My creative process is first and foremost about listening. On one level, it is listening to myself. On another level, it is listening for a match between what I feel compelled or inspired to say, and what I see in the world around me.

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.

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.

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.

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.