https://dance-nucleus.com/homepage-panel 2026-04-05T02:43:36+00:00 always 0.5 https://freight.cargo.site/t/original/i/U2440730980434734275690490151483/Screen-Shot-2018-01-18-at-3.14.43-PM.png https://dance-nucleus.com/programmes 2026-04-05T02:48:51+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2437435717198165021623893541435/Vector6_Peatix.png LATITUDES [Part 1] By Dance Nucleus in association with cont.act Contemporary Dance Festival 2026 27 + 28 June 2026 (Sat, Sun) 8pm - 10pm Goodman Arts Centre Black Box Pay As You Wish ($20, $30, $40) <a href="https://latitudepart1.peatix.com/">https://latitudepart1.peatix.com</a> https://freight.cargo.site/t/original/i/I2873788665777342659235731128891/SCOPE-Post_1080x1350-2.png SCOPE Studio Presentation Loy [Singapore] + Guzz [Chengdu] |Crawling Under Tiger + July Weber [New Fears, Berlin] SAT 31 Jan 2026, 11am - 4pm Dance Nucleus studio https://freight.cargo.site/t/original/i/B2873789773319856844757210153531/ARTEFACT_IG-POST_Loy.png ARTEFACT Creative Development Residency Crawling Under Tiger Loy [Singapore] + Guzz [Chengdu] 16 January- 1 Feb 2026 𝘊𝘳𝘢𝘸𝘭𝘪𝘯𝘨 𝘜𝘯𝘥𝘦𝘳 𝘛𝘪𝘨𝘦𝘳 was conceived during a Hotdesk residency at @h0t.house, funded and supported by @scapesg’s Experimentation Ground programme. First presented at COMMA Festival 2025, it was later re-staged at Aliwal Urban Arts Festival 2025 as part of Singapore Art Week 2025. https://freight.cargo.site/t/original/i/B2873792422456773270185917727291/ELEMENT-Post_1080x1350-1.png ELEMENT Trans-Local Exchange Residency Dance Nucleus [Singapore] + NEW FEARS Gallery [Berlin] July Weber [Berlin] Supported by Goethe Institut Singapur https://freight.cargo.site/t/original/i/T2873795270043762440581981585979/ELEMENT_Natalie-Tso_Post.png ELEMENT Trans-Local Exchange Residency Dance Nucleus [Singapore] = Performance Space [Sydney] Natalie Tso [Sydney] XUE [Singapore] Razan Wirjosandjojo [Surakarta] https://freight.cargo.site/t/original/i/R2873798058213788949559579689531/CP3-2026-IG-Image.png Certificate Programme for Critical Practice in Contemporary Performance, [CP]³ [CP]³ is an online mentoring for the development of critical praxes in contemporary choreography and performance making, with a focus on the Asian context. Led by Daniel Kok (Singapore), the 5-month programme (22nd JUN to 27th NOV 2026) consists of lectures and mentorship sessions by mentors Arco Renz, Eisa Jocson (Manila), Luke George (Melbourne), Melati Suryodarmo (Surakarta), Nanako Nakajima (PhD, Kyoto), Padmini Chettur (Chennai), Pichet Klunchun (Bangkok), and Xiaoke x Zihan (Shanghai). https://freight.cargo.site/t/original/i/L2873805332558187208405292597819/LATITUDES-vertical-1080x1440.png LATITUDES [Part 1] By Dance Nucleus in association with cont.act Contemporary Dance Festival 2026 27 + 28 June 2026 (Sat, Sun) 8pm - 10pm Goodman Arts Centre Black Box Pay As You Wish ($20, $30, $40) <a href="https://latitudepart1.peatix.com/">https://latitudepart1.peatix.com</a> https://dance-nucleus.com/artists 2025-07-07T10:54:03+00:00 always 0.5 https://freight.cargo.site/t/original/i/U2437532586400851851855199126075/62378c81dbd5b4bc0a17d616_eaa81a93-76a5-4a37-a0ca-f07fe4e341c9.png ALECIA NEO (Singapore) is an artist and cultural worker. Her collaborative practice unfolds through installations, lens-based media and participatory workshops that examine modes of radical hospitality and care. She is the co-founder of art collective Brack and Ubah Rumah residency on Nikoi island, Bintan. Since 2014, Her ongoing collaborations with disabled artists currently manifests as an arts platform, unseen art initiatives. CARE INDEX is an ongoing research focused on the indexing and transmission of embodied gestures and movements which emerge from lived experiences of care labour. https://freight.cargo.site/t/original/i/J2437541884260841276270176551483/2411_ry_01_1.jpg ashleyho+domeniknaue (Amsterdam/Singapore) create transmedial performative encounters, playing across dance, poetry, music, and scenographic experiments. They believe in performance as a social practice. More than a consistent focus on specific thematics, their works propose a way of being with the world that confronts harshness through vulnerability and playfulness. LAST PORTRAIT excavates personal family documents that have been collected over the years. Weaving together text, sound, dance, and visual poetry, the work braids connections between botany and illness, labour and care, tradition and regeneration. The artists navigate the landscape of loss, which is transformed through connectivity. https://freight.cargo.site/t/original/i/B2437552428456647296797299360315/Screenshot-2025-07-05-at-11.32.53.png ALBERT GARCIA - who is Macau-born, Taipei-based, and of Filipino origins - explores the disappearing, the overlooked, and the vulnerable, reflecting on the intersections of ecological fragility and human displacement. THE BUG’S PERMISSION SLIP: INSECT DREAMS AT 30FPS is a lecture performance that looks at arcade-dance hybrids, insect-led research, from moths in card decks to fireflies flickering on screen. Speaking from a space between documentation and dreaming, Albert treats movement as both choreography and survival—of the bug, the migrant, the mediated subject. https://freight.cargo.site/t/original/i/D2437561541258900173758054974011/Screenshot-2025-07-05-at-11.40.57.png BUNNY CADAG (Philippines) creates between craft, performance, installation art, and community work; and through the voice as a site of creative resistance and poetic reexistence. Her practice is anchored in indigenous gender diversity and contemporary gender equality, shared through a trans approach to healing and song alongside which she nurtures a decolonial composure toward folklore and tradition. THE SINGER ruminates on the trans body as a sanctuary for feminine predicament and queer remembrance. Through stitch and song, Cadag weaves a radical premise for transfeminine storytelling: “the woman who sews her pain is the same woman who sings her freedom.” https://freight.cargo.site/t/original/i/S2440510319246192709095519601211/Screenshot-2025-07-07-at-08.05.13.png CHAN WAI LOK (Hong Kong) studied in P.A.R.T.S. (Belgium) upon receiving scholarships from the [DNA] network supported by Creative Europe under the European Commission and the Hong Kong Jockey Club Music and Dance Fund. He previously studied in SEAD (Austria) after graduating from the Architecture Studies in the Chinese University of Hong Kong. Music is typically heard, dance seen—but what if these roles blurred? STOLEN EARS; MUFFLED BELL by Chan Wai-lok and Larry Shuen reimagines musician-dancer dynamics, exploring how movement generates sound and vice versa. Through role reversal, they challenge perception, revealing the hidden choreography of music. The metaphor of “stolen ears” and a “muffled bell” reframes how we experience sound and movement, making the familiar feel new. https://freight.cargo.site/t/original/i/L2440514999904587228083437093435/softmachine-the-return-01.jpg CHOY KA FAI (Berlin/Singapore) is a Berlin-based Singaporean artist. Through research expeditions, pseudo-scientific experiments and documentary performances, Ka Fai appropriates technologies and narratives to imagine new futures of the human body. SOFT MACHINE: THE RETURN is a project that weaves together a decade of experiments in dance-making through the critical lens of five Asian artists: Rianto (Banyumas), Surjit Nongmeikapam (Manipur), Xiao Ke x Zihan (Shanghai), and Yuya Tsukahara (Osaka). The presentation is envisioned as a performance that manifests in the form of dance, incorporating lecture, demonstration, and documentary. As a whole, the SoftMachine project desires a return to the body—to think together about dance and beyond—while negotiating its own knowledge archive to generate relevant dialogues on contemporary dance in Asia. https://freight.cargo.site/t/original/i/N2440652455412224105185693581883/Screenshot-2025-07-07-at-10.12.05.png HAYIMAH HARITH (Singapore) works with Malay traditions and eroticism, as a way to reclaim agency over her body. Her works aim to confront and overcome the conditioned shame and grief that is often attached to female eroticism. AYU PERMATA SARI (Lampung) focuses on reading and reinterpreting the position of women and men in the Lampung Pepadun tribe. BATU explores the rituals and meanings of the Batu Lesung, a traditional Malay mortar central to cooking. For Hasyimah and Ayu, it becomes a lens to examine gender and sexuality in Malay society. As a Malay mother in Singapore and a Lampung native, they connect the object with their bodies and lived experiences, questioning the kitchen's role and expanding it into a broader reflection on taste, banquets, ethics, and perceptions of women’s bodies in culture. https://freight.cargo.site/t/original/i/D2440659925753278147195392410171/Screenshot-2025-07-07-at-10.20.30.png HWA WEI-AN (Georgetown) has spent his whole life falling down, a by-product of stubbornly learning things on his own — whether that meant trying to spin on his head or backflip before he was ready, or how to snowboard. He has, in fact, built his contemporary practice around his love-hate relationship with gravity, and the the psychological state of flow. A REASON FOR FALLING is an exploration of the possibilities that exist between a loss of balance and a meeting with the ground. It looks at what happens when we let go of control, give in to gravity, and embrace the experience of a fall. This work is inspired by the experience of freeriding - the practice of riding down mountain faces on bikes, snowboards or skis. It is one dancer's way of translating these practices from vast, open terrains onto the flat, safe space of the dance floor, and to pursue possibility, wonder, and joy. https://freight.cargo.site/t/original/i/Z2440665510818641112015206531643/Screenshot-2025-07-07-at-10.25.23.png JOSHUA SERAFIN (Brussels/Manila) explores transmigration and queer politics. Their practice on Otherness translates ideas of alterity and otherworldly narratives into embodied performance and speculative forms. Their process is an intense sociological exorcism of Filipino identity in relation to global ideologies and contemporary phenomena, unpacking the historical violence and dehumanizing normality of feudal Filipino society. COSMOLOGICAL GANGBANG is the result of Serafin’s recent artistic research, evolving through several iterations: Timawo, Creation Paradigm, VOID, and PEARLS. Using ritual dance to invoke the coming of the Goddess, Serafin sheds normative ideals of gender and colonial history in a healing process that locates their ancestral body—a fluid, non-binary form. Through this dance, they seek a neutral form of existence to heal from generational trauma and liberate from heteronormative and colonial structures. https://freight.cargo.site/t/original/i/K2440669386129082860991519572539/Screenshot-2025-07-07-at-10.28.59.png KORNKARN RUNGSAWANG (Bangkok) trained in diverse Thai traditions, from royal court to popular folk forms. She applies her wide knowledge of traditional kinesthetics systems to the contemporary body and urban rhythms to formulate new dance expressions that reflect the current social, cultural and political environment. Since 2007, she has been a full-time artist in Pichet Klunchun Dance Company under the tutelage of renowned choreographer Pichet Klunchun. MALI BUCHA: A DANCE OFFERING Mali Bucha is a ritual-inspired performance that combines dance, augmented reality (AR) and virtual reality (VR), based on the Rum Kea Bon ancient ritual performed at shrines and temples in Thailand where dance is used as a tool for negotiation by humans towards higher beings in a bid to make wishes come true. The charming dancer, hired as a messenger to access higher beings, enhances the likelihood of one's wish fulfilment. https://freight.cargo.site/t/original/i/V2440673190179752253227834720827/Screenshot-2025-07-07-at-10.32.27.png NORHAIZAD ADAM (Singapore) performs and choreographs for unconventional community spaces, galleries and theatres. Central to his Malay dance practice is considering the performativity of everyday rituals and the ways that accessing tradition can be a form of wisdom for modernity. His works deals with labour, morality and behaviourism in Malay culture. FAP: FLIRTATIOUSNESS AND POLITENESS delves into the intricacies of Malay dance, exploring the nuanced expressions of flirtatiousness and politeness inherent within its traditional choreography. This study scrutinises how the choreographic elements of Malay dance reflects the idea of seduction. https://freight.cargo.site/t/original/i/H2440675718582728716227526967867/Screenshot-2025-07-07-at-10.34.48.png PAT TOH (Singapore) contemplates the effects and trauma of ideology and body politics. Drawing from fitness culture, sports regimes, and training protocols, she focuses on the mechanics and processes of the body, stripping performance down to the plain act of physical labour. Then, driven by the personal and political forces of embodiment, JENNI LARGE (Launceston) seeks to subvert relational narratives and examine socio-political issues affecting women. MOTHERSHIP is inspired by Octavia E. Butler’s Xenogenesis series. The work imagines a feminist future in a post-terrestrial world where sentient beings have settled beneath the sea. This collaborative performance explores power, co-operation, survival, and feminine resilience through Butler’s lens. What muscles must we flex for a feminist future? https://freight.cargo.site/t/original/i/T2440680435968590685971161727547/Screenshot-2025-07-07-at-10.38.55.png HEE SU HUI / ANISE (Singapore) is a transdisciplinary queer artist, composer and electronic musician working across mediums of sound, text, illustration, movement, and performance. Her music under the moniker Anise is an entropic, cinematic blend of harsh glitchy beats cutting through delicate, shimmering vocals, field recordings, and chamber music blending the grotesque and beautiful. ILL BEHAVIOUR is an experimental audiovisual/performative work that deconstructs auscultations and listens in on the (ill) body. Built from only processed, distorted and fragmented endogenous bodily sounds blending recorded and live sampling, the 45 minute entropic soundscape is accompanied by Anise's improvised vocals and movement, at times operatic and ethereal. https://freight.cargo.site/t/original/i/V2440682830743353079018862068283/Screenshot-2025-07-07-at-10.41.11.png PHITTHAYA PHAEFUANG / SUN (Bangkok) was born in Thailand and moved to Norway at age 3. Deeply engaged with LGBTQ subculture, he has studied voguing, sex sirens, runway, and ballroom history since 2015. He pioneered Thailand’s ballroom scene and is seen as both father and mother of its community. Alongside vogue and ballroom, Buddhism is a central influence in his choreographic work. REALNESS: MAE BAAN explores Thai traditions, gender identity, and Buddhist belief through Phaefuang’s performance. In Thai Buddhism, twins are past-life lovers, and not marrying young may bring misfortune. After his twin’s struggles, Phitthaya began questioning karma and injustice. Blending voguing, Thai dance, and spirituality, he reflects on identity and reincarnation—asking whether we’re shaped by this life or many before it. The work reveals how tradition can both hurt and heal. https://freight.cargo.site/t/original/i/I2440685517142692533340863906363/Screenshot-2025-07-07-at-10.43.35.png XUE (SINGAPORE) is developing a transdisciplinary performance practice in Southeast Asia. Their work explores experimental frameworks through live situations and spatial assemblages, fostering indeterminate encounters that challenge perceptions of space and body. A PLACE WE COULD NOT NAME experiments with various processes of space-time intervention to materialize a site of transformation. The work seeks to explore place as a mutable construct, perpetually negotiated and redefined through the body’s engagement, marked by both its presence and absence. Through provocations of body, sound, light, and object, stirrings of place rise and recede like waves on a shoreline; every arrival mediates a departure. The project raises questions of agency and identity: How does the body choose to “place” itself in liminality, and how might it resist?