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Dance Is Not for Us review – desire and defiance as one revolutionary mover sweats it all out

18 October 2026 at 13:45

Barbican, London
Omar Rajeh performs out of frustration, resistance and a need to connect in this stream-of-consciousness solo at Dance Umbrella festival

In August 2019, Omar Rajeh sat in his bedroom, listening to the sound of pounding percussion with his world in crisis. In the midst of political instability, Citerne Beirut, a theatre and cultural centre Rajeh had founded in his native Lebanon, was forced to close, dismantled by order of the local government, who planned to build an incinerator on the site.

Rajeh tells us that as a teenager, coming of age at the end of the Lebanese civil war, dance had always seemed like the most revolutionary thing he could do. Now here he is, more than three decades later, still dancing – out of frustration, defiance, resistance and a desire to connect. As the percussive score gains momentum, Rajeh’s busy body builds up a sweat. In this danced stream of consciousness, Rajeh is not always an especially elegant mover, but he dances like it’s a necessary thing to do.

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© Photograph: Tristram Kenton/The Guardian

© Photograph: Tristram Kenton/The Guardian

© Photograph: Tristram Kenton/The Guardian

From a VR gay sauna to the gothic pile that inspired Cluedo – Fierce festival storms back

15 October 2026 at 11:54

Venues across Birmingham
As Britain’s longest-running live art festival returns, get ready for late-night artist dinners, a show in a swimming pool and Faye Driscoll’s incredible rotating disintegration

The phrase “two things can be true” is a frequent refrain in popular psychology and it’s also a frequent response, I find, to witnessing the farther reaches of live art. Hmm, is this performance confusingly self-indulgent or utterly profound? Sometimes it can be both. In fact, it’s not just two things that can be true, it’s as many things as there are people in the audience, since this is all about the live subjective experience, in the moment; presence and connection.

Launched in 1998, Fierce is Britain’s longest-running live art festival. For one week it takes over Birmingham’s conventional theatres alongside unconventional spaces, especially in ex-industrial Digbeth, which is fast becoming a creative hub. Also on the bill this year: late-night artist dinners, a show in a swimming pool, and a six-hour performance jam at a grand gothic hall that was apparently the inspiration for Cluedo.

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© Photograph: Kevin Monko

© Photograph: Kevin Monko

© Photograph: Kevin Monko

Finding the groove: what’s the best genre of music to dance to?

15 October 2026 at 03:00

What is it about music that makes even non-professionals want to hit the dancefloor, and is it disco, funk or even classical that does it best? Four leading choreographers discuss their theories, with the science to back them up

‘I don’t know what it is about house music that makes me move, but I just can’t help it,” says Faye Stoeser. “And I don’t care what I look like. I just go for it.” “If a Missy [Elliott] track comes on, that’s me, I’m in the zone,” says Dannielle “Rhimes” Lecointe. “With hip-hop it’s something deep within the gut that makes you want to move. It has so many rhythms to it – a heartbeat, a pulse, a ricochet – that you feel in so many different places of your body.”

What is the best music to dance to? Is it house music, it is hip-hop, is it disco or funk? Stoeser and Lecointe should have some insight since, as performers and choreographers, dancing is what they do for a living. When it comes to popular floorfillers, the DJ Intelligence platform found the most-requested track from UK DJs last year was Whitney Houston’s I Wanna Dance With Somebody (with Abba’s Dancing Queen second, and Mr Brightside by the Killers third). In the US, Billboard’s top wedding song is Uptown Funk by Mark Ronson featuring Bruno Mars. A 2013 Mixmag poll named Daft Punk’s One More Time as the ultimate dance track, whereas Radio 2 listeners in 2008 voted for Michael Jackson’s Billie Jean.

But what about those for whom dancing is more than recreation? When it comes to dance on stage, there is plenty that isn’t driven by music at all. Back in the 1940s, the US choreographer Merce Cunningham began to disconnect dance and music in his collaborations with the composer John Cage, rehearsing the dancers in silence. Some choreographers use music to create dance in the studio that is totally different from what they’ll perform to on stage. Dance that’s focused on musical connection definitely went out of fashion for a while, but there are a bunch of shows coming up where music is the absolute driving force.

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© Photograph: Deborah Jaffe

© Photograph: Deborah Jaffe

© Photograph: Deborah Jaffe

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