Ballet dancers can apply their intensive training to tasks they haven’t practiced.
Highly trained dancers provide insights for researchers helping design improved rehab programs for people with mobility impairments. The next step could include rehab robots as dance partners.
When the classroom is your dance floor.
L-E-V comes at you like a freight train with Killer Pig in the Adelaide Festival.
Media Credit Gil Shani
This year has got off to an awful start. Thank God for the Adelaide Festival, a blaze of hope, skill and fun. Here are our critics' highlights of a beautifully crafted program.
Why can’t we see the spaces?
The reason you feel things as solid is all to do with electrons.
George the dancing Albert’s lyrebird.
© Kimbal Curtis
Many argue avian movements are too simple or repetitive to be classed as dance. But George the lyrebird puts on quite a show – as do a number of other bird species.
The Strictly Come Dancing final looks to be somewhat dull – all glitter, no Balls.
The OzAsia Festival will showcase innovative and youthful performance art from across Asia.
Hiroaki Umeda's split flow and Holistic Strata. Credit Ryuichi Marui Yamaguchi Center for Arts and Media
From a dancer moving against a wash of static, to a show that takes the audience hostage, Adelaide's OzAsia Festival celebrates both high art and high energy performances.
Ping-pong balls pour from the ceiling onto a dancer.
Renowned American choreographer Jonah Bokaer's show Rules of the Game is an adventurous collaboration that doesn't quite meet expectations.
En avant, Marche! An energetic – sometimes frenetic – show.
A trombonist is forced to play the cymbals, while a pair of marching girls dance out his frustrations. A full brass band slips from classical, to jazz, to folk and cabaret. En Avant, Marche! is a strange show, but worth your time.
Host James Corden performs with all the nominees during the 70th annual Tony Awards.
On the surface – and when compared to the Oscars – the 2016 Tonys looked like a groundbreaking moment for diversity in entertainment. But when it comes to inclusion, Broadway has a long way to go.
Some of us can’t help moving to a beat.
The reason why some of us can't help but to dance, and others can't hold a beat, might lie in the brain.
Chloe Chignell’s dance piece Deep Shine in the 2016 Keir Choreographic awards.
Legendary critic Deborah Jowitt's visit to Australia for the Keir choreographic awards is focussing attention on the paucity of our dance criticism. Yet informed reviews are vital to the health of an art form.
Late maturing girls tend to be privileged in ballet training. This doesn't have to be the case.
The Tribhangi Dance Company performs Circles and Squares at the South African Dance Umbrella in Johannesburg.
South Africa's foremost contemporary dance festival is celebrating its 28th birthday in 2016. It has remained relevant, vital and – despite the format's esoteric nature – hugely popular.
Dancers create spiralling, flowing patterns in Anne Teresa De Keersmaeker’s Vortex Temporum at the Sydney Festival.
Courtesy of the Sydney Festival.
Dance and music move together in Anne De Keersmaeker's new work at the Sydney Festival. Erin Brannigan was able to watch this layered and intricate performance come together in Berlin.
Is it enough to recruit dancers and present them as interactive, moving art objects?
Xavier Le Roy
Is this a dance work, an exhibition, or a melding of the two? Xavier Le Roy's latest work, in Sydney, raises many questions, such as: Is it enough to present dancers as interactive, moving art objects?
Known as “the Pedro Almodovar of dance theatre”, Peeping Tom eschew traditional storytelling in favour of blurred realities in 32 rue Vandenbranden.
The founders of Belgian dance company Peeping Tom draw their performance language from the influential Flemish Wave movement of the late 1980s and 90s. Their 32 rue Vandenbranden is part of Melbourne Festival.
Part protest, part dance party, part autobiography, Flexn tells stories of police brutality and racism in dance.
Stephanie Berger, Courtesy of Park Avenue Armory
Flex, a dance style that originated in Jamaica in the 1990s, has evolved into a protest movement in the US that enables its practitioners to articulate their experiences of racism, police brutality and violence.
The appeal of shows such as So You Think You Can Dance can be attributed to kinaesthetics, the felt experience of dance on screen.
Last month, the American reality dance competition show So You Think You Can Dance (SYTYCD) celebrated its 10 year anniversary. Why do we keep watching?
What can leggings and leotards teach us about about physics and neuroscience?
For a growing number of artists, academics, researchers and scientists, dance represents a promising new frontier of exploration. The annual DANscienCE festival shines a spotlight on their findings.