Lyndsey Winship

2 weeks ago | theguardian.com | Lyndsey Winship

Among the eclectic entries on Becky Namgauds’ CV are dancing for Harry Styles and Vivienne Westwood, and rolling around in mud in her outdoor festival piece Rodadoras. The Heat is something different again, a long way from Harry’s House – although the house bit is right, as it’s entirely set in one living room. But in this one a naked woman is crouched on all fours on the arm of the sofa, looking like things might go feral.

2 weeks ago | theguardian.com | Lyndsey Winship

Deckchairs fly, arms clash, bodies launch into the air as mods and rockers engage in a fierce Brighton seafront battle. But in this east London dance studio – with Zaha Hadid’s Olympic swimming pool visible through the window – young performers in sports socks, joggers and baggy T-shirts are reimagining the Who’s seminal document of the mid-60s Quadrophenia as ballet. Isn’t this 1973 album an unlikely subject for dance?

2 weeks ago | msn.com | Lyndsey Winship

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2 weeks ago | theguardian.com | Lyndsey Winship

‘You know, 528Hz is supposed to be the love frequency,” says artist Evan Ifekoya, striking a metal wah-wah pipe tuned to exactly that pitch, a fraction above the C, one octave higher than middle C. “It’s supposed to be able to transform the body on a cellular level. And, OK, how can you really prove that?” they smile.

2 weeks ago | theguardian.com | Lyndsey Winship

In brief, this double bill from Vancouver-based Ballet BC comprises one really great piece and one that starts promisingly but loses its way. Plus some incredible dancers. To the good stuff first: these dancers, the men especially, are so vividly alive in Canadian choreographer Crystal Pite’s Frontier, with quicksilver reflexes and fizzing energy, even though everything’s executed with total control. Soloists dressed in white dance Pite’s treacle moves as if you can see the gravity.