Dance From The Dance Festival 2026

Image uncredited

Dance is often defined in terms of choreography. Speaking of form, shape, movement, even of body, discussion frequently refers to specific choreographers. Devised and collaborative works often described as collaborations with a choreographer. So you could reasonably assume we understand what a choreographer is and does. Balanchine, Graham, Cunningham, Bausch. Roche, Scott, Jessica and Megan Kennedy, Connaughton. Yet what about the dance theatre director? TikTok artists instagramming their the latest, home made, hip hop shuffle? Multidisciplinary or performance artists, with no formal background, incorporating dance into their work? Dancer From the Dance Festival of Irish Choreography 2026 is not going to answer these questions. Rather, it promotes discussion around choreography as it plays with, pushes and pulverises boundaries in the 21st-century.

The brain child of John Scott and Irish Modern Dance Theatre, Scott is clinically certifiable. He has to be to organise this punishing, three day event of panel discussions, workshops, showcases and film shorts. In which the choreographer as performer, former performer, never before performed, production manager or self important dance auteur all make an appearance. Scott prepared to beg, borrow or badger to facilitate choreographic awareness and discussions, especially for Irish or Irish associated choreographers. Like DFTD’s New Movement Platform. A series of choreographic polaroids of works, work in development, works showing promise, and works not ready for the public just yet.

Like Kelly Kessing’s Speak To Me. Presented as a video followed by direct address, Kessing’s developing new piece of dance theatre hinted of intrigue, but felt more like a professional pitch for funding. In contrast with the vibrant immediacy of Brian Francis Devaney in BOG Ballet, an interdisciplinary dance work by Dylan McGloin and Devaney. In which one man and his animated shovel carry on a pas de deux, echoing Ronan Dempsey's superb mop in the excellent The Words Are There. A vibrantly dishevelled dance sequence that would not look out of place in Teác Damsa’s 1975; a marriage of Irish trad and intriguing movement that looks irresistible.

Equally irresistible, but a striking contrast, was Subhashini Goda’s extraordinarily beautiful Mallari. A form of traditional Bharatanatyam dance, Goda’s temple dance embraces more recent choreography, in which ballet is both an influence, and influenced by. Moving from the centre, feet rooted or slapping, hands, face and eyes expressive with kata-like formality and tai chi elegance, Goda’s powerful simplicity results in a gorgeously executed, technically beautiful sequence of effortless effort.

Which only compounded the shortcomings of Tadhg Quigley Brown’s Grief Waving. The contrast suggesting the young choreographer setting about finding his voice is not yet ready for a public audience. Cosmophobia, another work in progress by Alessandra Azeviche, talked big in terms of ecological and ancestral art speak, but delivers in its visceral immediacy. With gracious movements of a preying raptor, or some shuddering, wingless bird, Azeviche prowls and commands the space in a transcendent conversation with Omar Sosa and Tigána Santana’s Black Frequencies. It's not all there yet, but you can't wait for it to be. The evening rounding out with La Feeney's The Animated Identity. A two part, dance performance channelling old school breakdance basics like body popping and robotics in a pop video styled narrative. Feeney sure to suffer comparison in a hugely competitive arena dominated by gifted artists like the irrepressible Jesse Thompson. Yet like Matthew Williamson, Feeney has something going on which honours tradition but is looking to go elsewhere. Again, he's not there yet, but it’s interesting to think where he might go

Presented at Dance House, the informal, rehearsal, workshop vibe allowed for easy engagement in conversations afterwards. And that’s the point off DFTD; to get people talking. If dance, too often, is pushed out of the limelight, Scott is determined to push it into the future by showcasing some of Ireland’s bravest and brilliant choreographers. In its final flourish, DFTD ends with its third Gathering at Project Arts Centre at 8.00 p.m tonight featuring some seriously exciting choreographers. Unless you have an a prior commitment you simply cannot get out of, you really need to be there.

Dancer From the Dance Festival of Irish Choreography 2026, presented by Irish Modern Dance Theatre, runs until July 8.

For more information visit Dancer From the Dance 2026