"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.

Judith Hanna considers why the press has focused on screen-writer Diablo Cody's prior profession, and how being a stripper may have positively influenced her current work.

Roudolf Kharatian discusses the source and core of Ballet as an art form, including how the physical and the spiritual combine in training and performance. Reprinted from Bourgeon Vol. 1 #1, July 2005.

Choreographer, Dancer, and Teacher Gesel Mason considers the purpose of a college dance degree for aspiring dancers - learning to master Fear.

Notes from the Dance Critics Panel Discussion, November 2007, in which dancers and choreographers argue with local dance critics about the role and appropriateness of each other's work.

Commissioned by Bourgeon, Heather Risley reports on Dance USA's national survey of Gender in Dance Leadership, exploring local expressions and influences on this national trend.

Steve Shafarman, Founded of FLEXAWARE, writes about the principles of this new exercise form, with examples.

Helen Rea discusses her process as a teacher, and the ways that she encourages students to accept and enjoy their experiences in motion.

Dancer, Choreographer and Dance Educator Nejla Yatkin discusses tensions between commercial and concert dance, and how funding styles (American v. European) impact the development of work.