Kindred is an exciting new digital dance work exploring nature and human connection. Dublin Dance Festival has been commissioned by ESB to produce this innovative public installation, which will be created by leading Irish choreographer, Liz Roche, in collaboration with Lightscape, award-winning specialists in projection, motion and interaction design.

Curated by Jeni Roddy and Ríonach Ní Néill in Partnership with: Galway Theatre Festival

Stuck in city traffic? Turn your head and you may find yourself immersed in a near-future Galway. City walls become backdrops for photo-montages by Joe Lee visualising life in an inundated city, when yet another abnormal has become commonplace.
Set against familiar Galway views utterly changed by sea-level rising and floods, they feature designs by Irish and Palestinian artists. Sohail Salem, Emily Ní Bhroin, Deirdre Kennedy, Jeni Roddy and Arran Murphy imagine how we might cope with this enormous and imminent change. How close does the future have to come before we care enough to act? Can we walk on water?

Five brave and exciting female performers dance alone on the streets of Carlow in a new work from choreographer Philip Connaughton.
No Control explores how we are being seen, who sees us, and how not to be afraid.

The work questions what it means to dance alone, to invite being seen, and demands the right to be able to do it boldly and without fear.
The only way to love is to love anywhere. The only way to dance, is to dance anywhere. The only way to really take control is by letting go.

I have worked on a range of film and television productions since 2007, including working closely with costume designer Joan Bergin on The Tudors, Vikings and a pilot for Dawn, as well as on set costumiere for Isabelle Huppert for Neil Jordan’s Greta, which Bergin also designed. I have supervised the Element Pictures produced ‘Herself’ for costume designer Consolata Boyle and have worked as a costume buyer on productions like Universal NBC Nightflyers.

Various press mentions and reviews.

TARDIGRADE plays with sensory overload.

Multiple realities unfurl on stage, layered over each other until all you can do is let wildness wash over you.

Inspired by Bosch’s Garden of Earthly Delights, the show brings together an incredibly talented collaborative team under the direction of Philip Connaughton. Relationships and interactions are, like the Tardigrade, put under a microscope, and normality and moral structure are put into question.

Ground-breaking dance from one of Ireland’s leading choreographers in a thrilling new interpretation of Virgil’s epic poem, The Aeneid, performed to an exhilarating electronic score in the Marina Market warehouse.
Exploring themes both timeless and contemporary including war, migration, displacement and identity through dance and movement, this bold new work from choreographer Philip Connaughton (Party Scene, Love Songs) offers a fresh and engaging perspective that speaks to audiences on a deep and emotional level - inviting us to reflect on our own experiences and the world around us. A culmination of the artist’s creative journey that builds on his previous works and experiences, TROJANS reflects the values and concerns of contemporary society and continues the artist’s commitment to creating meaningful and impactful contemporary dance theatre for all audiences.

Various assistant design roles for performance since 2007.

This ambitious show is inspired by real UFO sighting reports made to GEIPAN, a unit of the French Space Agency investigating unidentified aerospace phenomena. One thing the events they record have in common: Doubt. Did they really happen? Do we want to know? Exploring denial, truth and fear of change, Extraterrestrial Events is a multi-sensory experience that is truly out of this world. Extraterrestrial Events is funded by The Arts Council of Ireland, Dublin City Council and supported by Project Arts Centre, Studio Le Regard du Cygne, a Dance Ireland Residency, Axis: Ballymun, Dublin Fringe Festival and Shawbrook Dance.

Company Philip Connaughton returns with a provocative and seductive new dance work exploring the infinite possibilities of love.

Inspired by two novels, which deal with themes of memory: The Sea by John Banville and The Sound and the Fury by William Faulkner, the costume is based on the concept of folds in clothing, bodies, maps and the land itself, being the points wherein memories might be stored. A friend told me years ago about an idea she had read somewhere, of heaven being located within the folds of a map. This idea stayed with me and was triggered as I explored notions of
mapping, blood lines, ancestry, repetition and layering to design a memory-based costume. Deleuze theorised that the world could be understood through the concept of the fold, as elements in the universe aren’t separate but rather exist as fold upon fold or fold within fold. By drawing on these ideas, I sought to produce a memory landscape, created through folds and pleating, within which there are occasional slits to evoke an absent female who exists only in
memories.

Funded by the Victoria & Albert Museum and University of the Arts London, costume performance based on moth dangers inherent in costume and textile collections and archives. The dancer metamorphosises from elegance to crawling insect. Laser cutting was used to create internal holes and insect shapes between the costume layers.