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.
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?
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?
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.
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.
stars melt in your skin
for R.M
quiet nights held inside your hands like water waitingfor the chance to become your ladder.
you first reminisced, as if...
After William Carlos Williams
So much
De
Pends
Uponthe dazed chickens
Fraughtwith meltwater
Besidesthe demonic and menacing
Icecream truck
Thatcirculates the neighborhood
Withan off-key kilter tune:
(Davidsings-“ dee bee dee bee dee bee boop...
