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Dance historian and scholar, Garry Lester continues his discussion of Margaret Barr's achievements at Dartington Hall in Devon during the 1930s.

Lee Christofis talks about the different cultural and social attitudes to dancing, and how dance featured in his childhood growing up in Greek-Australian family in Brisbane.

Irina Baronova, Valrene Tweedie & Anna Volkova share some memories of their performances of Leonide Massine's symphonic ballets, Choreartium, Symphonie Fantastique and Les Présages.

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Only one Australian choreographer has produced a body of work for a mainstream audience over such a substantial period. Graeme, with his associate, Janet Vernon, have made and staged dance that makes audiences laugh and cry, think about ourselves and others, ponder the unique business of being Australian and look beyond into worlds overseas, consider the past and the present.

This essay overviews Sela Kiek's study into Western tourist practices and explains how this research informed her creative strategies for Circulate (2004), a site-specific movement piece that responded to the Hawthorn Town Hall, Melbourne.

Bree Hadley (QUT) delves into Lucy Guerin's intentions and choreography as Lucy attempts to make "the tangle of data, information and desire that circulates through contemporary communication technologies...tangible on stage" in her 2005 award-winning work titled Aether.

Karen Barbour, Senior Lecturer in dance at the University of Waikato (NZ), talks about her personal experiences and her ideas about the sustainability of collaborative dance ventures

Secondary school dance teacher, Lynettte Haines talks about the dance program at Golden Grove High School in Adelaide, and the work they made for their exciting Asian tour.

National Director, Ausdance and WDA secretary, Julie Dyson gives a concise history of the World Dance Alliance and its relationship with Australia and Ausdance.

Annette Gillen (nee Dunlop) remembers performances of the Ballets Russes de Monte Carlo in Sydney, and their direct influence on her becoming a dancer—first as a student of Helene Kirsova and then as a professional dancer in the Kirsova and Borovansky Ballets.

Marianne examine the influence that American and European dance and physical education has had on New Zealand's physical and artistic expression, gives modern dance a context within the social and cultural landscape of immediate post-WWll New Zealand.

Garry offers an excellent appraisal of the dance holdings at the National Film and Sound Archives in Canberra, and reminds us of the value of having dance on film to experience a history of dance.

This seed for this article began at a conference at the University of Otago where there was much debate about the connections between, and the definitions of, 'interdisciplinarity' and 'interculturalism' within the Oceania context. The featured dance ethnography investigates the creative process and somatic philosophies of the Atamira Dance Company.

Kohe and Newman investigate the parallels between sport and dance studies and also consider the emerging discipline called 'physical cultural studies'. They suggest that an intercourse between study of dance and study of sport "could provide novel methodological, theoretical, and metaphysical spaces which transcend disciplinary moorings."

From her research into the mehtods of capturing dance on camera, Karen concludes that with the expansion of film techniques and practices, the dancer/artist is enormously empowered. Her methodolgy offers a means to perform improvised dance for camera and to capture footage for editing into short digital dance works.

Carol talks in detail about the collaborative work Tongues of Stone, made in Perth in 2011 with designer Dorita Hannah and sound artist Russell Scoones. "Our collaborative process seeks to make connections between the lived-in present and long-buried traumatic pasts..."

Alex questions whether interdisciplinary collaboration must necessarily be seen as democratic and therefore desirable, or whether it could instead be viewed as a more problematic corollary of contemporary forces such as globalisation and the modern market economy.

In a departure from conventional Western concert dance choreography, Larry talks about his collaborative works with performers who "disengage aesthetic design-based constraints carried by codified dance techniquers and choreographic principles."

With a particular interest in the ways that dancers reflect social, cultural, political and economic currencies, Ananya talks about the intersection of dancing, dance studies and social justice work. Many of her questions come from experiences of art-making that encompass a broad range of race, gender, class and sexuality.

Felicia writes candidly about her experiences as a participant in the 2008 Asia Young Choreographers Project (AYCP) in Taiwan.

This article outlines a project that incorporates methods from phenomenology, cognitive ethnography and dance anthropology, as well as knowledge and theory from the neurosciences.

Sue talks about the challenges of sustainability for contemporary dance in Australia, and argues that the notion of creativity should be at the core of future debates about the intrinsic, cultural and economic benefits of dance.

The Ballet Russes symposium was devoted singularly to the collaborative practice in the creation of ballets since the advent of Serge Diaghilev's Ballet Russes in 1909. Curator of Dance at the National Libray of Australia, Lee Christofis gives his account of the conference.

Nina Melita gives an account of Pavlova's first Australian tour, during which the famous dancer astounded her audiences with her artistry and passion. Pavlova was an honest and outspoken person who did not particularly enjoy attention from the press.

Postcolonial theorist, Homi Bhabha proposes an interstitial space exists in between polarities along axes of subjectivity. Georgie Boucher uses Bhabha’s  notion of the interstitial subject to investigate how Umiumare might utilise strategically in-between subjectivities in performance.

Melissa Blanco Borelli uses some of Gilles Deleuze and Félix Guattari’s postmodern philosophical ideas of becoming, and Elspeth Probyn’s provocative conceptualisation of belonging, as ways to theoretically read choreography.

Eleanor Brickhill reflects on a 2005 research project which was not intended to come to any conclusions, but to hopefully illuminate certain ironies or conflicts. She talks about "taste" and how it can create boundaries and divisions between people.

This is part 2 of a broad hypothoses of an intuitive science of dance. Elizabeth Dalman and neuroscience researcher Paul Howard Mason (1982 – ) joined forces to explore the evolutionary characteristics of a discrete social system, with a belief that choreography involves processes that expose the social machinery of human expressive systems.

This issue of Brolga well illustrates the richness of our dance history and the diversity of people who have contributed to it. Jill Sykes pays tribute to Graeme Murphy and the Sydney Dance Company, Mark Carroll continues his research into the Ballet Russes in Australia, and three Ballet Russes dancers share brief memories of a de Basils's work. Other articles are by leading dance writers, Lee Chirstofis and Garry Lester.

This issue of Brolga includes an exploration of the music of Menotti used in both Martha Graham and Gertrud Bodenweiser's version of Errand into the Maze, an analysis of Lucy Guerin's Aether (2005) and a site specific work by Sela Kiek, Circulate.

In this issue you can read about the genesis and development of the World Dance Alliance – Asia Pacific, a thriving dance program at a South Australian high school, Cheryl Stock's ambitious cooperative choreographhic project at QUT called Accented Body, and issues around the sustainability of collaborative dance ventures.

This significant issue of Brolga publishes eight papers from a conference held at the University of Otago in June 2010. The focus of the conference was discussion around interdisciplinary perspectives on dance that strive to both understand historical develeopments and to anticipate new directions of dance scholarship and performance.