Volume 3 #1

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State of the Art: Middle Eastern Dance by Lori Clark

"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 on Pola Nirenska

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

A College Degree: What is it Good For? by Gesel Mason

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

The State of American Dance by Nejla Yatkin

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.

Sex and Sexuality in and out of Dance by Robert Bettmann

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?

Finding Space for the Metropolitan Areas Youth by Helen Hayes

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.

D.C.’s Dance Scene: Are the Questions the Same? by Helanius Wilkins

Helanius Wilkins discusses why D.C. is a wonderful city in which to build a dance company.

Kelly Mayfield on “Perspective/Shift”

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 on “The Scent of My Earth”

Tehreema Mitha writes about her process and interests in creating her company's new evening-length work 'Scent of My Earth".

Meisha Bosma on ‘Shelter’

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.

Must-read

Two Poems by R.E.I.L.

Piece for PEACE For my grandmother (Feb 2, 1956 - February 13, 2020) I’m trying to find the right words to make sense or peace with...

Three Poems by Claudia Gary

Shadow Selfie Projected onto shalebut rooted in this planet,we long to countervailthe weight of sandstone, granite,and metamorphic rocks.We welcome paradox. Our presence is a maskagainst the...

Collections by Gail Atwater

Collections My childhood collectionsstamps from every countryplaced neatly in a booktiny porcelain cats in a boxand stories about their livesthat made sense Fifty years later, I...
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