Expertise

"My audition video to a school overseas was rejected. It was particularly hard because I wasn’t given any feedback and also because I feel like if I were there in person it would have been different. How can I make a video that shows who I really am?"

How has the Australian Ballet School survived the Corona challenge? Karen van Ulzen asked Joanne Michel, Ballet Mistress and Level 8 Coordinator.

Covid is not over yet, but most teachers are now looking back and marvelling at how they survived.

Stretching is a standard part of a dancer’s exercise regime. But there are times when it shouldn’t be done. Susan Bendall talks to exercise physiologists Liz Hewett and Donna Oliver.

How would you describe your relationship with your appetite? I talk about appetite a lot with dancers, mainly because it’s very often seen as something confusing, something to “overcome” or something with which we battle.

Ariana Mazzeo was once the only dancer in her audition group who was not called back for the next round. So she got back up and trained even harder.

Having acting skills and techniques adds an essential dimension of communication and expression to a dancer's art, writes Sally Clark.

Are students’ attentions spans getting shorter? Are politeness and courtesy outdated concepts? Just how do teachers compete with digital distractions in a class?

Fouettes are a moment when the human body gambles with the forces of nature – gravity, torsion and speed, writes Karen van Ulzen.

Dear Emma, I know I have to take criticism as part of a dance career but my emotions always get the better of me. Is there a way to become better at taking criticism so that I can learn and grow from it?

Michelle Dursun examines how and why discipline still matters, in the current issue of 'Dance Australia'.

Dance is traditionally passed down from teacher to student in the shared space of a studio. How can teachers adapt to the rapid changes forced upon them by COVID-19? Geraldine Higginson passes on some tips.

If dancers want to genuinely captivate an audience it is essential they learn how to investigate the internal life of their performance as well as the external, writes Sally Clark.

Now there is time to expand and deepen your knowledge and appreciation of your own artform, and catch up on those books you never had time to read properly.

A number of students had the privilege of watching of taking part in a masterclass with the company in the Drama Theatre at the Sydney Opera House. Here are two accounts.

Michelle Dursun pays tribute 
to a dedicated dance teacher.