Top Posts

Crystal Pite empowers dancers to be co-creators

Aurélie Dupont: ‘Contemporary dance is not in...

William Forsythe won the heart of popular...

Crowd by Gisèle Vienne the party is not...

Contemporary Dance Singapore

Dancing on Zoom with Purⓔ《纯ⓔ》: An Experimental Virtual Performance

Teo Dawn

Project UpSideRight review -Dancing from Ground Up

Teo Dawn

PheNoumenon by T.H.E Dance Company: A Review

Teo Dawn

Gaga workshop with Shahar Binyamini Singapore 24-28 Feb

Ezekiel Oliveira

Inter_rupted by Aditi Mangaldas Dance Company — Review

Teo Dawn

The Lost Wax Project review: Preethi Athreya’s universe

Teo Dawn

MILIEU 2019 review: Skinny Dipping / Nowhere But 2.5 Meters

Teo Dawn

Pas De Deux review – A Meditation, A Slow Burn

Valerie Lim

Choreographer's spotlight

Reut Shemesh ‘my country is a rather special place’ interview

Ezekiel Oliveira

Aditi Mangaldas interview ‘Do I love dance or do I love Kathak?’

Ezekiel Oliveira

Hofesh Shechter: ‘My work comes from the gut, from the heart’

Ezekiel Oliveira

Pichet Klunchun ‘I’m jealous of Cunningham and Graham’ – interview

Bernice Lee

Gisèle Vienne: Art can be absolutely fascinating to trigger our emotions

Ezekiel Oliveira

Rianto – catapulted to the world stage

Ezekiel Oliveira

Sol León and Paul Lightfoot -‘it’s vital to have freedom’

Ezekiel Oliveira

‘If you don’t love India, I don’t think you can love Indian classical dance’ – Amrita Lahiri

Ezekiel Oliveira

Critical thinking

Aurélie Dupont: ‘Contemporary dance is not in opposition to classical ballet’ 

Ezekiel Oliveira

Aaron Watkin – Dresden Semperoper Ballett

Ezekiel Oliveira

Q&A (the 36 questions) with Rachel Erdos – interview

Ezekiel Oliveira

Lisbeth Gruwez – interview

Bernice Lee

Echoes of an Epic: A Brief History of the Mahabharata

Bernice Lee

T.H.E Dance Company: Ten Years in Review

Stephanie Burridge

Ching-Ying Chien – Until the Lions

Ezekiel Oliveira

New York City Ballet to L.A. Dance Project – Janie Taylor

Ezekiel Oliveira

classical indian dance

Marabu – The First Ripple: ‘a unique story’, review

Ke Xin Neo

Inter_rupted by Aditi Mangaldas Dance Company — Review

Teo Dawn

Aditi Mangaldas interview ‘Do I love dance or do I love Kathak?’

Ezekiel Oliveira

Ula, a wonderful evening of dance – review

Ezekiel Oliveira

Ula will transport you back in time.

Ezekiel Oliveira

Pallavi with Stillness seductive and intriguing – review

Ezekiel Oliveira

Nritya Tarang – Spirit of Kuchipudi Dance – review

Ezekiel Oliveira

‘If you don’t love India, I don’t think you can love Indian classical dance’ – Amrita Lahiri

Ezekiel Oliveira

ballet

Acosta Danza review: a stunning rite of passage

Stephanie Burridge

Marion Barbeau – Premier danseur Q&A

Ezekiel Oliveira

Crystal Pite empowers dancers to be co-creators

Bernice Lee

Jerome Robbins – a creative giant of his times

Bernice Lee

Paris Opera Ballet: nuances of the French ballet tradition

Bernice Lee

Contemporary Ballet: old steps, new journeys

Chan Sze Wei

Impressing the Czar is a seminal piece of dance – review

Bernice Lee

William Forsythe won the heart of popular imagination

Bernice Lee

Theatre

Phantom of the Opera, a classic yet current Lloyd Webber musical – review

Joseph McWilliams

Yesterday it rained salt – review

Ezekiel Oliveira

Kinky Boots an uplifting camp extravaganza – review

Ezekiel Oliveira

The Lion King, a sense of heart-warming nostalgia like no other – review

Joseph McWilliams

“Forked”: Jeanette doesn’t do Asian

Ezekiel Oliveira

“Attempts: Singapore”: Curtains Don’t Match the Drapes

Ezekiel Oliveira

“The Neighbor’s Grief is Greener”: A Dark Domesticity

Ezekiel Oliveira

Skin Tight, I left the Theatre unsure of myself – Review

Bernice Lee