From this autumn, a newly revised Diploma in Dance Teaching and Learning (DDTAL) – which is recognised as a route to Qualified Teacher Learning and Skills statu - will be available... Continue Reading
East London Dance, Hofesh Shechter Company, Historic Royal Palaces and LIFT announce plans for 'East Wall' - a long-term talent development project and spectacular performance.... Continue Reading
Hearts and Arrows proliferates, gorgeously, with staggered formations, braided currents, counterpoint and canon. It features superb performances, and comes close to being an excellent piece.
If Millepied’s choreography was an element it would be air, best demonstrated in the short piece Hearts & Arrows, danced to a Philip Glass string quartet. The dancers sweep through phrases with spritely leaps; contemporary dance with ballet’s poise and lightness.
In spite of an agitated liveliness in the movement, neither of these pieces sings with originality. Hearts and Arrows flirts with high-school cheerleading as girls are tossed into the air to the repetitive surge of Philip Glass’ String Quartet No 3 (Mishima)
Millepied’s choreography draws on classical ballet technique, particularly in the footwork. It also suggests the influence of Mark Morris in its springy vocabulary and same sex duets.
Sir Matthew Bourne made his second visit to Buckingham Palace this year - to be presented by with the Royal Academy of Dance's Queen Elizabeth II Coronation (QEII) Award... Continue Reading
From the fundamentally simple idea of human calligraphy Chouinard constructs a work of staggering virtuosity whose accumulating speed and intricacy reaches an intense climax as the dancers shed their black clothes and dance in a strobe light.
Poignant, funny and outrageous dance theatre, as entertaining as it is life affirming