Seven Questions for Pico Iyer: Globalism of the Heart, the Imagination, and the Conscience
Watch the kids of Osaka dance salsa (as they love to do), listen to Norah Jones or see how the girls of Beijing are dancing Swan Lake, and you see people literally going places they haven’t gone before.
Seven Questions for Pico Iyer: Cutting Through the Screen of Words
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.
Shifting Landscapes: 3 Impact Points of Technology on the Future of Dance
Audience expectations have changed. People are no longer as receptive to being talked at. Audiences want to have conversations. They expect a certain level of interaction and two-way communication.
Seven Questions for Pico Iyer: The Pause Before the Jump
To write—to dance, to make music—is to become incomparably affluent inside and to have a sense of possibility, of freedom, of real power that nothing else can rival.
Seven Questions for Pico Iyer: Build It, They Will Come
The purpose of dance, of any art, is to offer the world what it does not have enough of otherwise; so compromise, capitulating to the world, makes no sense at all.
Seven Questions for Pico Iyer: Writing … and Dancing … Against the Curve
In terms of creative work, I think we can offer the most by sitting—or dancing—away from the moment.
Leading the Dance Field Through Change
During my first few months as the executive director of Dance/USA, I engaged dance leaders from around the country in conversations about the state of the field. What are they experiencing as dance artists and managers? What issues are on the forefront of their daily work? How could Dance/USA help?
Dancers on the Hill: Arts Advocacy Day 2011
On April 4 and 5, 2011, more than 500 arts advocates from across the country met in Washington, D.C., to tell their elected officials about the important role the arts play in the lives of constituents and the communities where they live.
Gaining Traction (or the Slip ‘n Slide), Part 2
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.
Seven Questions for Pico Iyer: Dance as a Window on a Very Foreign Culture
To study dance today is to gain a window on a very foreign culture often (when I was growing up in England, all we could learn was the foxtrot or the polka). And this itself moves children to think of home in a much larger, perhaps more invisible way