The Place, London
This delightfully unique triple bill spans many worlds with Busby Berkeley-style sci-fi formations, a hazy summery waltz and a wild rampage of Welsh folk dance

The sequins are sensational; the dancers pretty special too. Clad in skin-tight black glittering bodysuits and masks – the full Leigh Bowery – it is a look: gorgeous with an undercurrent of unnerving. There’s a confidence on all fronts in the work of Marcos Morau, which befits a multi-award-winning choreographer who graces major stages with his own company La Veronal, but also has an ongoing relationship with the small National Dance Company Wales. In Waltz (2023) the ideas aren’t overcrowded. Morau’s dancer-creatures emerge like an alien chorus line, bodies entwined in geometric formations like a sci-fi Busby Berkeley. The highly ordered machine breaks down into separate parts, dancers in stop-start motion, their beguiling and peculiar appearance not dissimilar to the dislocated postures of Sharon Eyal or Wayne McGregor. Perhaps the novelty is exhausted before the time runs out, but there’s pleasing clarity, and it looks damn cool.

This triple bill actually begins with the short Infinity Duet by Faye Tan: two dancers and a swinging sculpture like a trapeze (by Cecile Johnson Soliz). Airy guitar music brings the warmth and ease of a hazy summer day, its breeze – and the pendulum-like sway of the sculpture – setting the dancers in motion. I was waiting for them to start swinging, but it wasn’t that kind of show.

Photojournalist who covered the Troubles in Northern Ireland and the collapse of communism in eastern Europe

The photographer Brian Harris, who has died aged 73 of cancer, left school at 16 to become a messenger boy, and went on to become one of the most respected British photojournalists of his generation.

He travelled the world as a freelance or a staffer for Fleet Street titles including the Times, the Independent (where he was the founding chief photographer), the Sun and the Guardian, covering such events as the fall of the Berlin Wall, famine in Ethiopia and Sudan, the Troubles in Northern Ireland, war zones in the Balkans and across Africa, the aftermath of the Falklands war and four US presidential campaigns, including Bill Clinton’s. He also created lyrical landscapes of the countryside around his Essex home.

Sumo wrestling | A duke from Yorkshire | ‘Modest’ royal homes | Doing a Postecoglou | What about Trump? | Time to shine

It’s good to see the variety of entertainment available at the Royal Albert Hall expanding ( More rice, bigger chairs and reinforced toilets: sumo wrestling comes to London, 15 October ). I know little about sumo wrestling, but I assume it’s not over till the fat man falls?
Richard Barnard
Wivenhoe, Essex

• Perhaps King Charles can show he is a true monarch of the people by appointing one of his subjects from Yorkshire as a replacement Duke of York ( Prince Andrew gives up royal titles including Duke of York after ‘discussion with king’, 17 October ). May I nominate David Hockney or Alan Bennett?
Colin Burke
Cartmel, Cumbria

Social media didn’t live up to its promises. So why do we think artificial intelligence will be any better?

There is a “hype cycle” that maps the euphoria and hysteria generated by new technology and then the consequent plunge into the “trough of disillusionment” when it fails to deliver on its promises.

The Gartner Hype Cycle was coined in 1995, timely for the dotcom boom, and now traces the trajectory of artificial intelligence. We are at the “peak of inflated expectations” before we nosedive into that aforementioned disillusionment. Some would say we are already in freefall, with companies struggling to convert their investments into productivity.

Jury says documentary about killing of Argentinian campaigner Javier Chocobar brings ‘a measure of the justice’ denied by the courts

A documentary about the murder of Indigenous activist Javier Chocobar has taken the top prize at the London film festival, with the jury calling it “a measure of the justice” that has long been denied by the courts.

Argentine film-maker Lucrecia Martel’s first documentary Landmarks won the best film award in the festival’s official competition, it was announced on Sunday.

York Theatre Royal
Jeyasingh’s choreography is well wrought and precise but Caliban’s struggles with servitude and resistance feel adrift amid a sea of ideas

Choreographer Shobana Jeyasingh originally moved to the UK in the early 1980s to study Shakespeare, so it’s safe to say she has deeply engaged with the playwright. It’s a shame then that her latest work, We Caliban, inspired by The Tempest, doesn’t manage to convey her rich ideas around this key character. We begin with a letter from Elizabeth I to Walter Raleigh from 1584, giving him licence to set out and conquer foreign lands, then maps of Caribbean islands, their original names crossed out and replaced with Anguilla, Grenada, Barbuda. Jeyasingh’s postcolonial take on the text seems clear, Prospero the invader forcing native Caliban into servitude. But having established this on stage, the idea dissipates into something much more impressionistic, the conceptual thrust is lost. We’re led into a story and then left stranded, like a Milanese duke and his daughter on a remote island.

Jeyasingh’s dancing is always well wrought. Her background is in the Indian classical form bharatanatyam, melded with western contemporary dance, and she has a classicist’s feel for proportion and precision, an acute (no pun intended) sense of angle and line. Character is less of a concern – the dancers aren’t “acting”, as such – and the effect is flat. Prospero, with his book and his staff, controls in fairly benign fashion. Caliban gets more interesting. Dancer Raúl Reinoso Acanda (formerly of Cuba’s Acosta Danza) has two key duets: first with Miranda, where there is resistance, or resentment, perhaps, but also a connection between them that leads to tenderness. Then after the colonists have left, a second enigmatic duet (with an unnamed woman, one of the island’s original inhabitants). This one is cool and careful, the two are fascinated, yet wary and distant – their fingers only just touching in a long stretched pose. They look at the audience rather than each other, but they seem to have a kind of mutual understanding. What’s going on here? The fallout, perhaps of trying to rebuild yourself when you’ve been stripped of what was essentially you? Caliban now trying to work out how to be himself, how to live, how to trust?

Entries include Welsh language names for fields and hills in move to ensure preservation of stories and legends

Dozens of placenames in Welsh, some hinting at ancient legends, others telling rich stories of how people used to live, have been submitted to a project designed to make sure they are preserved.

The Welsh government appealed for people to add historical names that may be missing from online maps so they could be saved for future generations. Within two weeks, about 200 submissions were received, including local Welsh language names for fields, hills and areas.

Dôl y Tylwyth Teg (Fairy Folk Meadow/Fairies’ Meadow) in Aberfan, south Wales. The person who sent the suggestion said the field was known by the Welsh name by people who spoke Cymraeg, the Welsh language. A nearby school that teaches through Welsh refers to the field by this name and uses it for events.

Caeau Maelorddin (Fields of Maelor City) near Aberystwyth, west Wales, are a collection of fields near Tanybwlch beach. The contributor said his late grandfather recalled many people referring to a group of now individually named fields as Caeau Maelorddin. They were close to Pen Dinas, the hill where the giant Maelor Gawr was said to live.

Ffynnon Glog (Rock Well) near Rhyd, in Gwynedd, north Wales, is a hidden well in a roadside bank, according to the contributor. The water in the well was once used as a remedy for ailments and takes its name from Y Glog, a prominent rocky outcrop nearby.

The musician on dealing with PTSD, his angry TV outburst, and why one radio station refused to play anything by Fun Lovin’ Criminals

Born in 1968 in New York, Huey Morgan is a musician and broadcaster. He was 18 when he joined the US marines, and after being honourably discharged, formed Fun Lovin’ Criminals. The band’s first album, Come Find Yourself – featuring the hit single Scooby Snacks – went platinum in the UK. Huey hosts a weekly BBC 6 Music show, and his memoir, The Fun Lovin’ Criminal , is out now.

I was 14 and feeling myself . I’m dressed in nylon parachute pants, a Members Only jacket, my bandana and a Van Halen necklace. On the amplifier you can see a bad graphic design of the letters “SD”, which I thought was the greatest logo of all time. It stands for Sudden Death, the name of my band.