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Dancehouse stands on what always was and always will be Aboriginal land. We pay our respects to the traditional owners of this land, the Wurundjeri peoples of the Kulin Nation, to their Elders past and present, and acknowledge that sovereignty was never ceded.

SEASONS

Performance Review X Dancehouse

1/1

Across 2024, Performance Review and Dancehouse are co-commissioning and publishing critical responses to the Dancehouse program, for the purpose of celebrating and critically engaging with new works of contemporary dance.

Dancehouse and Performance Review are thrilled to present the first three of these offerings, which feature extending reflections on this year’s Season 1 program.


Dream Cellscapes and Alter Edith

by Anador Walsh

“I cannot emphasise enough the importance of writing about dance. Amongst the many causes of the crisis presently facing dance in this city (which includes economic recession and risk aversion), dance’s ephemerality seems to me to be hindering its support. There seems to be some kind of psychological block—vis-à-vis how can you support what you cannot see and what does not endure—dissuading funding bodies from offering this medium the support it so desperately needs. It is my and Dancehouse’s hope, that through these writing commissions, we can provide this ephemeral and crucial medium with critical coverage and a mode of enduring documentation, whilst at the same time building dance literacy in a new generation of arts writers.”

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On echoes, good dancing and earworms

by Isabella Hone-Saunders

“Though disparate works, with different aims, a commonality between Flesh Vessel and Echo is their relationship to anonymity (Thomas considered this a humorous tie between the works too). At times both look to simultaneously focus on the body and to disembody, to distort the relationality of the owner of the performing body and its viewer. They, the dancers, each work to obscure their bodies, or their identities, while focusing on one part of their body, or one particular intricacy of one movement.”

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Pass the Buck and Perhaps…who knows

by Claire Summers

“fuck me this is the sickest thing I’ve ever seen,”

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