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Aesop’s falls-prevention classes were both an enjoyable artistic challenge and faithful to their healthcare objectives.
Kevin Edward Turner talks through the stages of his choreographic process for Company Chameleon’s latest work, which explores his own mental health.
As a small company with no permanent dancers, Shobana Jeyasingh Dance productions are tricky to coordinate but ultimately rewarding. Amanda Skoog explains how they manage it.
What’s behind the current rise in interest in dance for older people? Hannah Osmond has been finding out.
The Royal Ballet has committed to sharing its expertise in caring for dancers by partnering with the National Institute of Dance Medicine and Science.
As he leaves DanceXchange, David Massingham reflects on his journey from distributing Christmas hampers to establishing Birmingham as an international dance city.
How do you get a room full of sniggering teenage boys enthusiastic about dance? Helen Ganberg says it’s not easy, but experience shows it is possible.
An assessment of the affordability, accessibility and spread of dance facilities across London comes ahead of a wider plan for culture in the city.
When member benefits proved uneconomical, Northern Ballet decided to stop offering them. Crys Whitewoods explains how the decision is paying off.
As a growing number of children are being home-educated, Christopher Connolly explains how Dance Manchester is reaching out to this community.
Hip hop dancer and choreographer Botis Seva says start saving the pennies and always keep an eye out for talent.
Working in a professional dance house helps dance students in Derby prepare for life after university, writes Clare Limb.
Can you teach astrophysics through dance? Academics and dancers in Manchester have been giving it a go. And tackling gender inequalities to boot, says Deb Ashby.
Age shouldn’t be a barrier to dancing or performing, says Vicky Thornton. She shares the story of DANCE SIX-0, a contemporary dance company for the over 60s in Salisbury.
If it wasn’t for Ziggy Stardust’s mime skills, Brendan Keaney might not be working in dance. The DanceEast chief reveals who has inspired his career.
How much dance does an Access and Education Projects Coordinator at Phoenix Dance Theatre actually get to see? Emily Labhart shows us a week in her world.
As she leaves the Theatres Trust, Mhora Samuel looks back on her career in theatre, dance and cultural regeneration.
A new guide aims to equip governors with the knowledge to champion dance in schools and raise key questions about its place in the curriculum.
Dance is perfectly suited to being toured internationally, says Anthony Missen. He explains how exporting has allowed Company Chameleon to grow and flourish.
From psychology professors to international dance stars, the new Chief Executive of One Dance UK Andrew Hurst reflects on those who inspire him.