Brolga 29 an Australian journal about dance

Premium Content

Purchase the following premium content:

  • Brolga 28 (pdf, 6 MB)
$25.00 Price:

Please or register to purchase products.

What is Premium Content?

In This Article


Ausdance, the Australian Dance Council, was founded in 1976 as the Australian Association of Dance Education, and this Brolga 28 celebrates several aspects of dance education both past and present.

Conferences and symposia are prime means for introducing new ideas, exchanging views, renewing educative relationships and establishing new ones, and the World Dance Alliance Summit in Brisbane has offered an unparalleled opportunity for such an occasion. Julie Dyson, who is Secretary for World Dance Alliance – Asia Pacific (as well as National Director of Ausdance) writes about the genesis and development of this vital association, its aims, achievements, and the people involved.

Continuing the Asian theme, Lynette Haines gives a lively account of the dance program at a South Australian high school, and a journey to Malaysia.

Cheryl Stock of Queensland University of Technology has successfully led an ambitious project which brought together people in three countries to produce a cooperative venture in dance creation, and Karen Barbour of Waikato University in New Zealand investigates the idea of sustainability in collaborative dance ventures.

Our review section amplifies the educational theme. Garry Lester discusses a new book about Dartington Hall, in the English county of Devon, where the wealthy Dorothy and Leonard Elmhirst established an influential, forward-looking creative institution for arts and craft—Dr Lester was written about Margaret Barr’s teaching and productions there in Brolga issues 25 and 26. Then in a review essay Jonathan Marshall considers the translations of two significant nineteenth-century dance manuals and an account of women who made dance in Europe before 1800.

I am writing this having recently attended the symposium, Our Cultural Revolution, at the University of Adelaide. It was oversubscribed, but about 150 fortunate people who booked early enough were stimulated, informed and exhilarated by a range of excellent papers, a workshop on reproducing Massine’s Les Présages, a film of Bronislava Nijinska’s Les Noces and a panel discussion on collaboration in creating dance works. It was an exciting two days, and enjoyably educational—as I hope you will find this issue of your journal.