Dance/USA matches mentors with rising arts administrators to enhance leadership and decision-making skills and gain a broader perspective on the field. Read about one mentor-mentee match.
Dance/USA matches mentors with rising arts administrators to enhance leadership and decision-making skills and gain a broader perspective on the field. Read about one mentor-mentee match.
Are you protecting your artistic legacy? How do you preserve programs, photographs, moving images, costumes and other materials? Read about Dance/USA's archiving services.
Dance/USA Honoree Dianne McIntyre says, "A dance company is like a family; emotions rise and fall -- clashes, love and all kinds of things in between."
Are your programs and performance videos stored in a basement or under your bed? Dance/USA's Director of Archiving and Preservation explains how to protect and preserve your company's artistic legacy now.
Presenters from around the country have turned to "celebrity" dance artists to curate programming. Some prominent dancers are also curating their own independent works. Read more from Isabella Boylston, James Sofranko, Justin Peck, and Tiler Peck.
Celebrated dancers have been curating more and more performances. Hear from dancers and presenters about the experience, including The Kennedy Center, Jacob's Pillow, and The Music Center in this two-part series.
Fashion designers have had a long tradition of creating costumes for choreographers, from Coco Chanel’s knit swimsuits for Ballets Russes’ “The Blue Train” to the bold, black-and-white striped Norma Kamali pajamas for Twyla Tharp’s “In the Upper Room.” Dance and high fashion have their proponents and faultfinders. Read on..
Ann Williams receives the Dance/USA Ernie Award this month at Dance/USA's annual conference in Austin, Texas. Williams founded Dallas Black Dance Theatre and her tireless dedication to the dance world and to encouraging black dance around the country has empowered young dancers, leaving a lasting legacy.
Judith Smith cofounded AXIS Dance Company in Oakland, Calif., as one of the first contemporary dance companies to create and present dance on dancers with physical disabilities who used wheelchairs, prosthetics and crutches performing alongside nondisabled dancers. In May 2016, AXIS brings together physically integrated dancers and dance companies, presenters, dance service organizations, and funders with expertise in this area for the first time since 1997.
A professional life in the dance field is often a fragmented one. Few choreographers have the luxury of working in the studio with a group of full-time dancers. One powerful antidote to this fragmentation comes in the form of artist residencies, which allow for time and space to develop choreographic projects. Read on for Ellen Chenoweth's look at a few models that support artistic exploration through the artistic residency.