“The vast majority of contemporary dance groups operate within their own present moment, developing individual styles and audiences; thanks to the drive and spirit of Marie Rambert, this company has deeper roots; plus some of the world’s best dancers. It’s always surprising to me how many people recognise the Rambert name. If there’s a national brand in British contemporary dance, this is surely it.”

“Who are these dancers scraping by on their earnings? A new, short cinéma vérité documentary, We Live This, shines a light on the world of one crew, whose four young members perform on the J train. They are talented, hardworking, committed, and full of dreams, the film shows. But for some, the obstacles are high, and the alternatives slim.” (video)

“It occurred to me, watching Jones move, that, like all great attempts at artistic expression, his art manages to model compassion for the spectator — to make us feel what it’s like to be dealing with an intense feeling not our own, but one that becomes ours to deal with. When we add in the way in which Jones’s mind and body are changing, the dances themselves take on a new sort of vulnerability, a new riskiness far from the formalism of the ’70s.”

“In Sky Magic, from Japanese advertising company MicroAd, 20 drones with LED lights attached to them dance in a choreographed light show against the backdrop of Mount Fuji. Shamisen players serve as their orchestra.” (video)

“Adding to Rambert’s troubles was the prejudice, still strong among the British public, that ballet was a foreign art form: Russian with a dash of Italian and French. A homegrown ballet company could only be an amateur aberration.”