"Middle Eastern dance schools play upon harem-mother-goddess fantasies of adult students. One has to give credit for business savvy, but what is being sacrificed in terms of art and ethics? In a bid to take over the local market, unskilled student dancers have been sent out on behalf of the studio to perform for fees that are either shockingly below the going rate or, which is worse, free."

Rima Faber writes about Pola Nirenska, one of the founders of the dance community in Washington, D.C.

Choreographer, Dancer, and Teacher Gesel Mason considers the purpose of a college dance degree for aspiring dancers - learning to master Fear.

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.

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.