• Leadership Corner: Sixto Wagan, Director, Center for Arts Leadership, University of Houston


    "Arts leaders have gone through a period of professionalization in the past decade or more,” said Sixto Wagan, director of the Center for Arts Leadership, University of Houston. Read on for more on leading in the 21st century.

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  • Staying Relevant in a Changing Neighborhood


    How can arts organizations more fully reach and engage their communities and audiences? The Wallace Foundation looked at how Philadelphia's Fleisher Art Memorial revamped its programs in the face of changing neighborhood demographics. Read on for more.

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  • Expanding Possibilities


    As I navigate my identity as a black, female artist, I’m especially interested in creative efforts that prioritize cultural equity and embody more empowering models of community participation, writes dancer and dancemaker Katrina Reid. Read on for more on opening up possibilities for women choreographers of color.

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  • A Model for Equity: Diversity and Inclusion


    Lack of clarity on what diversity and inclusion mean in our current climate is a great way of not realizing either of them as a goal. Is diversity the same thing as inclusion? If we manage to create an environment of inclusion, does that mean we have diversity? Is it true that we can have diversity without any inclusion? And, finally, perhaps the most powerful question, why does it matter that we achieve either of these equitable goals? Read more in this essay from  the National Association of Latino Arts and Cultures.

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  • The Utility of the Creative Process


    The average dancer leaves performing by their mid-30s, often facing the critical question: What’s next?

    Until recently, the answer has been all but clear. It would seem obvious that decades of intense discipline, long hours of practice and deep passion and commitment for the craft would produce a valuable human being with a skill-set worthy of a potent and fulfilling second career. Yet, many retired ballet dancers relegate themselves to becoming teachers of dance – a noble endeavor that only some genuinely enjoy – or transition to a similar profession utilizing a portion of their physical intelligence (bodywork, Pilates, physical therapy, etc.) 

    What can dancers do beyond dance? Read what dancer and arts executive John Michael Schert has to say on this topic.

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  • An Unconventional Perspective From Stables to Studios


    Joanna Mendl Shaw has taught dancers for many years. But it was when she began working with horses in large-scale choreographic pieces that she gained new insights into what dance teachers should be doing in the 21st-century studio to train healthy, competent and creative dancers. To learn more, read her piece exclusively in From the Green Room. 

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  • Comprehensive Corporate Relations


    There has been a fundamental shift in the way corporations interact with universities. Though developed in a university environment, the Network of Academic Corporate Relations Officer’s Five Essential Elements should be of strong interest to the arts and culture sector and can provide a valuable guide to improving the ways in which cultural institutions can offer better value to, and enhanced relationships with, corporate partners. Read on to further explore these mutually beneficial partnerships.

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  • Residencies on the Rise


    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.


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  • Dance/USA’s Fall Forecast: Policy and Legislative Update


    Brandon Gryde, Dance/USA's director of government affairs, gives us the scoop on the legislative issues dancers, choreographers, company managers, board members and executive directors should be watching in Congress this fall.

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  • Reports of the Death of the American Dance Critic


    Like great American humorist Mark Twain, who remarked that “reports of my death are greatly exaggerated” upon hearing that a New York journal published his obituary, the same holds true for the long-reported dying art form of dance criticism. Writer Christine Jowers contends that dance criticism in America is far from dead. It is evolving. Read more in her response to a recent article in The Atlantic.

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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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