How much and how often should young dancers train? How early should they specialise?

What is contemporary dance technique? It’s a seemingly benign question, but for many dancers, attempting to explain modern and contemporary ways of moving through the loaded term “technique” is altogether too rigid, writes Belle Beasley.

Auditions are just one way to break into the dance industry in 2023. Leila Lois talks to company directors about ways dancers can create their own job opportunities.

Rejection is a common part of being an artist. How do you manage your mental well-being? Susan Bendall finds out.

Nicola Wills is a dancer with the Royal Ballet of Flanders, but she used to struggle with eating disorders. She describes how she repaired her relationship with her body.

Everybody wants to be super flexi, but don't rush into it, especially in the colder months. Belle Beasley provides some timely advice.

Taylor Venter asked Scott Pokorny and Tim Barnes, artistic directors of Scimm. Dance Company, for their tips on applying for a job.

Primrose Kern began her career at the top: with the Paris Opera Ballet. She now spends her time between the POB and the Boston Ballet in the US. She also had a featured role in the film, 'The Red Shoes, the Next Step'. Here she describes the process of auditioning for the Paris Opera Ballet.

Rebecca Mansueto tells how she landed her dream job in 'Grease'.

Matthew Lawrence takes us on an personal tour of the Queenland Ballet’s new state-of-the-art home.

What was the dance highlight of 2022? Dance Australia asked top critics from around the country to nominate their choice. See this sneak preview and read all their findings in the current print issue.

In the next issue of Dance Australia (April/May/June), we have invited dancers to share their anecdotes and advice on AUDITIONS. Here is a sneak peek from Rebecca Mansueto, presently in Grease the Musical with Royal Caribbean Cruises.

Naming a dance work can be an artform in itself, writes Rhys Ryan.

Choreographer Marco Goecke's attack on a critic raises the question of the role of the critic in our culture, writes Karen van Ulzen.

Cecchetti International celebrated its 100th anniversary last year. Caitlyn Lehmann looks at the ballet maestro’s continuing influence on Australian ballet.

Damien Grima has been teaching for 14 years. He is now at Alegria Studios in Sydney.