The recent production from Momentum Dance, auspiced by CO3 dance company, is immediately appealing in rejecting these agist tendencies, writes Jonathan W Marshall.

Splendid to watch, but there must be consideration for how the values projected will resonate with a modern audience, writes Alana Kildea.

This work certainly activated the cerebellum, in ways that felt novel and surprising even for a contemporary dance performance.

Michelle Potter was in New Zealand for the premiere of Alice Topp's new ballet, part of a season called 'Solace'.

Queensland Ballet’s (QB) annual Bespoke season returned this year, strongly reaffirming its mission to explore adventurous contemporary choreography by including for the first time a First Nations offering, writes Denise Richardson.

Tim Podesta's shows are always high quality and thought provoking, writes Karen van Ulzen

Geraldine Higginson attended this festival of six dance works by three choreographers presented by Form Dance Projects and Riverside Theatre over two days.

The work is a huge credit to the underlying approach to contemporary dance that we have come to expect from Bonachela in his leadership of Sydney Dance Company, writes Michelle Potter.

'Horizon' is Bangarra Dance Theatre’s first mainstage, international collaborative initiative, a momentous and admirable undertaking, writes Michelle Potter.

Leila Lois reviews 'One Last Action in an Ocean of Everything', premiered at Melbourne's Rising festival.

This year’s RISING festival, a winter contemporary arts festival that has grown up in Melbourne over the past few years, could be the most edgy yet for dance, writes Leila Lois.

This interpretation infuses the 19th century classic with a fresh relevance and a distinctly Australian flavour that still captivates, writes Denise Richardson.

West Australian Ballet’s triple bill “State: Contemporary Vision” feels like a watershed moment for WA dance, writes Nina Levy.

Jonathan W Marshall reviews a triple bill presented by Strut Dance in Perth.

In the Australian Ballet School’s 60th Anniversary year, a trip to the Sydney Opera House for a one night only gala-style showcase that coincided with Mother’s Day was a welcome event for ballet lovers in Sydney. Geraldine Higginson reviews the celebratory performance.

The Australian Ballet’s double-bill of Harald Lander’s Etudes and Stephanie Lake’s Circle Electric goes from one extreme to another in terms of technique and style.