Selected Writing

The Financial Times

• Review: Oona Doherty’s ‘Specky Clark’ is a surreal, darkly comic journey

• Venice Dance Biennale puts AI and humanity at its heart

The Times Literary Supplement

• Review: Trisha Brown Dance Company in ‘Glacial Decoy/In The Fall/Working Title’, Berliner Festspiele, Berlin

• Review: ‘Kontakthof - Echoes of '78’, Opernhaus Wuppertal, Wuppertal

• Review: The Royal Ballet in Wayne McGregor’s ‘MADDADDAM’, The Royal Opera House, London

• Review: Rambert’s ‘Death Trap’, Sadler’s Wells, London

• Review: English National Ballet’s ‘Our Voices’, Sadler’s Wells, London

• Review: Alvin Ailey American Dance Theater’s ‘21st Century Creations’, Sadler’s Wells, London

• Review: Dada Masilo’s ‘The Sacrifice’ at Sadler’s Wells, London

Frieze

• Alex Baczyński-Jenkins Contends With Berlin’s Past and Present

• Will Quantum Computing Change Art?

• Marianna Simnett’s Football Film Misses It's Goal

• Noa Eshkol’s Orchestra of the Body

• Simone Forti Just Wants to Move People

• Oona Doherty’s Squid Game Swan Lake

• Zeynep Kayan’s Postmodern Dance

• Ballet Black: Then and Now

Art Basel

• Why art’s obsession with dance endures

• Alexandra Pirici’s choreographic landscape takes over the Hamburger Bahnhof

Kinfolk

• Angela Trimbur: An all-out tour de force

• Ryan Heffington: Meet the man bringing choreography, community and queer joy to the desert

Art Review

• Review: Gisèle Vienne’s ‘This Causes Consciousness to Fracture – A Puppet Play’ at Haus am Waldsee, Berlin

• Review: Meredith Monk retrospective ‘Calling’ at Haus der Kunst, Munich

• Review: Marianna Simnett’s ‘GORGON’ at HAU, Berlin

• Review: (LA)HORDE at Julia Stoschek Collection, Berlin

• Review: Alexis Blake’s ‘Crack, Nerve, Boogie, Swerve’ at KW Institut, Berlin

• Review: Leila Hekmat’s ‘Female Remedy’ at Haus am Waldsee, Berlin

• Review: Jerome Bel/Kat Valastur in ‘Choreographing Politics’ at The Bode Museum

• Review: Trisha Brown/Rambert’s ‘Set and Reset’ at Tate Modern

• Review: Peeping Tom’s ‘La Visita’ at Collezione Maramotti

• Review: Sharon Eyal and Gai Behar’s ‘Soul Chain’ at Kraftwerk Berlin

• Michele Rizzo: The Healing Power of Rave

Artsy

• 11 Must-See Museum Exhibitions in 2025

The Royal Opera House

• Ballet for Everyone, part of the programme for the Festival of New Choreography 2024

• Celebrating Monday Moves, The Royal Opera House's class for visually impaired adults

The Brooklyn Rail

• “I have the desire to fight”: María La Ribot on the Biennale Danza and beyond

• Thinking with the Body: Dance and Performance at the 13th Gwangju Biennale

Dance Magazine

• The UK Gets Its Own National Dance Day (Interview with Angela Rippon)

• 8 Not-to-Be-Missed Performances Happening This October 2024 (contributed section on Birmingham Royal Ballet’s Luna)

• Season Preview: 28 Must-See Shows in 2024–25 (contributed a section on Mthuthuzeli November’s Fools for Northern Ballet)

• Aakash Odedra on Cross-Cultural Collaborations and Entering Other Choreographers’ Worlds

• Meet Usha Jey, the Rising Multi-Hyphenate Fusing Bharatanatyam and Hip Hop

• Jules Cunningham on Collaborating With Spice Girl Mel C on a New Concert Dance Work

• Benoit Swan Pouffer on Making a “Peaky Blinders” Ballet at Rambert

• Meet Stina Quagebeur, English National Ballet’s Rising Choreographer

• 2022-23 Season Preview: 13 Shows We Can’t Wait to See (contributed a section of Crystal Pite’s Flight Pattern)

• 5 Performance Picks to Close Out Summer 2022 (contributed a section on Oona Doherty’s Navy Blue premiere at Kampnagel, Hamburg)

• French Jewelry Maison Van Cleef & Arpels Cements Its Commitment to Contemporary Dance With a Brand-New Festival

• Introducing Our 2022 “25 to Watch” (contributed sections on Imre & Marne van Opstal and Mthuthuzeli November)

• Celebrating Dance Magazine Award Honoree Tamara Rojo

• 2021-22 Season Preview: The Shows We Can’t Wait to See (contributed a section on Akram’s Khan’s The Jungle Book reimagined)

• This Free Online Festival Showcases the Crème de la Crème of the U.K. Dance Scene

• This New Feature Film Retells A Christmas Carol With Contemporary Dance

• What It’s Like to Join a New Company During a Global Pandemic

• This Breathtaking Film Captures 38 African Dancers Performing Pina Bausch's Rite of Spring

The Stage

• Michael Clark retrospective: 'Clark has always pushed boundaries – he really is an icon of British art'

• Review: Sadler’s Wells Young Associates 2022, To Start With

• Review: Aakash Odedra’s Samsara

• Review: Nora Chipaumire’s ShebeenDUB

• Review: BalletBoyz’s Rumpelstilzchen

• Review: Dance Umbrella Digital

• Review: Rambert Autumn Livestream, Note to Self

• Review: Rambert’s Summer Livestream, Eye Candy/Rouge

• Review: Scottish Dance Theatre’s The Life and Times

• Review: Rhiannon Faith’s DROWNTOWN

• Review: Scottish Ballet’s Dive and Odyssey

• Review: Rambert’s Rooms

• Review: Sadler’s Wells and BBC Arts’ Dancing Nation

• Review: Scottish Ballet’s The Secret Theatre

• Review: Northern Rascals, Northern Broadsides, and The Piece Hall’s The Aftermath

Pointe Magazine

• International Dancers Honor Michaela Mabinty DePrince’s Memory With a Charity Gala

• How Stuttgart Ballet’s Mackenzie Brown Found an Artistic Home Abroad

• Christopher Wheeldon Aims to Normalize Queer Storytelling in His Oscar Wilde–Inspired Ballet

• Christian Spuck Reflects on His First Year Directing Staatsballett Berlin

• Cathy Marston Presents the World Premiere of ‘Atonement’ at Ballet Zurich

• Bayerisches Staatsballett’s Shale Wagman on Resilience Through Injury and the Pursuit of Excellence

• Semperoper Dresden Dancer Rebecca Haw on Founding a Classical Ballet Agency

• A Budding Designer’s Dream Come True: Creating a Custom Tutu for Yasmine Naghdi

Fjord Review

• Review: Staatsballet Berlin in Edward Clug’s ‘A Midsummer Night’s Dream’, Deutsche Oper

• Review: Birmingham Royal Ballet’s ‘Luna’, Birmingham Hippodrome

• Review: Faye Driscoll’s Thank You For Coming: Space at Sophiensaele as part of Tanz im August festival 2022

• Review: Trajal Harrell'/Schauspielhaus Zurich Dance Ensemble’s The Köln Concert at HAU1 as part of Tanz im August Festival 2022

• Review: Mette Ingvarsten’s Dancing Mania at Sophiensaele as part of Tanz im August festival 2022

• Review: Rambert’s Spring 2022 Programme at Sadler’s Wells (Imre and Marne van Opstal, Ben Duke, and Alonzo King)

Flash Art 

• Hallucinating History: Eszter Salamon on Her New Triptych of Films Inspired by the Life and Oeuvre of Weimar Dance Pioneer Valeska Gert 

• “Will we lose the memory of what it meant to go to the theatre?” Reflections on Spring Forward 2020 #TheShowMustGoOnline 

• Soldiering On: Touring in the time of coronavirus with Birmingham-based choreographer Rosie Kay

• Is Iris van Herpen the Oskar Schlemmer of the 21st Century?

• Reviving Pina Bausch’s Bluebeard: A Choreographic Analysis of Interhuman Relationships

• Reimagining Weimar Dance: An Interview with Alison Curtis-Jones

Springback Magazine

• Exploring the Tanz im August archipelego 2024

• Eyes on Tanz im August 2023

• Home and Away at the Venice Dance Biennale 2023

• An angle on Czech Dance Platform 2023

• Podcast: Two views on Czech Dance Platform 2022, Emily May in discussion with Sanjoy Roy

• Awakening connections between dance, art, industrialism and personal history in Cecilia Bengolea’s La Danse des Éléments

• Embodied literature: an interview with Ben Duke

• The memeing of dance: The rise of dance meme Instagram @somatic_based_content_only

• Screening Times: The impact of Covid 19 on the art of screendance

• Dance + Giri/Haji: The BBC/Netflix crime drama turning to contemporary dance for inspiration

• Unknown Waters: Berlin’s Tanz im August after Covid

• The rise of the online dance class in lockdown

• The Continuous Network: capillary action of dance into galleries

• Already there? An interview with Ginevra Panzetti and Enrico Ticconi

• Review: Isabelle Schad, Pieces and Elements & FUR

• Review: Faye Driscoll, Guided Choreography for the Living and the Dead at Tanz im August 2020

• Review: KDV Dance Ensemble, Las Casas Invisibles

• Review: Gunilla Heilborn, The Wonderful and The Ordinary

• "There is no such thing as a new idea": A reflection on Springforward Festival 2019, Paris

CN D Centre national de la danse Magazine

• Two “Neighbours,” Brought Together by Forsythe: Brigel Gjoka and Rauf Yasit 

Collectors Agenda

• In the Studio: Yingmei Duan

• In the Studio: Simon Denny

• In the Studio: Monira Al Qadiri, Berlin

• In the Studio: Johannes Holt Iversen, Copenhagen/Amsterdam

• In the Studio: Neil Beloufa, Montreuil

• In the Studio: Laëtitia Badaut Haussmann, Paris

• In the Studio: Hendrik Kerstens, Amsterdam

Duve Gallery, Berlin

• Exhibition text: Jessica Westhafer

Sleek

• Translating the magic of Merce Cunningham’s avant garde choreography into 3D film

• The dance show exploring how the ’90s UK rave scene was a political act of rebellion

• Medusa’s makeover for the #MeToo moment

• Meet the American choreographer fusing voguing with post-modern dance and Japanese Butoh

• The modern dance master using clay to transform choreography into live art

• Meet the Chinese artist redefining power dynamics in heterosexual relationships

Vogue Germany

• Placing crochet in a contemporary context with French fashion designer Odély Teboul (Translated into German by Silvia Silko)

Friends of Friends

• Expressing rage through angles and pie charts with Berlin-based artist Christine Sun Kim

• Finding female role models in the male dominated art industry with Diandra Donecker

• Generating “art electricity”, Pablo Wendel fights for sustainable systems in the art world and beyond

• For Artnet Vice President Sophie Neuendorf, art has always been a family affair

• Various Others is the Munich-based contemporary art initiative championing collaboration over competition

• Could choreography and club culture revive the Berlin fashion scene?

• Don Aretino explores his queer Islamic identity through his avant-garde fashion collections

• A sculptural dialogue between seduction and technology with Parisian artist Camille Blatrix

• For artists Honey Long and Prue Stent, photographing nude female bodies is not a political statement

• Macedonia’s turbulent transition from Socialism to democracy has influenced Skopje’s rising techno scene - and it’s thriving

• 4 Hamburgers in a Boat (Produced in collaboration with 25hours for Companion Magazine)