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.

Which is best to aid muscle recovery?

Men, young and old (and their female advocates): BALLET NEEDS YOU!

Music copyright has been streamlined to help teachers and performers meet their obligations.

The story behind the street dance genre known for its fast arms and bigger than life personality.

Many dancers underestimate their ability to sing, but most can improve their voice beyond their expectations.

'Is ballet training too strict and old fashioned for my child in this day and age?'

The concept of perfectionism is ingrained in dancers. But is it a healthy concept?

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.