She's blonde and beautiful and moves like a panther, and has a smile and warmth that make you want to hug her. And is she talented! Meet Mia Michaels ­ choreographer, director, teacher.

When I first saw her teaching at The Broadway Dance Center in New York City, I was mesmerized by her choice of music and movement. Clearly, this was someone who had something new to say. And, say it she does! You don't need program notes to enjoy her work. The actions speak louder than words ­- as good dancing should.

A year ago, I saw one of her pieces and was thrilled by the innovative use of ballet and modern technique. Last month, Mia Michaels presented her company, R.A.W. (Reality At Work), in its New York debut, and audiences fell head over heels in love with Mia and her fabulous dancers. Let's find out what makes Mia so special . . .

Finis: Mia, I know you're flying in and out of NYC these days teaching at various conventions, and your company had a very successful debut here in NYC. What next?

Mia: Right now I'm working on some new rep for the company, which we'll be performing in Korea this June.

Finis: That's good news! What's the work like?

Mia: It's a solo piece for Ioana Alfonso.

Finis: Music?

Mia: We're working on it right now, it's an original piece using a vocalist here in New York City.

Finis: What's it about?

Mia: What I've just come through in my life. Basically, it's about standing alone.

Finis: That's a Buddhist point of view. Can you tell us more about what you've been through?

Mia: All my work comes through what I've experienced in my own life. Recently, I've been thinking about my roots -- what's made Mia Michaels since a child -- I've sensed maybe I lost my foundations, a lot of it has shifted, or fallen away, or died.

Finis: That sounds like the life process which we all go through, sooner or later, even again and again.

Mia: I'm still in the process of pain and loss, and uncertainty.

Finis: And is this then what motivates your creativity, your work?

Mia: I've been thinking a lot about my life, and see a lot of pain in my past, but I don't think I would be an artist if I hadn't been given all that experience. I just guess that's my calling.

Finis: But you know, most artists -- most great artists -- will probably say something similar. In that they are spurred on to creativity by experiences which have affected them greatly and made them think and take another look at themselves . Certainly it's obvious when seeing your company perform that there's a great deal of thought and feeling in the work you put out. And it's coming from somewhere deep. Well, why don't we go back to the beginning. How did you start dancing, and where?

Mia: I was born into a family of dancers and grew up in a studio atmosphere in Florida. So, all I knew was dance. You did your homework in the dance studio, you ate in the dance studio, you only left the studio to sleep. . . sometimes.

Finis: Tell us more.

Mia: When I was really young, around age 3 . . . I wanted to be a horse. i didn't understand humans couldn't be animals. My mom said no, I couldn't be a pony. Another warped one is to be skinny, to be thin -- which I never was -- I started choreographing when I was 7 or 8, and started nurturing that as I grew older. I was one of those kids in dance class who would change the choreography and stylize it -- I would always change it to make what I thought was better. Finally, my dad, who was my teacher, would tell the class to do what I was doing, and eventually I started teaching my own classes. I was blessed to have that opportunity.

Finis: How did you get started teaching in New York?

Mia: I was living here temporarily, I wanted to be noticed as a teacher, but no one believed me or gave me the time of day, so I wound up selling ballet shoes at Sansha, the store that used to be on the second floor of the old Broadway Dance Center. I offered myself to BDC as a sub teacher, but nothing happened. The reason I took the job at Sansha was so that I could be near dancers. I was even sweeping floors for free classes at BDC and at DanceSpace, another studio downtown. And then I got angry because I wasn't getting anywhere, so I went back to Miami. Then about six months later Frank Hatchett recommended me to BDC because he had seen me at a convention. Then my classes and reputation started to build, and I was able to move back.

Finis: That must have been when I got so mad at you because you were teaching in the studio right next to me, and the bass was booming through the wall!

Mia. Yes, you hated me!

Finis: Yes, that booming drove me nuts! However, when I saw WHAT you were teaching I was very impressed and respected you for it. I saw that you were doing something very different from other teachers and I liked what I saw. I loved watching you dance. And still do! And here we are today, having a great time together. And, you of course went on and your career as teacher and choreographer blossomed. Tell us about it.

Mia: I worked with Jon Secada, Jimmy Raye, Gloria Estefan, Cameo, and Prince. I also worked with companies like the Jazz Theater of Amsterdam, Joffrey II, The Kirov Academy, Utah Contemporary Dance Theater, Miami Ballet, and a soloist with Miami City Ballet. I was also on the faculty of The New World School of the Arts, and the Harid Conservatory. This summer I will do a piece for Le Ballet Jazz du Montreal, and right now I'm talking with Hubbard Street.

Finis: Good for you! I love Hubbard Street. You've worked with top people and everything looks promising. What dreams do you have? What would you like to do if you could have what ever you wanted?

Mia: Right now, in my life, my biggest goal is to be the best I can be. The best artist, the best person, in every aspect of my life. I know that when you do that, the best things will come to you. I just want to continue to grow, to be the best I can be.

Finis: How do you go about doing that?

Mia: The first thing is staying open.

Finis: Tell me a little bit more about out 'staying open.' What does that mean to you?

Mia: Staying open is allowing a higher power to use you as a vessel. It's looking at life situations and other artists and learning from them and growing. I think the human part of us wants to put up walls and close down. I think it means getting out of your safety zone and allowing yourself to be uncomfortable. I think the most growth comes when you allow yourself to be emotionally and physically uncomfortable.

Finis: You are absolutely right.

Mia: I believe that achieving another level is much more fulfilling that achieving another accomplishment. It's so hard! Sometimes achieving another award is so much easier than getting to another level.

Finis: I know what you mean, and that's why so many talented dancers never get past a certain stage. When you see them perform today, they dance the same as they always did. They're very uninteresting, which is one of the reasons I choose my dance performances very carefully. I can't stand to be bored by talented dancers who don't have any passion or urgency in their dancing, and even worse, think they know everything and don't question their work. That's why I like your dancers so much. They're humble, they want to learn, and willing to try something new. They trust you, follow your example, and really invest the performance with their whole lives. You can see (and I know, because some of them take my class at BDC) that they've put in hours and hours of hard work to do what they do on stage. They don't hold back anything, physically or emotionally. Which is what makes great art. When you say a higher power, what does that mean to you?

Mia: I think being brought up in a Christian home, I believe strongly in God, and I love God so much. As an adult, I believe in spirituality, I don't believe in religion. I believe there is a God, who is my source of strength, and I believe I was blessed with gifts. My duty is nurture it and make it grow, so I can share it to affect people's lives emotionally and spiritually.

Finis: Do you pray?

Mia: Yes, and I wish I would do more of it, and I know that if I did, my life would be even more blessed.

Finis: Well, Mia your feelings are certainly evident in your work, which makes you so wonderful. What are you trying to say with R.A.W.?

Mia: It's all the reality that's been part of my life ­ reality in everyone's life ­ that comes thru in my work. When audiences see where my dancers go emotionally, they can relate to that.

Finis: How true! What I see in your choreography is so physical and direct, and has so much depth of movement. That's why your work is so fascinating. You're really totally honest and out on the edge. You're telling us things that go directly to the heart. Your dancers talk with their bodies and, by the evening's end, we've gone somewhere we hadn't expected to go when we entered the theater. That is truly a gift! No wonder you feel pain. You are a creator!

Mia: You know, when I was working on my women's piece, I got annoyed because it looked like the dancers were just doing the steps, and my intention wasn't coming across. I finally got so angry, and I got up and said 'just watch!' So, I did it with Corinne McFadden, and after we did it, all the dancers had tears and saw what I meant. (While interviewing Mia, Corinne was sitting next to us, and as Mia described the scene, Corinne was reminded of how emotionally charged it was, and left the room in tears.)

Finis: Again, I think this is what makes you so special. Like a storyteller, or composer, you are putting down your life for all to see. You've experienced the pain and the pleasure, so you know what you need to see on that stage. It is reality at work!

Mia: If I can tell anyone anything, the most important thing is to stay open -- through pain, joy, love, and anger, and allow it to come out of your dancing. I want people who take my classes or do my choreography to feel released, like they've let go of a lot of stuff emotionally. I think if dancers would allow themselves to show what they feel as people, it would make them better artists.

Finis: You've hit the nail on the head. And that takes guts. And humility. Which is where spirituality comes in. We need to tune into a higher power. Mia, I'm so happy for your success, and as our readers can see, you've certainly worked for it. Thank you so much for sharing with us. Keep going and never stop!