Selecting new choreographers for a program or a season seems a straightforward enough process at first glance. Read on to find out how artistic directors seek out new works for their companies sifting the choreographic gold from the dross. 

[Read more →]

On September 5, 2012, the seven-member New York Court of Appeals heard Nite Moves’ legal challenge to the Tribunal’s decision that exotic dance was not a live choreographed performance and consequently exempt from taxation as stated in law. Read Judith Lynne Hanna’s account of this intriguing case and the ramifications it could have on the dance community.

[Read more →]

Rooted in Middle Eastern belly dance and an American tradition of parody, namely American burlesque, striptease and exotic dance are a form of dance and theater art. While somewhat “risqué” or “naughty” with its adult play and fanciful sexualized teasing that transgresses social decorum and dress codes, exotic dance is, like all dance, communication and a learned skill with its own aesthetic. So the question arises: how far removed is exotic dance from the world of artistic and concert dance? For a discussion of the recent Night Moves exotic dance court case read on here.

[Read more →]

Does concert dance happen in a concert hall? Master Juba or William Henry Lane performed in theaters and halls across the United States in the mid-19th century. Does “concert dance” imply some level of professional commitment or success? Lane, a black percussive dancer, toured internationally, receiving top billing over his all-white minstrel troupe. Does “concert dance” suggest some level of peer review or development of craft? Percussive dancer Emily Oleson ponders these issues and others. Read on.

[Read more →]

As we observe this year’s crop of candidates vying for leadership roles, we look for the details but also for the overarching dance  each one is performing. Even in solo roles — for example a politician’s stump speeches or debate performances — they are part of a larger choreography that includes others and, of course, a relationship to the audience.

[Read more →]

Can “Breaking Pointe” do for ballet what ballet companies have been struggling to accomplish for decades now? That is, lure newer, younger audiences to theaters for live classical ballet?

[Read more →]

In the dance class of the future every student gets documented feedback on everything she does using the same technology found in today’s video games. The implications for the game-ification of dance are exciting and offer a glimpse of a future that marries artistry, gaming, and digital communication together.

[Read more →]

One of the rights the owner of copyright possesses is the right to reproduce or to authorize others to reproduce his or her work in copies. However, this right is subject to certain limitations found in sections of federal copyright law. This article serves as a primer for dance artists and the area of fair use.

[Read more →]

Dance, official or otherwise, is the way we cut through the screen of words and even ideas, at times, and speak in a way as urgent as tears, and as hard to turn away from.

[Read more →]

While many communities offer anchor festivals, residencies, and commissioning programs to which choreographers may apply, among other ongoing opportunities, dance makers across the country indicate that self-producing can be beneficial for gaining traction at any time in one’s career. But, many warned, it must be well examined and timed. It is a misperception that self-producing occurs only early in a choreographic career as a step to being fully presented. In the present climate, a lot of DIY energy is circulating, particularly due to the stifled economy. This results in alternative venues and channels from which to launch new works.

[Read more →]