Find out what’s happening in New Zealand dance news!
At the start of 2025, the New Zealand School of Dance (NZSD) is proud to see alumni taking up the following professional engagements – Hilary An-Roddie, Olivia Platt, Angus O’Connell and Joshua Douglas all join the Royal New Zealand Ballet; Miguel Herrera joins Singapore Ballet; Aleeya McFadyen-Rew joins Dancenorth Australia; Anya Down, Caterina Moreno and Eden Kew join The New Zealand Dance Company; and Mali Comleki joins Sydney Dance Company.
NZSD alumnus Loughlan Prior is making a new work for West Australian Ballet.
Also, this year, NZSD looks forward to celebrating its 58th anniversary.
Dancenorth Australia will mark its 40th anniversary by fortifying its commitment to the future of Australia and New Zealand’s dance ecology: doubling its annual Secondment Program for emerging dance artists and continuing to throw its doors open to independent practitioners through its Artist Residency in the Tropics (A.R.T.) Program.
Artistic Director and Co-CEO Kyle Page said the increased opportunities for emerging and independent dance artists are lighting the way for the future custodians of Australian dance. “As we celebrate a milestone birthday, we do so deeply aware that Dancenorth’s legacy stretches far beyond any single moment or individual,” he said. “The company existed long before our current team and it will continue to evolve long after each of us has played our part. We are conscious of the echoes of those who paved the way, mindful of our own impermanence at the helm, and committed to easing the path for those who will come next. Our range of artistic development opportunities provide individuals with the invaluable gift of time, space and creative exchange – essential ingredients for innovation. These programs not only foster the growth of artists but also strengthen the broader dance ecology, ensuring a vibrant and resilient national sector for generations to come.”
In 2025, Dancenorth’s A.R.T program will provide five independent artists with respite from their usual surroundings, enabling reflection, research, development and new experiences from which to draw creative inspiration. Artists are provided a bursary, connectivity to the company and basic technical support, with residencies running for two to three weeks. For emerging dance artists, the Secondment Program is an immersive opportunity that includes skills training, creative workshops and an interrogation of Dancenorth’s repertoire.
Dancenorth Associate Artistic Director Amber Haines said demand for the Secondment Program has rapidly grown in recent years, attracting almost 150 applicants in 2024. “This year, we’ve expanded our Secondment Week to welcome over 50 young artists for two week-long immersions in the studio — offered as a free gift to the independent dance community,” said Haines. “The enrichment and energy exchange our Secondments bring to the building flows both ways, and we are incredibly excited to open our doors to a larger number of young and emerging dance artists this year.”
Applications for Dancenorth’s A.R.T Program are open through 16 February, and applications for the Secondment Week Program will be open 17 February to 9 March. For more information and to apply, visit dancenorth.com.au/for-artists. NZ dance artists are invited to apply.
At Royal New Zealand Ballet (RNZB)’s headquarters in the capital city of Wellington, the year has started with an air of excitement as Artistic Director Ty King-Wall brings his first full annual programme to life. Collaboration is key to his vision and the arrival of Scottish Ballet in March – the first time in 50 years – has dancers, choreographers and fans thrilled. For three performances only, the two companies will perform alongside each other. Scottish Ballet will present two recent works which are unique to its company and its country. Dextera (2019) by Sophie Laplane was commissioned to mark Scottish Ballet’s 50th anniversary. It is a tour de force of creative ideas, set to the music of Mozart, and an ode to creators and their hands, paying tribute to an artistic vision that often involves hard physical graft. Schachmatt (Checkmate!), by internationally acclaimed choreographer Cayetano Soto, had audiences on their feet at its premiere in 2017. This quirky, energetic, 20-minute ballet is inspired by the words of Joan Rivers, the films of Pedro Almodovar and the choreography of Bob Fosse, and sees dancers perform with precision and razor-sharp wit across a giant chessboard.
RNZB’s contributions includes RNZB alumna Annaliese Macdonald’s Limerence, a work for four dancers to music by Schubert. Limerence was originally created for the RNZB’s Ballet Bites digital season in 2022, and has now been re-worked for live performances. The programme also includes the revival of Shaun James Kelly’s Prismatic, originally commissioned to mark the RNZB’s 70th birthday in 2023, and inspired by Russell Kerr and Poul Gnatt’s landmark Prismatic Variations (1960). Kelly, who in 2024 celebrated a decade of performing and choreographing with the RNZB, was born in Scotland and is proud to share his work alongside his compatriots for the first time.
After performing in Wellington, Scottish Ballet will head north to the Auckland Arts Festival to perform A Street Car Named Desire. March also sees dancers from RNZB touring the country as part of the annual Tutus on Tour, which gives dance lovers who don’t live in the big cities the opportunity to experience the stars of the national ballet company up close. The tour includes two stunning pas de deux: the elegant and sophisticated Grand Pas Classique, and the charming Wedding pas de deux from Act III of Coppélia. Each performance will also include Annaliese Macdonald’s Limerence and The Way Alone, a neoclassical work by Australian choreographer Stephen Baynes to music by Tchaikovsky, created for Hong Kong Ballet in 2006, and now seen in New Zealand for the first time.
“Tutus on Tour represents Royal New Zealand Ballet’s continued commitment, as we have done throughout our 72-year history, to bring ballet to the people of New Zealand,” says King-Wall. “It is a wonderful opportunity for us as a company to connect with our regional audiences, and to experience firsthand the awe-inspiring landscapes of this country.” Learn more at rnzb.org.nz.
The World Dance Crew Championship (WDCC), taking place from 13 – 19 April, is a brand new international major event, owned by Aotearoa. At WDCC, the best dance crews from around the world will compete, including artists from Asia, North America, South America, Europe, Australia and New Zealand. New Zealand top crews ID CO and the Royal Family will be competing. Visit worlddancecrewchampionship.com for more details.
In addition, The College Dance Crew Championship, to be held on 18 April, will give New Zealand students a chance to earn NCEA Level 1, 2 and 3 credits, while competing on a world-class stage and receiving feedback from top international judges. To learn more, head to www.collegedancecrewchampionship.com.
Footnote New Zealand Dance is premiering its brand new, high powered dance work, MODERN GOD, this February, embarking on a national tour across Aotearoa. Straddling the realms of contemporary dance and physical theatre, MODERN GOD by Jeremy Beck delves into the intricate web of global internet culture and the evolving complexity of the online world. It’s a unique opportunity to dissect our interactions with the internet, from its absurdity and speed to its utility and potential dangers. Join six social media influencers as stunts are attempted, records are broken, memes are made, content is consumed, advertising is sold, lives are ruined, and heroes are formed. Footnote will present MODERN GOD in Wellington (13 – 15 February), Auckland (20 – 22 February), Hamilton (28 February – 1 March), Christchurch (7 – 8 March) and Oamaru (14 – 15 March). For tickets, visit www.footnote.org.nz/events/modern-god-national-tour.
By Laura Di Orio of Dance Informa.
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