Dance

At age 60, dancer and choreographer Yang Liping is still going strong, determined to keep the cultural traditions of China’s ethnic minorities alive. She speaks about her 50-year career and her striking new version of Stravinsky’s Rite of Spring. “I want to fill the movement with traditional culture and art to make it more solid, more relevant, and more how I think contemporary dance should be.”

A catch-up at an art fair with producer Hooi Ping Angela Flynn.

For First Nations choreographer and dancer Amrita Hepi, the body is the first point of memory. Her new show, The Tender, interweaves oppression and connection. “Dancing is about being unashamed in our physical forms, and that’s tough shit when you’re a person of colour ’cause we’re constantly being looked at.”

As a gay Aboriginal Australian who grew up in a largely white world, Joel Bray found purpose and identity through dance. His latest work – the intimate solo performance Biladurang – blends choreography and theatre in a raw exploration of his own very personal journey. “I’ve had people hug me, I’ve had people crying, I’ve had people share their stories of discovering their Aboriginality late in life.”

Choreographer Liam Scarlett, a former dancer with the Royal Ballet whose Midsummer Night’s Dream will soon tour China, seems destined to join the ranks of the all-time greats. “With every premiere you sit back and watch it for what it is. You think I could tweak this or I could tweak that. But I was happy with it, it was such a relief when it was over but it’s probably the thing I’ve done which I felt most proud of.”

Stephen Page has known acclaim and accolades as head of Bangarra Dance Theatre. Off stage he’s had more than his fair share of personal tragedy. Here, he talks to about family, his latest show, Dark Emu, and the power of language to change Australia. “Through this symbolism of visual art and story, under that came this kinship idea of connection to land, people and story. That’s why lore and customs exist.”

Choreographer Lucy Guerin says ballet’s physical perfectionism may see off young girls from their passion for dance, leaving headstrong boys to take the reins in later life. “Women have really defined dance through the ages, especially in America, with a lot of female choreographers, and in Europe. Yet it feels like it’s going backwards a little bit.”

Li Cunxin has waited for the right time to stage Swan Lake at the Queensland Ballet, to be prepared for a visit from his mentor and veteran choreographer Ben Stevenson.

After eight years as Sydney Dance Company artistic director, Rafael Bonachela's passion burns as brightly as it did in his small Spanish hometown as a teen.

The Australia Council’s latest funding cuts have further devastated arts companies.