Perusing the Canberra program for Australian Dance Week I was instantly surprised by news of the opening celebration, which will take place on International Dance Day, 29 April. Ausdance ACT has programmed this event to occur on top of Mount Ainslie, a beautiful spot whose current vista would thrill the designers of Canberra, Walter Burley Griffin and his partner, Marion Mahony Griffin.
But delving further into the choice of an outdoor venue, Cathy Adamek, Executive Director of Ausdance ACT, explained a little about why Mount Ainslie was chosen. There are a few reasons but importantly, according to Ngunnawal Elder Aunty Serena, Mount Ainslie figures significantly in the cultural background of the Indigenous people who inhabited the area long before it became Canberra. Aunty Serena will deliver the Welcome to Country at the opening. You may hear more from her about Mount Ainslie’s significance.
Here is what the program tells us of the event:
Join us on top of Mount Ainslie for International Dance Day as we celebrate 2026 Australian Dance Week. Hosted by Ausdance ACT Executive Director Dr Cathy Adamek featuring a special appearance by the Diamonds of Dance Week! Dress in your sparkly best and join us for a celebratory picnic. Traditional welcome and smoking ceremony by Ngunnawal Elder Aunty Serena from Yukkumbruk Dreaming. To be officially opened by Minister for the Arts Michael Pettersson MLA.
But to the dance component for the week. There is, as is the usual practice, many Canberra dance schools offering free classes over the week for prospective students to try out various approaches to dance education. There is also a variety of workshops for beginners to professionals in dance-related activities and projects. What stands out from an overall look at the program is the diversity of dance that characterises the Canberra dance scene. Dance Week in Canberra includes items focusing on ballet and contemporary dance as well as folk dance, hip hop activities, street performances, dance as a meditative activity, and so much more.
Also featured in the 2026 program is the work of Floeur Alder and her colleagues. Alder does not live or work on a regular basis in the ACT but she has a long-standing connection with the city. She is the daughter of Lucette Aldous and Alan Alder, both of whom, after exceptional careers as performers across the world, were responsible for helping develop the tertiary dance component of the West Australian Academy of Performing Arts (WAAPA). Alan Alder was born in Canberra, took his early dance training there and went to Canberra High School. There are still various relatives of the Alder family living in Canberra so it is a pleasure to have his daughter as part of the 2026 ACT Dance Week program.
The film POINTE. Dancing on a Knife’s Edge, which focuses on Alder’s recovery from a brutal knife attack that left her badly injured, will be shown as part of the week’s activities. Adamek was especially touched by the way dance was part of Alder’s recovery process and tells me the film ‘shows how dance can be a personal story’ and that ‘it indicates that dance can be used as a form of therapy’. In addition, Alder will give a solo performance of Djilba a work created by Alder and artist Virginia Ward that combines dance, poetry and imagery.
See more about Djilba, including a trailer and a demonstration by Alder of a particular section of her choreography, at this link. Alder will also give a special class that features Boris Kniaseff’s floor barre technique, a technique admired and taught earlier by her mother Lucette Aldous.
The 2026 ACT Dance Week is brimming with surprising activities. Don’t miss them. See the full program at this link.
And below is the view from Mount Ainslie where the opening event will be held. Follow Anzac Parade from the War Memorial in the foreground, over Lake Burley Griffin to Old Parliament House then on to New Parliament House. Other significant Canberra buildings (including the High Court and the National Library) are in the image and forming the background is the beautiful Brindabella mountain range.
Sydney Dance Company announced in March that Rafael Bonachela, artistic director of Sydney Dance Company since 2009, will leave the company in mid 2028. It was perhaps not surprising news but it certainly aroused many thoughts about Bonachela’s input into the company.
What perhaps stands out, at least from my viewpoint, was the physicality that characterised Bonachela’s choreography. Bonachela did not usually look for a narrative focus to his works. He left us as the audience to add our own thoughts about what his works meant—if indeed there was a meaning for us to absorb beyond the movement.
But there was much more to his directorship of the company than making his own dance works. His introduction of New Breed, a program that gave opportunities to emerging choreographers, was certainly a highlight as was his extensive touring. The Sydney Dance Company media release, in which much more of his input is mentioned, is at this link. A search for a new director will begin shortly.
As an aside, I had the absolute pleasure of interviewing Bonachela in 2011, which was quite early in his tenure of the job, for the National Library’s oral history program. The interview details are at this link and the Library’s summary gives an indication of the content of the interview.
Glasshouse Theatre, Queensland Performing Arts Centre
The first show to be presented at Brisbane’s newly completed Glasshouse Theatre was Queensland Ballet’s Messa de Requiem (my review of this show can be found elsewhere on this website). But I have to mention what a stunning piece of architecture the new theatre is, both outside and inside. Inside the beautifully curved areas are a delight to walk past while the stage area looks spacious and easy to dance on. The sightlines are excellent from an audience point of view, which is a real thrill. The Glasshouse is an absolute delight from every point of view.
Swan Lake Act III. Dance Theatre of Harlem (via Jacob’s Pillow playlist)
I must say I was somewhat staggered watching an excerpt from the Act III pas de deux in Swan Lake, as danced by Michaela DePrince partnered by Samuel Wilson, via a playlist on the Jacob’s Pillow website. DePrince’s arms in the 32 fouetté section are just incredible.
West Australian Ballet (WAB) announced earlier this month that Greg Horsman, having left Queensland Ballet (QB) late last year, had joined WAB as rehearsal director. Horsman brings to WAB decades of world-wide experience in performing, teaching, leadership roles, and choreographing.
Horsman’s time with QB, which began when Li Cunxin was appointed director, saw the staging of several of his ballets, the most exciting to my mind being a reimagined version of La Bayadère. Bayadère is a ballet that has suffered somewhat in recent years, being thought of as unsuitable for presentation in this day and age because of its perceived treatment of various ethnic groups. But Horsman’s ballet scarcely fell into that category in my opinion. Read my review at this link.
But there were also others of his works that shone in the QB repertoire including a version, again reimagined, of Coppélia, which in fact was a co-production with WAB. He also held QB together until a new artistic director was found after Leanne Benjamin unexpectedly left her role as artistic director in August 2024.
Horsman gave a lot and his departure is significant loss for QB. But it is a definite gain for WAB! Here is a link to the WAB information.
Australian Dance Party
Canberra’s Australian Dance Party (ADP), led by Alison Plevey and Sara Black, is celebrating its 10th year of existence. The celebrations include IMPULSE, a free improvised dance, music and visual art performance set in two of the city’s major town centres, Woden and Gungahlin. Audiences are invited to become part of the activities., which will take place on 14 March in Woden and 21 March in Gungahlin.
For more information see the ADP website at this link.
Borobudur Dance Troupe
Canberra’s multicultural festival is an annual event taking place in the city and surrounds each February. It always has a strong dance component in its very varied activities and this year I noticed performances by a group called the Borobudur Dance Troupe. I had never seen performances by this group before, despite the fact that it was founded in 2017. But with fond memories of visiting the Borobudur temple in Java (some years ago now), I thought I should take a look. I saw only one of the items the troupe was presenting but didn’t catch the name of the dance.
Borobudur Dance Troupe at the Canberra Multicultural Festival 2026. Photo: Michelle Potter
My initial reaction was that it didn’t look to me like the traditional style of Javanese dance that I have seen before. There was a lot of quite broad smiling (not obvious in the image above but very obvious when watching) and I had always felt that Javanese dance was quite differently focused. Perhaps age is catching up with me and what I have experienced before is outdated? My companion suggested I should look at it as folk-oriented rather than as a classical item. Anyway, it was interesting to see the performance. The costumes were very intricate, and the dancers used the red cloth that was part of the costume quite beautifully.
I look forward to seeing the company again somewhere. We are lucky in Canberra that we have opportunities to experience such presentations.
Force majeure
The Sydney-based company Force majeure (a major force in contemporary dance development in Australia) has just appointed Nick Power as its new artistic director and CEO. Force majeure was founded in 2002 by Kate Champion. Following Champion, Danielle Micich led the company from 2015 to 2025. More about Power, and about Force majeure, is available on the company’s website at this link.
Creative Antarctica
An exhibition, Creative Antarctica: Australian Artists and Writers in the Far South has recently opened at the Royal Melbourne Institute of Technology (RMIT). It runs until 2 May 2026 and includes a film made by James Batchelor with sound by Morgan Hickinbotham. The film was created by Batchelor during his participation in an expedition to the Heard and McDonald Islands in January 2016 on board the RV Investigator. Read about the exhibition and its location here.
Matz Skoog was instrumental in strengthening and developing the art and profession of dance in New Zealand during his term as Artistic Director of Royal New Zealand Ballet (1996–2001). His wife, New Zealander Amanda Skoog, was General Manager (2006–2015) and Matz was at times ballet master or rehearsal director during that term as well. There is a fine tribute to him on RNZB website.
A major interview in 2022 in the Dance Legends series hosted by English dance critic Ismene Brown (on Youtube) covers Matz’ childhood vocational training at the Royal Swedish Ballet school, his studies at the Kirov Ballet in St.Petersburg, his performing career with RSB then with English National Ballet (ENB), with Nederlands Dans Theater, Rambert Dance Company, and in several projects with Rudolf Nureyev and with Mary Skeaping. Following his term with RNZB, he was Artistic Director back at ENB from 2001–2005.
In New Zealand Matz took on management challenges with a sense of adventure while masking the hard work entailed. He always acknowledged a team effort, giving generous credit to John Page and then Sue Paterson as General Managers, and Kit Toogood as Chair of the Board. The shift to a permanent home in purpose-renovated premises of the St.James Theatre marked a milestone, and the move to direct Government funding, away from the previous Arts Council application-based funding, enabled a new era in the company’s long-term planning.
It is clear that his European training and experiences had given Matz a secure understanding of how dance heritage could contribute in contemporary times, without holding on to old history for its own sake and in this he was a both/and not an either/or man. He had no time for the ‘Control & Command’ management of some world ballet companies or schools, adopting instead an ‘Engage and Encourage’ approach in his own style of directing. He dropped the Company’s rankings of Principal, Soloist, etc., preferring to encourage the dancers to develop their individual qualities and strengths. He always wanted virtuosity to serve expression, not vice versa, and lamented that extremes of technique often replaced the poetry of alignment and épaulement.
Matz found a deep rapport in Russell Kerr whose choreographic vision and output he greatly respected. He explains in the Legends interview why he and Russell found the old divide between ‘Classical’ and ‘Contemporary’ no longer necessary or helpful for dancers today, insisting that ‘Excellence’ was the only goal. This was borne out in the broadened repertoire of new works Matz commissioned from New Zealand choreographers—not only Russell Kerr but also Douglas Wright, Michael Parmenter, Shona McCullagh, and from Eric Languet. Many Company dancers were encouraged to make work for emerging choreographic seasons.
The indelibly powerful Soldatenmis, by Jiri Kylian, to Martinu’s Mass for an Unknown Soldier, proved one of the strongest works the company ever performed. The cast requires all the company’s male dancers in full muster, a kind of resonance with the haka taparahi of Maori tradition. [When one of the male dancers was injured, Matz cast the petite and wonderful Pieter Symonds as replacement, which brought echoes of Elizabeth 1, or Joan of Arc, to the stage. In a later return season, again an injured male dancer was replaced, this time by Laura Saxon-Jones, who proved memorable in the role.]
Matz himself was an inspiring teacher but also invited his long-standing friend and colleague Charles Mudry for teaching residencies at RNZB. (They both understood why a dance critic might want to study the forging of dancers in daily class in the studio rather than rely solely on fleeting performances in the theatre so, lucky me, I was invited to watch those masterclasses every day for a month. Mudry might be the best ballet master in Europe, certainly the most musical, so, even luckier me, I later watched him teach at Royal Danish Ballet in Copenhagen—different dancers, same gem of a class, meticulous attention to every gesture and every note of music, immaculately prepared, luminously communicated. We watched RDB perform Neumeier’s heart-rending ballet The Little Mermaid, but when I asked Charles which choreographer in any time or place had moved him most, his reply was instant—‘Pina Bausch of course’.) Charles and Matz were as brothers.
Other highlights of Matz’ term, all illustrated on RNZB’s website, included the national Tutus on Tour programmes which re-traced the countrywide itineraries of the Company’s early years under founding director Poul Gnatt in 1950s. The powerful Dracula gave stellar roles to leading dancers Ou Lu and Pieter Symonds, and audiences cried for more. The spirited season of Ihi FreNZy combined the Maori cultural group, Te Mātārae i Orehu, as Act One, with Mark Baldwin’s choreography to a set of songs by Split Enz, as Act Two. The project had involved a stay on the marae in Rotorua for the whole company which was an impressive step in the development of bi-cultural awareness and respect in a dance context. In the resulting performance, at the end of a forceful first act, Te Mātārae’s leader moved forward with careful steps of takahia to place a kiwi feather downstage centre just as the curtain fell. It was a small gesture but a poignant one, birds of a feather (it was probably swept up in the curtain hem, it might be still there for all we know) but in the combined haka of all Te Mātārae and RNZB at the final curtain call, you couldn’t tell by the end of the tour which dancer was from which troupe. (I see Shannon Dawson and Geordan Wilcox among them yet).
Matz continued to stay in touch with many dancers and colleagues years after he had worked with them, and remained ready to offer help and advice in his later years as coach and mentor.
The Legends interview includes an excerpt from Swansong by Christopher Bruce in which Matz had created the role of The Interrogator, in a chilling portrayal of the psychological torture to which many individuals are subjected in a range of political and social situations. He is mesmerising in the role. (I watched it on the day that the cause of Navalny’s death was revealed to the world—and the day that Obama spoke to oppose ICE and in support of protestors in Minneapolis. The theme of a choreography like Swansong is, unfortunately, always contemporary).
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I penned five different paragraphs to begin this obituary but deleted them all, since a cv full of dates and place names can’t begin to do justice to the ready smile and twinkling eye, the wit, friendship and optimism in the man. He was lively, spirited, and so generously ready to help. He respected the work of others and would tell them as much, making the world a better place. He coached Baroque dance in The Long Hall, intrigued that we were working from centuries-old dance notations, and coaxed a 400-year-old sarabande from a bud into a bloom. How can he be dead?
Matz’ last ‘letter to the world’ that he emailed to friends and colleagues only a fortnight before he died was poignant, honest, gracious, grateful, heartbreaking but not heart-broken, and still managed to carry the hallmark humour he was renowned for. In it he accepted the inevitable, but also quoted from Peter Pan, the brilliant ballet he had commissioned for RNZB from Russell Kerr—‘I do believe in fairies, I do believe in fairies.’ We could have replied ‘You don’t need to believe in fairies. They exist’ as Matz is now one of the spirit people hovering to remind us of all that he did, and to remember him for a long time to come.
One can only send heartfelt and deepest sympathies to his wife Amanda, and sons Sam and Louis, in the untimely loss of such a loved husband and father—and to his many worldwide friends and colleagues who respected and appreciated him immeasurably, none more so than in Aotearoa New Zealand.
Haere rā, e hoa mā, haere haere atu. Kua hinga te tõtara i te wao nui a Tāne. (Farewell, dear friend, go now. A tōtara tree has fallen in the great forest of Tāne).
Sources: Amanda Skoog, RNZB, Anne Rowse, Keith McEwing, Ismene Brown, Daniel Belton, Lily Bones
Numerous illustrations of works mentioned are in A Time to Dance Jennifer Shennan [Royal New Zealand Ballet, 2003], and Royal New Zealand Ballet at 60 Jennifer Shennan & Anne Rowse (eds) [Victoria University Press, 2013]. A digital version of both titles is also available.
What a pleasure it is to post the news that Bangarra Dance Theatre has been awarded the prestigious Gold Lion for Lifetime Achievement in Dance by the Venice Biennale 2026. The award has been given previously to choreographers and dancers with Bangarra being the first company to receive it. It is also a first for Australian dance in any Golden Lion dance category.
The media release explains (in part) the nature of the award:
The Golden Lion acknowledges a lifetime body of work and artists who have transformed, evolved and brought new urgency to the language of dance, infusing it with the vital force of their cultures.
The award ceremony will take place during the 20th International Festival of Contemporary Dance in Venice 17 July – 1 August when Bangarra will give the European premiere of Terrain, a work created by Frances Rings in 2012, and a work that has been restaged on various occasions. Terrain was originally billed as ‘a hymn to country’ and set out to evoke the changing landscape of Lake Eyre (Kati Thanda) in South Australia, along with the relationship of Indigenous Australians to their land. A perfect piece for the occasion.
In my review of Terrain in 2012 I wrote:
Terrain is a wonderfully integrated work in which people, politics and country are delicately balanced. The spirit of a constantly changing Lake Eyre courses through the entire piece and the work secures Bangarra’s position as a treasure on the Australian dance landscape.
As Australia ponders, across a number of areas and from a number of points of view, the multicultural nature of the country, it was quite fascinating to read of the dancers who have joined Sydney Dance Company (SDC) for the 2026 season. The new appointments, which media information says will contribute to the dynamic physicality of the company, are Caití Ellen Carpenter, Jai Fauchon, Mahalia Adamson, Finn Armstrong, and Ali Dib. Adamson, Armstrong and Dib made their debuts with SDC in late 2025 and will continue with the company into 2026.
These five dancers have quite different backgrounds, which include not just differences in cultural background, but also differences in training and work experiences to date. Caití Ellen Carpenter is a UK-born dancer and actor who trained at Rambert School, joining Rambert’s main company in 2021. She has worked as a freelancer across the UK and Europe since 2023.
Sydney-born Jai Fauchon joined the Australian Ballet School in 2020 and has performed in two national tours with the company. In 2025, he was selected as a Jette Parker Young Artist with Queensland Ballet.
Finn Armstrong is a dancer from the Gold Coast. In 2022, he graduated from the Netherlands’ Codarts Rotterdam and, in 2024, joined Danish Dance Theatre as an apprentice. He debuted with SDC in 2025, in its Continuum and New Breed programs with fellow incoming SDC dancer Ali Dib.
Born in Sydney and of Lebanese heritage, Ali Dib trained at the Dorothy Cowie School of Dance, Brent Street Studios and Alegria Studios. He was the recipient of the Brisbane International Dance Prix and won the Contemporary Dance Open in 2025.
Mahalia Adamson joined SDC’s Pre-Professional Year in 2024 and performed in the Sydney season of Resonance, alongside works by Rafael Bonachela, Zee Zunnur, Emma Harrison and more
The varied backgrounds of these new appointees suggest we can look forward to a dynamic input into SDC’s 2026 performances.
Georgia O’Keeffe
Some years ago now I spent a beautiful, snowy Christmas in New Mexico. We were staying not far from the area where American visual artist Georgia O’Keeffe, whose art I have admired for many years, had two homes, one on Ghost Ranch territory, the other in Abiquiu. It was a pleasure to visit ‘Georgia O’Keeffe territory’ over the time we were in the area.
So, it was more than interesting to read a statement O’Keeffe had made about her approach to art, which appeared in a recent Reader’s Catalog email from The New York Review of Books. O’Keeffe said at some stage, ‘I found that I could say things with colour and shapes that I couldn’t say in any other way—things that I had no words for.’ If we replace ‘colour and shapes’ with movement or some similar word, the statement seems perfect as a way of speaking about dance. Surely?
Queensland Ballet
Queensland Ballet has appointed Lisa-Maree Cullum as rehearsal director of the company. Hear what Cullum has to say about her position in the YouTube link below.
But what has happened to Greg Horsman and Matthew Lawrence? They contributed so much to the growth and development of Queensland Ballet over the past several years but seem to have disappeared from the scene. Both Horsman and Lawrence have been interviewed for the National Library of Australia’s oral history program. The Horsman interview (recorded in 2016) is available online at this link. The Lawrence interview (recorded in 2024) is also available online but requires written permission for public use so at this stage, and until I find out how to contact Lawrence, I cannot provide a link on this site.
Coming up … Canberra’s Multicultural Festival
The National Multicultural Festival is held annually in Canberra in February. It always has a strong dance focus, including this year a Bharatanatyam performance, a Dragon Dance, a Bellydance Showcase, a performance by the Borobodur Dance Troupe, a performance by the Lao Oz Dance Group, dancing from the Serendipity Dance Crew, the Benjo Academy, Contemporary Bihu, the Australian Tamil Cultural Society of the ACT, Mexbourne Dance, and folk dances from Chile. And more …
The Festival is largely an outdoor event so here’s hoping the weather doesn’t reach 40 or so degrees Celsius. Read more on the website, especially the Festival Program pages.
While the list of dance productions to be staged in 2026 offers dance-goers a wide range of productions to anticipate, there are two new works that I am especially looking forward to seeing. The first is Alice Topp’s production of Macbeth. It will premiere in February in New Zealand with Royal New Zealand Ballet before going on to Perth in September where it will be part of West Australian Ballet’s 2026 season.
Macbeth? Many years ago now I studied Macbeth in my final year of school. We read and analysed it for a whole year! Then to my absolute surprise a few years ago, which was decades after I had finished school, while on a sightseeing trip in Scotland, we were told by the guide we were heading to Dunsinane. The name immediately took me back to that final year of school and the phrase ‘from Birnam Wood to high Dunsinane Hill’, which features in Macbeth. But that aside, Macbeth, given its high drama and deeply emotional content, is perhaps the last Shakespearean play I would have thought I would see as a ballet. Topp says her production is :
An epic story fuelled by political ambition, passion, desire for power and the burden of guilt, Macbeth’s themes are potent and enduring.
I am definitely looking forward!
The second new work I am anticipating with particular pleasure and interest is Liz Lea’s Diamond. I mentioned Diamond in my Dance diary. October 2025 and it has since been officially launched. It will be premiered in Queanbeyan in August. One media comment explains:
With moments of raw honesty and riotous play, Diamond celebrates the brilliance that emerges through time – the courage, fragility, and power that define you as you evolve. Inspired by the enduring strength and many facets of a diamond, the work reflects on how we are shaped by experience, pressure, and the will to keep shining. A sparkling homage to the resilience and beauty of ageing women – bold, unapologetic, and full of life.
Lea has worked extensively with community dance companies over the past several years, with great success. But it will be heartening to see her create a new work that will show us more of her creative self. In the production of Diamond, she will be working with a number of diamond consultants and the writer and dramaturg Brian Lucas. See this list for those working with Lea on Diamond.
Publicity shot for Diamond
Hans van Manen (1932-2025)
I recently received news that Dutch dancer and choreographer Hans van Manen had died in Amsterdam in mid December, aged 93. Van Manen had an extraordinarily extensive career as a dancer and choreographer. As a choreographer he created more than 150 works, of which sadly I have seen very few (mostly overseas}. But his influence on Australian dance artists has been extensive.
The Hans Van Manen Foundation has an informative website. It contains a wealth of material about the man and his work including a list of his choreography’
Press for December 2025
– ‘Young choreographers step into the spotlight.’ Review of Emerging Choreographers Project. Quantum Leap Australia. CBR City News, 14 December 2025. Online at this link.
UPDATE 15 January 2026: Comments are closed on this post given that it has been receiving, in a very short space of time, an inordinate number of spam messages.
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Thank you to all who have visited this website over 2025, especially those who have taken the time to comment on specific posts. I wish you a happy and safe new year and look forward to welcoming you back to the site in 2026.
It is never an easy job to choose a few favourites from among the productions one was fortunate to have seen in any one year, but what follows is my attempt to do just that. I have arranged my five favourites chronologically according to the month in which I saw each production.
As a result of a generous birthday gift that lasted over the whole (almost) of 2025, I also saw throughout the year a number of Royal Ballet productions via that company’s streaming platform. A presentation of Enigma Variations, filmed in 2019, was exceptionally engrossing. But I have restricted my five favourites to productions from Australian companies.
All In from Dance Makers Collective
All In was the first production I had had the opportunity to see from Dance Makers Collective, an organisation based in Western Sydney working with and between dance theatre, contemporary dance and social dance, and with the aim of building dance communities. The All In production featured Indigenous-focused dance, Western-style contemporary dance, Spanish-Flamenco and an Indian-focused section. It culminated in a finale in which the audience rose from their seats and joined the dancers on the floor. Young and old, experienced and not so experienced, all were present moving together.
So, apart from the thrill of watching a beautifully performed, diverse selection of dance styles, All In showed us is that dance is for everyone and that it exists beyond what might be called a mainstage show.
Canberra’s National Portrait Gallery has often shown dance as an adjunct to exhibitions on show in the gallery. Essor (the translation from an Indigenous language is ‘Thank you’) was created in response to Some Lads, a series of portraits by renowned Australian photographer, Tracey Moffatt. It was a solo work created and danced by Indigenous performer Yolanda Lowatta who was then working with Australian Dance Party. Lowatta’s dancing was exceptionally fluid and also highly intricate. It also was stylistically diverse and represented, to my mind, the different movement styles of the artists in the photographs, who were Indigenous artists whose work Lowatta admired.
Essor was danced to a soundscape by Indigenous multi-artist Bindimu. It contained sounds of water; the playing of Indigenous instruments; sounds from nature, including bird calls; human voices; and a range of other audio items. Just as Lowatta’s choreography referenced different dance styles, Bindimu’s soundscape took us, potentially, from venue to venue where dance might have been seen.
The film Cranko was shown in Canberra as part of the 2025 German Film Festival. Directed and written by Joachim Lang, it followed the career of South African-born dancer and choreographer John Cranko who directed Stuttgart Ballet from 1961 until 1973. It was a completely engrossing ‘biopic’ showing the personality and activities of man whose life was devoted to dance. There was also some spectacular dancing from current members of Stuttgart Ballet, especially from Elisa Badenes.
I really enjoyed the way this film held one’s attention from beginning to end. The strength of its impact encouraged me to look further into the circumstances of Cranko’s death, which occurred on board a plane returning to Stuttgart after company engagements in the United States.
Natalie Weir’s 4seasons was shown as part of a Queensland Ballet triple bill called Lister/Weir/Horsman. In typical Weir fashion the pas de deux in the work were just magnificent. But the whole was brilliantly conceived and filled with surprises, especially in Weir’s use of the space of the stage.
Unungkati Yantatja: one with the other. Sydney Dance Company
It was a real thrill to see a new work from Stephen Page in which he demonstrated again his interest in working collaboratively. Unungkati Yantatja: one with the other formed part of a triple bill, Continuum, from Sydney Dance Company. Page’s work focused on ‘the universality of breath’ and featured live music, performed onstage with input from William Barton, great stage design from Jacob Nash, and magnificent costumes from Jennifer Irwin. A notable input from former Bangarra dancer Ryan Pearson was an added highlight.
Liz Lea , ever engaged in new projects, has been commissioned by the Sydney-based AMPA (Academy of Music and Performing Arts) to create a new work for the dance students of the Academy for their upcoming end of year show, Euphoria. Lea’s work is called Promenade and will premiere on 5 December 2025.
Dancers from AMPA rehearsing for Promenade. Still from a rehearsal video
Watch below for an insight into the work.
Creative Australia Awards
Two dance artists, choreographer and director Kate Champion and dancer-choreographer Rosalind Crisp, have been honoured at the 2025 Creative Australia Awards held in Brisbane in November. Kate Champion received the Theatre Award and Rosalind Crisp the Dance Award.
Kate Champion, currently artistic director of Black Swan State Theatre Company in Perth, Western Australia, was honoured for ‘three decades contributing to Australian Performance’. Those decades include the founding of the much admired contemporary dance-theatre company Force Majeure in 2002, which she directed until 2015. Her credits extend across a variety of theatrical genres in addition to dance including opera, film, theatre and circus.
Rosalind Crisp was the recipient of the Dance Award. She founded Omeo Dance Studio in Sydney in 1996 and was invited to Paris in 2002, where she became Associate Artist at Atelier de Paris (2004–2014). She was awarded a Chevalier de l’Ordre des Arts et Lettres by the French Ministry of Culture in 2015, and her work has toured nationally and internationally. She is currently commissioned by the Dresden Frankfurt Dance Company.
Brief videos focusing on the awards are available online: Kate Champion at this link, Rosalind Crisp here.
Honouring Ana Gallardo Lobaina
My colleagues in Wellington, New Zealand, have let me know that on 19 November, His Excellency Luis Ernesto Morejón Rodríguez, Ambassador of Cuba to New Zealand, Cook Islands and Niue, was welcomed into the Royal New Zealand Ballet studios to honour principal artist Ana Gallardo Lobaina. His Excellency presented Ana, born and trained in Cuba, with an artwork by Cuban visual artist Yosvany Martínez Pérez. It is, I understand, a tradition in Cuba to honour artists who have made a significant input into the company with which they work. In presenting the award the Ambassador said:
Today, we are delighted to see a dancer born and trained in Cuba take her place among the principal figures of the Royal New Zealand Ballet, bringing her talent, sensitivity, and energy to this company. The recognition we are presenting to Ana today is a testament to her tireless work, unwavering perseverance, and artistic excellence.
I have greatly admired the dancing of Ana Gallardo Lobaina, in particular in Loughlan Prior’s production of The Firebird (2021), and the award is well deserved. For posts that feature the work of Ana Gallardo Lobaina on this website see this tag.
A similar honour will shortly be bestowed on Dr Elizabeth Dalman, AM. Elizabeth will be awarded the insignia of Chevalier of the Order of Arts and Letters by the Ambassador of France to Australia, His Excellency M. Pierre-André Imbert on 2 December at the Embassy of France in Canberra.
The award was established in 1957 to recognise eminent artists who have contributed significantly to furthering the arts in France and throughout the world. More after 2 December.
Dance in Canberra in the twelve months from October 2024 and September 2025 was recognised with three awards by the Canberra Critics’ Circle. Awardees were Alison Plevey and Sara Black, Ausdance ACT, and Akira Byrne from QL2 Dance. The following citations give details:
For the exceptional production of a solo dance work, Essor (translation: Thank You) in response to photographic material by renowned photographer Tracey Moffatt on display at the National Portrait Gallery; and for their mentorship of dancer Yolanda Lowatta. ALISON PLEVEY and SARA BLACK
For providing young dancers with a professionally curated and technically sophisticated platform for dance and choreography as it celebrated its 40th Anniversary of the Youth Dance Festival at Canberra Theatre in November 2024 with the theme, What Do You Dream? AUSDANCE ACT
The graphic designed by Natsuko Yonezawa for the 2024 Youth Dance Festival
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For her powerful solo ‘A Destination Should Not Be Expected’ created and performed as part of the QL2 Dance Emerging Choreographers Program, inspired by her own battle with chronic pain and endometriosis. AKIRA BYRNE
