Articles filed under Mind of the Artist

  • Dancing Around The World


    In mid-2015, dancer/choreographer Nejla Y. Yatkin began a yearlong tour to engage, connect, and collaborate with people and sites around the world. Learn about Yatkin's process for preparing for Dancing Around the World, which took her to 20 cities.

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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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  • Letter to a Young Dancer


    Choreographer and 2011 Dance/USA Honor recipient Lar Lubovitch recently composed this letter to an anonymous young dancer. It should be required reading for anyone who wishes to dance. Just as he choreographs, Lubovitch writes, too, with great humanity and understanding of an emotional inner life residing within each of us. Read on.

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  • A Call For R/evolution


    More on Sarah Austin’s recent controversial Dance/USA article, “Is American Modern Dance a Pyramid Scheme?” as the conversation continues in From the Green Room. Jennifer Edwards contends this issue in the dance field is a symptom of a larger cultural, socio-economic shift that continues to affect both the arts and education. This is a shift in the perceived and broadcasted value of learning, experience, and critical thinking.

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  • Company Spotlight: Winifred Haun & Dancers


    The first in a series on Dance/USA’s From the Green Room focusing on member dance companies and their model programs. This month we look at Chicago’s Winifred Haun & Dancers, a small company that has evolved to make long-term, larger projects reflecting the choreographer’s artistic curiosity.

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  • Upping the Ante on Writing About Dance


    Good dance writing informs potential audiences about interesting dance in their midst, helps acquaint presenters and funders with artists’ output to frame artists’ work within a wider cultural, artistic and socio-political context. With shrinking space for dance coverage at traditional media outlets, new forms are taking hold. Learn how a collaborative community-based effort to publish high-quality dance writing is taking hold in one city. Lisa Kraus, founder of thINKing Dance, reports.

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  • Ten Steps To Enhancing Dance Writing in Your Community


    Want to jump-start dance writing opportunities in your city or region? Check out these 10 tips from founder of thINKing Dance in Philadelphia.

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  • Simple Gifts: The Spirit of Sharing


    Thanksgiving is almost upon us, and you know what that means. It means that we are in the homestretch of the Dance/USA Institute for Leadership Training (DILT) mentorship program. In the spirit of the season, I wanted to share with you the gifts for which I am most thankful.

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  • Everybody Knows This Is Now Here:


    The Mountain Empire Performance Collective explores ways of making work beyond geographic limitations. Utilizing both traditional and contemporary methods of communication, including video chats, telephone calls, letter writing, emails, and traditional methods of working together face to face, they make works that test the limits of communication and technology. Read Eliza Larson and Rachel Rugh in a collaborative piece that replicates in written form how they choreographically merge ideas and movements across the country. Technology, initially a means to an end, has become an integral part of the choreography, both in process and in performance. Read how they do it here.

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  • Performing Tradition, part 2


    The past decade has seen the emergence of interesting hybrids between old and new technologies and aesthetics. An example is the evolving phenomenon of house concerts -- small, acoustic music and dance performances held in private homes. The ambiance is informal. Usually the audience is limited; anywhere from 10-20 people, who contribute a comparatively small fee for the privilege of hearing music up-close and personal. These events are rekindling what music must have been like when it was enjoyed socially in people’s homes, and yet they thrive in the era of social media, and are marketed via Facebook, and captured and shared using Instagram, Vine and other media outlets.

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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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