Sydney Dance Company’s 2026 season is poised to be a landmark year, blending bold new works, a celebration of legacy, and the energy of fresh talent. As Artistic Director Rafael Bonachela puts it, “2026 will be a truly momentous year for Sydney Dance Company, a milestone that will be unforgettable. It’s a year of reflection, celebration, reinvention… and empowerment.”
For new company member Caití Ellen Carpenter, the sense of transformation is palpable.
“Even though I’ve literally just got here, there is such a sense of newness and change in the company at the moment,” she says. “It is exciting to be part of something that feels like it really is at the start of remoulding itself.”
This spirit of renewal is echoed in the company’s programming. Season One, Engine, launches in June at the Sydney Opera House, uniting three extraordinary choreographers. Bonachela premieres The Journey Itself is Home, a collaboration with Grammy Award-winning composer Bryce Dessner, inspired by the poetry of Matsuo Bashō. “Working with Bryce always sparks something new in me, and I am thrilled for you to see our new project,” Bonachela shares.
Alongside Bonachela’s new work, Engine features the Australian premiere of The Mass Ornament by Berlin-based Spanish choreographer Fran Diaz, a hypnotic exploration of individuality and collectivity, set to music by Henryk Górecki. For company newcomer Ali Dib, excitement is mounting for Masked Ornament. “Fran is paving the way for contemporary – it’s kind of got this hip hop soul to it, and that’s a bit of me,” he explains. “I’m excited to bend my knees and wear sneakers!”
Completing the bill is the return of viral sensation Love Lock from Australian/Javanese choreographer Melanie Lane, a futuristic folk dance celebrating diversity, with costumes by Akira Isogawa and music by Clark. Love Lock is described by Carpenter as “so much fun… it’s physically a challenge, but you’re just having such a great time, the whole time.”
The company’s collaborative ethos is felt not only in its artistic direction but also in the studio. New company member Jai Fauchon describes the environment. “Everyone works together as a team,” he says. “Culturally, it’s a really supportive environment – you feel really held by the company.”
This supportive culture is vital as the company prepares for the demanding triple bill. The repertoire is both challenging and rewarding. Fauchon shares, “The main work I’ve been involved in so far is Love Lock, and Raf’s new piece Journey. Love Lock is very new to me in its movement style. I’ve already learned so much just diving into the piece. Journey sits on my body a bit better, movement that’s more familiar to me. I’m excited to get to the point where I can give Love Lock my all.”
As the company marks 40 years at Walsh Bay Arts Precinct, the energy in the building is palpable, and “really exciting to be part of,” notes Carpenter. The pace is fast, but the atmosphere is “friendly and chill…but still really productive.”
Season Two, Current, transforms the Neilson Studio into an intimate space, featuring new works by Australian choreographers Raghav Handa, Jenni Large, and Azzam Mohamed, alongside Bonachela’s seminal work E2 7SD. The season forms a compelling portrait of contemporary Australian dance – diverse in form, voice, and perspective, yet united by curiosity and originality. This line-up brings together four artists whose approaches to movement are as varied as their backgrounds. Handa draws inspiration from Indian kathak, weaving its intricate rhythms into explorations of what it means to be Australian today. Large is known for her bold, design-driven choreography, using the body as a site for personal and political transformation. Mohamed infuses his work with the energy of street, club, and traditional dance, reflecting both his Sudanese heritage and his life in Sydney. Rounding out the programme, Bonachela’s E2 7SD – a duet created over two decades ago but never before staged in Australia – offers a glimpse into the choreographer’s early fascination with the subtle dynamics between two performers. This theme is a creative foundation Bonachela consistently returns to, making the upcoming installation especially intriguing. Audiences can look forward to experiencing this work in its Australian debut, where Bonachela’s signature exploration of interpersonal movement will be brought to life. Together, these works promise a season that is both a celebration of difference and a testament to the shared spirit of innovation driving contemporary Australian dance.
Sydney Dance Company will tour nationally and internationally, sharing its distinctly Australian voice. The fifth edition of INDance and the new ORBIT initiative support independent artists, connecting exciting ideas with curious audiences.
As Bonachela says, “Every season, we push contemporary dance to its edge, and next year will be something else entirely. Our empowering program celebrates the courage to create, to innovate and to inspire.”
For the new dancers, the season is a chance to discover, contribute, and grow. Dib sums it up: “2026 feels like a year of pure creation and excitement. Sydney Dance Company is trailblazing, mixing bold new works with legacy, and I’m thrilled to be part of this creative buzz.”
Sydney Dance Company’s 2026 season promises not just performances, but experiences — intimate, bold, and unforgettable, shaped by legacy, innovation, and the vibrant voices of its artists.
For more information, visit www.sydneydancecompany.com.
By Linda Badger of Dance Informa.
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