Grief, adoption and karaoke

wesa.fm: A new work by choreographer and performer Maree ReMalia uses movement and music — including karaoke — and words as well to express two distinct experiences of grief: one for her adoptive father, the other for the birth mother she never met.

How Will SAG-AFTRA's New Agreement Change the Game for Choreographers?

Dance Magazine: This July marked a watershed moment for the dance community: SAG-AFTRA began representing choreographers and assistant choreographers working in film, scripted television, and scripted streaming. The union’s coverage of choreographers is outlined in its four-year TV/Theatrical Agreement with the Alliance of Motion Picture and Television Producers (AMPTP), ratified on June 4. It includes negotiable rates, pension and health contributions, and the same protected working conditions as dancers, like rest periods and meal breaks.

Video Shows Movement Rehearsal for RESIDENT EVIL Monster

Nerdist: Whether you thought it was a good video game adaptation or a poor one, Zach Cregger’s Resident Evil swung for some fences. In addition to some good zombie stuff, the standout creature was an ever-growing mass of flesh and appendages. This thing, like a Koosh ball made of people, follows our hapless courier Bryan (Austin Abrams) through the entire movie. But, what is not perhaps immediately evident, like much of the rest of the movie, the film used real people to create the Merged Monster. And we know this because Jakub Hudlicky, the movement coordinator, posted rehearsal footage.

National Center For Choreography-Akron Awarded $500k Grant In Honor Of Christy Bolingbroke’s Leadership

BroadwayWorld: The National Center for Choreography-Akron (NCCAkron) has received a $500,000 grant from the Mellon Foundation in honor of Executive/Artistic Director Christy Bolingbroke's decade of visionary leadership. NCCAkron is currently celebrating its 10th anniversary as a connector, an incubator and research lab for artists, and a hyperagent for the national dance field.

'One Battle After Another' Stunt Coordinator Interview

www.indiewire.com: When stunt coordinator Brian Machleit signed on to Paul Thomas Anderson‘s “One Battle After Another,” the writer-director gave him one clear mandate. “Paul wanted to keep everything grounded in reality and to have the actors do as much action as possible themselves,” Machleit told IndieWire.

Meet Robbie Blue, the Commercial Choreographer Creating Trends

Dance Magazine: Robbie Blue’s choreography career didn’t need a warm-up. His first professional gig—creating Doechii’s Fosse/hip-hop mashup performance for the 2025 Grammy Awards—earned him both a legion of fans and an Emmy nomination. Later that month, Tate McRae released her “Revolving door” music video, featuring his viral choreography.

Choreographing Attention in Spatial-Relational Practices

HowlRound Theatre Commons: Imagine yourself in these situations: walking backwards through city streets following a white line; floating on your back just above forest ground, watching treetops pass overhead; establishing intimate relationships with walls and architectural landmarks; repetitively crossing paths with strangers while carrying loudspeakers; finding yourself caught in a public square among strangely walking figures as mysterious sounds move around you. These are simplified glimpses of spatially focused transdisciplinary performances that center audience experience.

How Choreography Can Help Robots Come Alive

WIRED: Consider this scene from the 2014 film, Ex Machina: A young nerd, Caleb, is in a dim room with a scantily clad femmebot, Kyoko. Nathan, a brilliant roboticist, drunkenly stumbles in and brusquely tells Caleb to dance with the Kyoko-bot. To kick things off, Nathan presses a wall-mounted panel and the room lights shift suddenly to an ominous red, while Oliver Cheatham’s disco classic “Get Down Saturday Night” starts to play. Kyoko—who seems to have done this before—wordlessly begins to dance, and Nathan joins his robotic creation in an intricately choreographed bit of pelvic thrusting. The scene suggests that Nathan imbued his robot creation with disco functionality, but how did he choreograph the dance on Kyoko, and why?

At the Tip of the Point of a Sword

www.intermissionmagazine.ca: We sat down with Rapier Wit founder Daniel Levinson and fight instructor Casey Hudecki to learn the secrets, skills, and thrills of the art of stage combat. One of Canada’s leading fight choreographers and stage combat instructors, Daniel has produced, directed, and taught across Canada, working with the Stratford Festival, Theatre Passe Muraille, Tarragon Theatre, Canadian Stage, Shakespeare in the Rough, and Second City.

Catie Cuan on Why Robots Need Choreographers

Dance Magazine: Robots often get a bad rap. "There's an impression that they're much more capable than they really are," says Catie Cuan. Whether it's a fear that "robots are coming for my job" or "robots are coming to kill me," Cuan believes those ideas are largely driven by how robots are portrayed in fiction and storytelling.

SDC & SDCF Announce 'On the Edge: The Lives and Livelihoods of Stage Directors and Choreographers…A Next Stage Report'

www.broadwayworld.com: Stage Directors and Choreographers Society and Stage Directors and Choreographers Foundation have announced the release of On the Edge: The Lives and Livelihoods of Stage Directors and Choreographers...A Next Stage Report.

The report, which captures the state of the field in fall 2019 and amid the COVID-19 crisis of 2020 with quantitative and qualitative data, is a two-year, three-phase research study.