Food has played a role in Jay Carlon’s work since 2020, when the pandemic prompted his deep reflection into what it would look like to decolonize performance. “I wanted to do that with feeding the audience,” he remembers. “If you ever go to a Filipino household, the first thing that they will make you do is eat, and if you don’t eat, it’s rude. So I was trying to infuse that into my practice.”

How do you turn writing into a dance? How do you mine your own trauma without re-experiencing it? Dance Magazine talked to Dorsey and two other choreographers making biographical and memoiristic work to hear about their unique processes

Remembering award-winning dancer, director, choreographer and teacher Chet Walker, an expert in the work of Bob Fosse.

The college dance scene can be a great resource for early-career choreographers looking to dip their toes into teaching or make new work on students, as it usually comes with a flexible schedule and considerable artistic freedom.

Generating feedback that feels aligned with the goals of your work can be a challenge—as can knowing what to do with that information once you get it.

How much should you personalize the audition material, imbue it with a sense of who you are, express­? After all, isn’t that exactly what art asks of artists?

My recent book, Shifting Cultural Power: Questions and Case Studies in Performance, imagines equity-based models in dance that decenter whiteness.

Getting commissioned to create a brand-new piece sounds like a dream to most freelance choreographers. You get to work with talented dancers, in studio space you don’t have to reserve yourself, sometimes with carte blanche regarding choreographic themes, music and even cast size. But, at least in concert dance, these gigs typically operate on a […]