Expertise

Aussie dancers do well in the UK, but not so our choreographers, observes Matthew Lawrence.

After six years of operations, Melbourne City Ballet closed suddenly in June, leaving dancers and students in limbo. Susan Bendall investigates.

Anthony Barnhill, the associate musical director for Opera Australia's current production of 'West Side Story', gives us the inside story on auditioning for dancer/singers, with particular attention to vocal abilities.

Diane Gepp, president of Comdance, wrote this letter to 'Dance Australia' expressing her concerns about VET courses in government schools putting private dance schools out of business.

In the current (June/July) issue of 'Dance Australia', Luke Hayward, a dancer with Sydney Dance Company, shares his auditioning experience.

Nervous about buying a custom-made tutu? We've got all the tips you need.

In Dance Australia's annual Audition Feature, Geraldine Higginson has interviewed a cross-section of dance professionals, about a range of different auditions.

What constitutes a "ballet body"? Dancer Catherine Wells is calling for a new definition, that frees ballet from the shackles of physical uniformity.

Who cares if you don’t get your period? Dietitian Fiona Sutherland does.

Matthew Lawrence discusses the relationship of dance and transcendence.

Whether hosting international guest dancers or sending dancers to perform with companies overseas, the exchange of dancers can bring huge benefits to individual artists, companies and audiences, writes Nina Levy.

Emma Sandall discovers how ballet training has incorporated medical advances into its understanding of the body.

Nothing releases life’s pressure-cooker better than a hearty chuckle, writes Matthew Lawrence.

How do you address the gender imbalance in the ballet studio? Ballet Brothers’ Jake Burden has some tips for teachers, parents and the boys themselves.

Emma Sandall discovers how ballet training has adopted medical advances in our understanding of the body.