An imprecise cloud of possibilites: Jamila Johnson-Small’s free-flowing choreography brings dance artists into a contemporary art context.
Renders the inevitable clichés ‘hollow and cartoonish’: Paul Hughes reviews The Araniello Show, on as part of NOW18.
Instinctive honesty and benevolence: Paul Hughes reviews the latest work from Igor & Moreno.
Grasping, sweaty choreographies of impulse: Paul Hughes reviews Meg Stuart’s work about bodies, bodies, bodies.
“A thrilling and urgent ritual”: Paul Hughes contemplates technology, mortality and the future while watching Colette Sadler’s bold contemporary dance.
“Does the work think we care? Does it care if we care?”: choreographer Joe Moran’s evening of minimalist dance performances and installations.
The delicate unpredictability of the plinth: Paul Hughes reviews Evangelia Kolyra’s performance in the Lace Market Gallery, as part of Nottdance 2017.
Moving in the public space: Paul Hughes reviews Sioned Huws’ work performed in Sneinton Market in Nottingham city centre.
What does it means to have a practice, to do a practice? Paul Hughes reviews Lucy Suggate’s work inspired by the words of Isadora Duncan.
Massaging the hypnotic organs: Paul Hughes reviews Matthias Sperling’s performance lecture at Nottdance 2017.
An all-female punk ceilidh: Paul Hughes reviews Brocade by Roberta Jean on the first night of Nottdance 2017.
Who is being looked at, and who is doing the looking: Paul Hughes reviews an installation work in the Prospect Room of Wollaton Hall as part of Nottdance 2017.