Brolga 15 an Australian journal about dance

Dance writer/critic, Stephanie Glickman gives an in-depth exploration and analysis of Philip Adams’ Amplification, which she concludes is a 'contemporary ballet....that exposes not only the painful process of performing the dance technique....but also works to express his obsession with 'morbidly beautiful' aspects of death that often remain latent in Romantic ballet'.

Anne Gollan speaks from personal experience about the great teacher Mischa Burlakov and his studio/home in Sydney during the 1940s and 50s.

Rodney Edgecombe, an English literature scholar with a passion for dance, speculates on the origins and influences of the "classical" suite in the world of classical ballet.

In the 90s both the Mariinsky (Kirov) Theatre in St. Petersburg and the Bolshoi Theatre in Moscow—homes to two of the world’s most famous ballet and opera companies—have been struggling to survive in the radically changed socio-economical environment of post-communist Russia. Dance writer and photographer Marc Haegeman, talks about these companies and their ability to survive.

No-one should be surprised that it was Graeme Murphy who conceived the idea of a dance musical to honour the Tivoli, the variety show that entertained audiences around the nation for over seventy years. Dance writer and critic Lee Christofis tells the story.

The production, performance and perception of music has been studied in detail by cognitive psychologists. Music has been recognized as a window into cognition. The status of dance, however, is less clear. The authors propose that contemporary dance too affords insight into human cognition and can be powerfully communicative.