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.

A reply by Robert Bettmann to Judith Hanna's article for Bourgeon "Exotic Dance", in which she defends the value of stripping.

Dr. Judith Hanna asserts that being a stripper is no more damaging than being any other type of theatrical dancer.

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.

The founder and Artistic Director of the D.C. Cowboys writes about his work with the company, their mission, and their plans.

"One of my least favorite cultural institutions here is the Auto Hotel. Auto Hotels are designed expressly for covert sexual encounters, and they’re everywhere. When you drive into an auto-hotel an attendant waves you toward a very tight enclosed parking space."

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.

To the degree that we as artists prepare the audience to see the world in stereotypes, we perpetuate a society that only knows how to know through separation. Whose identity is it anyway – ours or the audiences? Whose character is it anyway?