Women make up 30 per cent of artistic leadership roles in leading international dance companies, a new report finds. How does Australia fare?

John Neumeier’s Nijinsky is a ballet that with each viewing and hearing shows something new and precious.

Emma Harrison's High Octane is women wielding their bodies as engines of defiance against the patriarchy, against capitalism.

David Hallberg "honoured" to lead The Australian Ballet until 2030; new Executive Director announced.

Pina Bausch's works are still remarkable, but the distance between the late choreographer and the company bearing her name is palpable.

Based more closely on Prosper Merimée’s novella than Bizet's opera, Johan Inger’s Carmen gets inside Don Jose’s head – and it’s a dangerous place.

An evening of highs and lows at Adelaide Festival. Sometimes, writes Deborah Jones, things just don't work out.

Bringing together 1,000 volunteers, Stephanie Lake’s one-off, site-specific happening is a hypnotic celebration of community and the joy of dance.

Concerned with how we manage to live right now, A Quiet Language sends joyful shafts of light into the darkness.

In Larsen C, choreographer Christos Papadopolous reveals a creative impulse that is unique, visually intriguing and virtuosic.

A starry night night of new contemporary works with Tara Gower's riveting Ripples shining hardest.

"Mao's Last Dancer" and former Queensland Ballet Artistic Director to be honoured by the Prix de Lausanne.