three discuss body politics and national politics at the Tanz im August season
Jefta van Dinther: Dark Field Analysis
Two men embark on an expedition inside the body and beyond the mind, in Jefta van Dinther’s psychedelic Dark Field Analysis
Les Brigittines International Festival 2018
A many-layered thing: contrasting takeaways of our Springback writers at Les Brigittines, Brussels, reflect the genre-crossing styles of the festival itself
Michikazu Matsune: All Together
Recollection, reflection and re-enactment make for a memorable evening in Michikazu Matsune’s new piece about people both present and absent
Dance+: Little Miss Sunshine
For the win! Anna Kaszuba on why artlessness triumphs in the dance scene from ‘Little Miss Sunshine’
Rosas: The Six Brandenburg Concertos
A workbook choreographic exercise builds to a surprisingly exhilarating finale in Anne Teresa De Keersmaeker’s new Six Brandenburg Concertos
Shape of YouTube
Two widely viewed danceworks beg the questions: how does YouTube shape dance? And how do you shape YouTube?
[8:tension] at ImPulsTanz Vienna 2018
Don’t expect the new to be comfortable: the [8:tension] platform for new choreography is provocative, plural, sometimes tedious – and often out of the comfort zone
Jo Bannon: We Are F*cked
Doubt and disturbance come to a climax in Jo Bannon’s powerfully penetrating performance
Beyond borders: Amit Lahav and Gecko
Gecko’s Amit Lahav talks to Daniel Pitt about straddling genres, insularity and internationalism in British theatre – and being pummelled with love
Dance+: Dirty Dancing
Alexandra Gray on her first time watching Dirty Dancing – and why Baby’s first time on the dancefloor stays with her
Taneli Törmä: COVER – A symphonic poem in three movements
A merger of choreography and sound installation, Finnish artist Taneli Törmä’s COVER sensitively explores the kinaesthetic experience of sound.
Rocío Molina: Grito Pelao
They say that Mother knows best, but does she know how to turn that into a performance?
Gisèle Vienne: Crowd
Is dance raving mad to look to the rave scene for inspiration?
Danse Élargie 2018: big opportunities, bigger ambition
Beatboxing, b-boys, a beach and a balloon enlarge our concept of ‘dance’ in the fifth edition of the multi-disciplinary choreographic competition
Potsdamer Tanztageor: 3 × 3 = 8
When does 3 × 3 = 8? When our three reviewers go to three performances each at Berlin’s 2018 Potsdamer Tanztage festival
Bausch rebooted: Veza Fernández’s Wenn Auge Mund Wird
Vienna-based Veza Fernández refracts Bauschian Tanztheater through a contemporary prism
Dance+: A Girl Walks Home Alone at Night
Dancing home alone before going out to do what vampires do. Ka Bradley on a moment of dance in the movie A Girl Walks Home Alone At Night
Pietro Marullo’s WRECK: survival of the fittest in the age of austerity?
Pietro Marullo’s ‘elastic performance’ is a staging of the struggle to survive in a precarious environment – and an example of it.
Oona Doherty: Hope Hunt and the Ascension into Lazarus
A riveting portrait of the disadvantaged white male that meshes beauty with damnation
Florentina Holzinger: Apollon
Dance gets down and dirty – but is it worth the gross-out?
Katerina Andreou: BSTRD
Can a solo dance piece create, on stage, that much needed room of one’s own?
Timothy and the Things: Hunting (Vadászat)
Three men hunting – but for what, for whom, and why? Anna Dohy looks to the wider stage for answers
Jasna Vinovrški: Lady Justice
With witnesses, evidence and judgement – is a dance performance a bit of a trial?
Ligia Lewis: Minor Matter
Black matters in Minor Matter, a powerful encounter with the myriad concepts of blackness
‘We are dancers, we create the dreams.’ Albert Einstein
How to like dance
Audience clubs are on the increase - why? Luke Forbes on his experience of a new workshop in Melbourne
The wilderness within
What happens when dance takes nature as its stage? A festival in the northernmost town in the world leads to a changed sense of self, culture and existence
Christos Papadopoulos’s Opus: in search of the dialectics of music and movement
A textual exploration of a performative exploration in sound, meaning and time
Mònica Pagès watches Likes by Nùria Guiu
Classical music journalist Mònica Pagès sees a solo about the value of ‘likes’ in an age of social media. How was it for her?
The naked stage of Sanna Kekäläinen
Riikka Laakso on Finnish choreographer Sanna Kekäläinen, and the subversions and inversions of her 2017 piece Whorescope
Mette Ingvartsen: 21 pornographies
Assuming the position is at the heart of this physical exploration of erotica
Vero Cendoya: La Partida
Beautiful as dance can be, is it really any match for the beautiful game?
Meytal Blanaru at work
Brussels-based Israeli choreographer Meytal Blanaru on the workings behind her work
Arkadi Zaides: TALOS
Arkadi Zaides' detatched demonstration of surveillance, digital simulation and border infringements
Hodworks’ Sunday begs the question: in the age of the selfie, what separates the person and the persona?