Dance/USA's Board Chair Michelle Ramos is committed to breaking down silos in the dance community through programming that focuses on diversity, equity and intersectionality. And in her spare time she just earned her PhD, runs marathons and takes class. Read more in Leadership Corner.
I don’t know that the dance field is any worse than it ever has been, but universally dancers still struggle with the question: How am I going to make a career out of this, said dancer-turned-photographer Jonathan Givens. Read on for more.
Relevance, community, place-based work, and truth telling were the topics discussed at Dance/USA's 2018 Dance Forum. The event focused on examples of work that represented the future of the dance field in different ways. Read on for more.
During this season of gratitude, From the Green Room shares letters from a mentor and mentee participating in this year's Dance/USA Institute for Leadership Training. It's a reminder to us all to thank those who have supported us over the years.
Measuring organizational success in terms of constant increases in size and scope creates unsustainable structures and programs. A new paradigm is needed, read Anne Dunning's proposal to learn more.
The dance world has a long history of working with military veterans, from choreographers who have celebrated the heroics of veterans or looked at the vestiges of war, to a range of movement programs for veterans. Read on to learn more.
Get a peak at The Wallace Foundation's studies on how arts organizations - including dance - can utilize market research to expand their audiences.
In Sept. 2017, Kentucky Governor Bevins said: “If you're studying interpretive dance, God bless you, but there's not a lot of jobs right now in America looking for people with that as a skill set." Dance professor Karen Bradley disagrees. Find out why.
In 2016 a Dance/USA staff member spent 10 days in Kansas City exploring the local dance community. Learn about the Dance/USA Staff Residency Program and the Kansas City dance community.
Who do critics write for? Do informed arts patrons need something different than artists? What about the artists, who decry the demise of dance criticism, yet blast the critic as ill-informed when a bad review runs?
