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.

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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.

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If you manage a Facebook page, fewer of your fans are seeing your posts. To be fair, there was never a time when 100 percent of your fans saw each and every post. But recent changes make it more likely that you’ll get fewer views. Here are three free steps to take before resorting to promoted posts. Read on.

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Silver linings can be hard to find, they are unpredictable, and maybe they are not in the place you are looking. When disaster occurs, understanding what it means to be community engaged is one of the most positive opportunities an arts organization can realize in a community-wide crisis.

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As a teenager I was reluctant to openly study hip-hop dance although I loved the music, like much of my generation, because I had a vague fear I might be “stealing” it. It took a lot of pain and discomfort from many areas of my dance training to realize that no matter what my focus was going to be, racism was an element of so many stories in American dance history that it could not be avoided – and that ignoring it would not make it go away. It might make it worse.

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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.

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