My creative process is first and foremost about listening. On one level, it is listening to myself. On another level, it is listening for a match between what I feel compelled or inspired to say, and what I see in the world around me.

"I'm an aspiring storyteller, I guess. But I've realized more and more that you don't have to have very many ingredients to imply that there's a story, without actually telling it."

I am celebrating my thirtieth anniversary in the area by doing some of the things I love most: making dances, working with artists, and singing.

A few years ago I was asked by a non-profit organization to dance Isadora Duncan's Marseillaise at one of their events. The problem was that The Marseillaise is a lost choreography! There are no pictures or video from performance.

The founder of dance at Glen Echo discusses the dance scene in Washington in the 1970s and 1980s, and how she worked with the Park Service to create one of the first major local public dance institutions.

Choreographer and Artistic Director of Khecari Dance shares his pointers to finding dance in Chicago.

"Blogs are a part of an ever-deepening pool of ‘new media’, and dance, like the rest of the world, is quickly diving in." Local dancer and writer Stephanie Yezek investigates the local pool.

"Middle Eastern dance schools play upon harem-mother-goddess fantasies of adult students. One has to give credit for business savvy, but what is being sacrificed in terms of art and ethics? In a bid to take over the local market, unskilled student dancers have been sent out on behalf of the studio to perform for fees that are either shockingly below the going rate or, which is worse, free."

Valerie Durham describes essential aspects of the Isador Duncan technique, including historical concerns relating to the study of the technique.

Dance allows one to express what cannot be expressed otherwise. Either do to the lack of words or the need to combine physicality with...