Articles filed under Engagement

  • Autism-Friendly Performances Offer Potential To Bring In New Dance Audiences

    For parents of children on the autism spectrum or families coping with a member with social cognitive disorders, finding artistic and cultural activities that are appropriate can be challenging, if not impossible. A number of theater and dance companies are beginning to offer these families options for a non-judgmental, expressive theater-going experience. Read on to see how companies are adapting classics like The Nutcracker and creating new works for this small but important -- and growing -- segment of their audiences.

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  • Authenticity: The Best 'Best Practice'

    The art world is too small to have competition among administrative teams, write Jennifer Edwards and Sydney Skybetter, either from different organizations or within organizations. Read more about our need for need multiple thriving arts organizations in each community to grow a healthy arts market overall.

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  • EDA: One Piece of the Audience Engagement Puzzle, Part 2

    Catch up on Dance/USA’s Educating Dance Audiences research and best practices with this report by EDA director Suzanne Callahan.

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  • Reforming the Rules of Engagement, Round Two

    This moment of reformation [in the arts field] is not a threat … It’s an invitation for us to think more expansively …. Yes, we have been obsessed with the performance or the exhibit … [and] with contextualizing or introducing audiences to [them] or with talk-backs. But forward-thinking organizations are asking new questions.

    Ben Cameron, program director for the arts, Doris Duke Charitable Foundation, Speech for Arts Fund, Atlanta, December 2012

    Read on to find out more about how Dance/USA through Educating Dance Audiences (EDA) has begun to harness new thinking to create new models for 21st-century dance organizations.

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  • The Sustainability Dance

    What does sustainability look like in the making and presenting of professional concert dance? We turned to Dance Exchange for some sustainable practices to consider.

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    The Child's Bill of Rights in Dance requests equal access and opportunity for all persons in the United States regardless of gender, age, ethnicity, socio-economic status, interest or ability. Dr. Radi Shafie recently posted a petition on the White House website seeking 100,000 signatures to support the bill of rights. Read on to learn more.

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  • Dance/USA’s Engaging Dance Audiences Awards Nearly $1 Million to 20 Members

    Twenty Dance/USA members receive nearly $1 million to support innovative audience engagement activities that will serve as best-practices models for the field. Read on for details of the grant recipients.

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  • Two Shoes, Same Foot: Vernacular Dance & Concert Dance

    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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  • Two Shoes, Same Foot: Vernacular Dance & Concert Dance, Part 2

    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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  • It’s All in the Journey

    An artist-centered sharing of culture and creativity is a practice embraced by many choreographers; serving an essential purpose in fortifying artistic inspiration and creative explorations, stimulating the artistic journey from the studio to the stage.

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Covering the business of dance for dancers, choreographers, administrators, dance organizations and foundations with news, commentary and discussion of issues relevant to the field.
Editor: Lisa Traiger

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