Brolga 22 an Australian journal about dance

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In This Article


This issue of Brolga begins with part of Tamara Finch's personal story of her career with the Polish-Australian and Kirsova Ballets, beginning immediately after her decision to stay in Australia after the 1938 – 39 tour by the Covent Garden Russian Ballet. (The first parts of Tamara's story were published in New York's Dance Chronicle Volume 27, Numbers 1 – 3, in 2004).

This is followed by a history of the Perth-based dance comapny Buzz Dance Theatre by Adrian J. Lowe who writes from the perspective of an interested observer and historian.

Finally, Madeline Wilson reports on her study conducted to identify and evaluate current uses for, and methods of, carrying out strategic public relations by Australian professional dance companies to enhance audience development. One of her recommendations was that in order to inform significant and long-term audience growth, we need understand the perceptions of the non-dance-going public.

Tamara Finch (nee Tchinarova) as the Gypsy in Petrouchka c. 1935. Photo autographed in Australia to Xenia Borovansky in 1939. Photo: Battles Studios, Barcelona. Courtesy National Libarry of Australia


My dancing years the Borovansky Ballet

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.

Dancing to the right tune

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.