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Australian photographer Laura Ross wonders what it is about Lois Greenfield's wonderful photos of dancers that sets her apart from her peers.

Harry Haythorne honours Sydney-based Mexican-Australian dancer and teacher Guillermo Keys Arenas who made an enormous contribution to multi-culturalism through the annual Folkloric Festivals which he directed from 1979 – 94.

West Australian Dalcroze expert, Joan Pope OAM establishes how much of an enigma Mary Whidborne is today, because it seems that she was the first significant teacher of Dalcroze Eurhythmics in this country.

Whereas literary scholars have a platform for publishing small or isolated findings, neither the ballet nor the musical world offers a comparable vehicle for such items. English literature scholar, Rodney Edgecombe shares some his minor but interesting discoveries about music for ballet.

Dr Katrina Rank discusses the role of memory, narrative and individual perception in relation to a live dance performance called Marvellous, which was a synthesis of five separate works she choreographed in 2000.

This is the fourth part of Tamara Finch’s story of her career as a dancer. The first three parts were published as ‘My dancing years’ in New York in Dance Chronicle, Volume 27, Numbers 1 – 3, in 2004. Part three concludes with the decision of Finch (then Tamara Tchinarova) and her mother to remain in Australia at the end of the 1938 – 39 tour by the Covent Garden Russian Ballet, and with an account of some of her early experiences in Australia including her time with the Polish-Australian and Kirsova Ballets.

Adrian J. Lowe writes a history of the Perth-based contemporary dance company Buzz Dance Theatre. He writes from the perspective of an observer for those who may have an interest in dance, but not necessarily a working knowledge of the art form.

Past research indicated that dance companies use strategic public relations for various audience development activities that are innovative and successful in the short term. Recommendations from Madeline Wilson's research include long-term strategic audience development plans to ensure dance companies continue to develop audiences and remain viable in the future.

Part 2 of Joanne Harris' exploration of two interesting works by story-teller and choreographer Margaret Barr that were captured on film in 1962 (Snowy) and 1980 (Climbers).

New Zealand dancer and choreographer Douglas Wright has been inspirational for many dancers with his innovative approach to both the creative process and to embodying the movement.

Lee Christofis talks eloquently about Simon Dow's love for Puccini's opera La Bohème and the creation of the his full length ballet created for West Australian Ballet which premiered in May 2004.

Robin Grove talks eloquently about one of Australia's "star" ballerinas during the '50s, Lynne Golding.

Choreographer Margaret Barr developed a rich style of dance-drama to communicate her strong social conscience. Since dance is ethereal, works are often lost after their performance, but fortunately, two of Margaret Barr’s choreographies were captured on film so we are able to observe her dramatic skills, sophisticated wit, manipulation of dance elements and the societal issues that were important to her.

Dancer Josef Brown shares his experience of Palestine, its people and working with artist Nicholas Rowe in 2003.

Susan Graham examines macro level environmental and political influences on two dance forms that represent the cultural origins of modern day bicultural Aotearoa New Zealand—kapa haka and ballroom dancing. The historical origins, foci and functions of both forms will be compared and traced over the past one hundred years.

Don Asker looks at collaborative processes across art-forms and examines ways in which memories and reflection can contribute to the creative practice/experience.

Dance critic Kevin Ng talks to Professor Susan Street about her experiences as Dean of Dance at the Hong Kong Academy for Performing Arts.

Hong Kong dance critic Kevin Ng talks to freelance choreographer Natalie Weir at the Hong Kong Cultural Centre, just before the premiere of her new work Turandot.

This article by dance writer and critic, Lee Christofis, draws and elaborates on the material collected by Lee in an interview with Graeme Murphy about his Swan Lake for The Australian Ballet.

Once character, emotion and action are added to abstractly satisfying movement, some questions may arise: "What and how does dance mean?" "Must it necessarily turn to mime, and strive for ‘verbal’ representations without words?" Music scholar, Rodney Stenning Edgecombe, explores this fission by discussing the key terms that became current over time, starting with Noverre’s scène d’action, and ending with Gorsky’s mimodrama.