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."

I am trying to make sense out of the intersection of literature/narrative and dance. In the creation of Tundra, I started with a series of questions. What is it to be a woman in the world, alone?

Dana Tai Soon Burgess writes about the development of his new dance piece - Chino Latino - and the work's roots in his experiences as a teenager in Santa Fe.

Helen Hayes, the Director of Joy of Motion's Education program, discusses her joys and challenges in creating a meaningful opportunities for young dancers in D.C.

Helanius Wilkins discusses why D.C. is a wonderful city in which to build a dance company.

A year ago I realized I wasn’t doing what I set out to do. I wasn’t performing, choreographing, or teaching. I was doing some of those things, some of the time, but none were fully realized.

Tehreema Mitha writes about her process and interests in creating her company's new evening-length work 'Scent of My Earth".

My work is better when I create on the spot, but the disadvantage is that I usually don’t remember the choreography after it’s been taught. This is sometimes frustrating for the dancers, but we work collaboratively, and I trust them to take responsibility for the material after it leaves my body.

Maida Withers writes about the creation of her new evening-length show "Thresholds Crossed", a multi-media performance that includes performers from Russia and the United States.