2026 A.C.E. Awards showcases wide selection

Hilton Midtown, New York, NY.
August 15, 2026.

The A.C.E. Awards had been on August fifteenth, 2026, at DanceOne Summit in New York Metropolis. A whole bunch of choreographers submitted, and 15 had been chosen to showcase their work for an opportunity to win $15,000. The judges for the night had been Tessandra Chavez, Liz Imperio and JP Christensen.

The opening efficiency of the night time was none aside from Jason Williams, the 2025 A.C.E. Awards runner-up. Stuffed with versatility and showcasing what Williams has to supply, the 20-minute work began with groovy, Instances Sq. enjoyable. It then shifted to a sensual group part in excessive minimize leotards, transitioned to William’s solo, and his choreography titled Legacy concluded with basic across-the-floor jazz, pas de bourrées and battements.

To begin off the choreographer’s competitors, Erik Sosa introduced I Grieve These Reminiscences You Hang-out. This piece began female with fairly traces and attire. A fast shift turned it darkish by a fancy dress change of dancers sporting masks and a person becoming a member of the stage representing a haunting. Sosa performed with the lighting design to emphasise the distinction. 

Subsequent up was Brady Rowan with Winter Fields. A charming begin with one dancer mendacity middle stage and the one factor shifting was their chest respiratory. Persevering with, extra dancers joined the stage displaying nice musicality and ranges. 

Somos Inmortales adopted, choreographed by Santiago Villarreal. One phrase to explain this quantity was ethereal. A lot of lifts, partnering and throws confirmed the belief these dancers had with each other. Seeing giant group sections in unison was refreshing. 

Altering up the tone was Leo Manzari’s Fortunate Quantity 7. This was the primary faucet routine of the night that includes Manzari rapping alongside the opposite tappers. The formations had been clear and visually interesting whereas the musicality was crisp.

Jessie James introduced This Field Is Not a Reward with a lightweight up prop briefcase and costumes of flowy skirts. Just one dancer wore a unique colour outfit representing the story of 1 making an attempt to be distinctive however the remainder of the group wanting them to evolve to the norm. 

The next was Aperture by Justin Pham. This piece included quite a few kinds of dance. Pham choreographed home steps with whacking arms whereas different dancers concurrently carried out petite adagio, up to date and even a time step at one level. 

I Am Working Out of Concepts choreographed by Isabella Lown was up subsequent. This stand out efficiency was face pasted with strobe lights, head banging and complex actions. The viewers gasped and cheered as the joy of the piece grew. MOVE IT invited this routine to reperform in March at Excel London as their Highlight Winner. 

Straight out of a musical, Riley Roberts introduced Paraiso to the stage. With a desk and chairs setting the scene excessive power, cup-ography and colourful costumes, this choreography jogged my memory of one thing you’d see on a Broadway stage. 

Scalpello with a Black Swan really feel carried out subsequent, choreographed by Brennan Maniaci. Dancers wore all black with slick buns and black eyeliner making a darkish aura on stage. One dancer fought by choreography as a rope twisted round their limbs. 

Subsequent up was a full out routine titled Dying 4 U by Abigail McKinney. This piece was stuffed with clear formations, degree modifications and expansive dancing. The whole stage was stuffed with power and fervour. 

The smoothest choreography of the night time was subsequent, Brooke Gilmour’s If This Is All We Get. The partnering was quiet and flowy whereas transitions had been seamless. The dancers and choreographer had a lot belief in one another that the viewers was left feeling at peace. 

One other faucet piece carried out subsequent by Jessee Leigh Robinson titled For Whom the Bells Tolls. What set this piece aside was the combination of a breakdancer with the tappers. A artistic method to merging the 2 kinds, protecting it cohesive. 

Beginning off as showgirls and transitioning into gloom was Kamryn Funk’s & That’s Showbiz. The dancers began off with wigs in an upbeat jazzy routine. The wigs received ripped off because the lights dimmed and confirmed the truth of showbiz and that it isn’t all glamorous, one thing a lot of the viewers might relate to. 

Sunday Morning by Angelina and Karlo Familara carried out subsequent. This was probably the most intriguing routines of the night with dancers strolling on in face coverings after which executing intricate actions with clear particulars. The costumes had been strategically chosen to emphasise the motion and flowing with sure path modifications.  

Closing out the competitors was Olivia Wang’s Elsewhere. The storyline drove this piece with one dancer starting the routine at a desk with a typewriter. The remainder of the performers entered the stage to symbolize the creativeness of what was being typed. It then concluded with the dancers leaving and the unique performer again on the desk. 

The A.C.E. Awards stage then introduced a efficiency by Madi Hicks, second runner up from final 12 months. This was an intense efficiency titled Is Margo Mad? This work featured dialog and touched on psychological sickness. Hicks will proceed to develop this work right into a full-length piece. 

Ending the night was additionally second runner up from final 12 months, Tommy Tibball’s Stated/Performed. With beautiful approach and management, these dancers grasped the eye of everybody within the room. 

Congrats to all concerned with the gorgeous night celebrating dance and choreography. A particular congratulations to Santiago Villarreal, Jessie James and Brooke Gilmour for putting and receiving financial winnings to supply future work.