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.

It seems that most teachers tell you what you need to know. But do we all need the same thing? Sure, you are more marketable with certain strengths. Do we all have the same best road toward those strengths?

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.

Maida Withers, founder of the DC Improvisation Festival writes about the festival's past, and present, and shares a video with excerpts from the recent performances.

My music frequently functions like chamber music. But my music is often amplified, so while it is ‘classical’, it is also electronic.

I began by writing my own set of directions. I created my directions with timed free-writings, in an attempt to take my brain to the same place it goes when I do movement improvisation.

In a cabaret I am myself. There is the dangerous expectation of success of a joke, a note, or a dance, and the reality that you are naked before the audience, and have given them the right to judge the inner most parts of your being.

In many ways, we truly don't want to define Jazz dance; we want to live it, to feel it, to move with it.

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