Elyse Fahey, a dancer and studio owner in Albuquerque, NM, offers a counter perspective, describing why she is a ‘dance-class dancer,’ through and through.
“Being the Voice of People Who Can’t Speak”
Maurice Reed, a member of the Artistic Ensemble of San Quentin, discusses how the ensemble tackles social issues and why it’s important to give voice to those who can’t speak.
“What We Can Create Inside These Walls”
Edmond Richardson, a member of the Artistic Ensemble of San Quentin, shares a peek into the ensemble's creative process and his favorite moment from a recent piece.
Of Butoh, Bogotá and the Brain
Brenda Polo, a butoh dancer and the director of Manusdea Antropología Escénica in Bogotá, Colombia, shares how butoh can address the violence in Colombia, as well as her…
Artistic Opportunities for All Abilities at All Stages
Tiffany Tjosvold, director of Embrace in Victoria, BC, shares the breadth of Embrace’s programs for kids and adults with and without disabilities, as well as the impact it has…
The hallmark of dance training is class. Which is why I have a fair amount of guilt about finding less and less joy and satisfaction in taking class. Here’s why.
Nikhita Winkler, founder of Nikhita Winkler Dance Theatre in Windhoek, Namibia, shares how she has applied her training in Europe and the US to develop and amplify the dance scene in her home country.
Bosnian/Swedish/American choreographer/performance artist mersiha messiha reimagines the idea of the body to address larger social issues in the globalized world.
Choreographer/director Shaun Keylock in Portland, OR shares how his work explores facets of LGBTQ identity as well as how he is working to preserve Portland’s contemporary dance history.