Camerin Allgood McKinnon explains some of the roots and process of the modern dance technique "Safety Release".

"Creating this work is a multi-year research project into water, and its various meanings – personal, ecological, societal and political. It is also a lens to explore composition: how meaning is affected by shifting structure and its context."

Having recently relocated with her partner from Ohio, Susana Weingarten writes about the creation of DanceVert's first concert in the D.C. area.

Valerie Durham describes essential aspects of the Isador Duncan technique, including historical concerns relating to the study of the technique.

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.

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.

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.