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nora chipaumire, a Black African woman takes the stage in 100% POP with her collaborator, Shamar Watt, a Black Jamaican man in a black Adidas tracksuit and red-green-yellow, Zimbabwe-flag-colored Nike shoes. As he runs through the frame upstage, backgrounded by a grungy, urban wall, chipaumire captures the camera’s focus as she jumps into the air, one knee tucked up to her chest, the other a foot off the ground. Wearing a ripped white shirt, black track pants, and all-white high tops, chipaumire gazes down at the ground while she leaps up, as if stomping her way back to Earth.
Photo: Ian Douglas
  • Interviews

The West Did Not Make Me

ankita
  • An Interview with nora chipaumire
Performers Bria Bacon and Okwui Okpokwasili, both Black women wearing black, stand in the middle of a spinning structure at the center of the room, surrounded by a seated audience. The structure is round with a black bottom and reflective panels about 8 feet tall surrounding it. Through the spaces between the panels, Bacon and Okpokwasili are seen standing close together, facing each other. Becon's knees and arms are bent. Okpokwasili has a hand on Bacon's head and gazes above it.
Photo: Ava Pellor
  • Reviews

My Tongue is a Blade, is a Blade, is a Blade

Caedra Scott-Flaherty

Sweat Variant’s new durational work tests the limits of attention.

From left to right, dancers Dormeshia, Rachna Nivas, Rukhmani Mehta and Michelle Dorrance. They are in motion. Dormeshia and Dorrance wear white pants, thigh length white tunics, and tap shoes. Nivas and Mehta wear white leggings, long white dresses with golden details on the skirts and bodices. They have bands of bells around their ankles and are barefoot. The tap dancers have a quality of bending and sending energy into the floor. The Kathak dancers are lifted, arms raised, poised.
Photo: Richard Termine
  • Reviews

Joy in SPEAK

Emilee Lord

When Masters Converse

Mulunesh, a Black woman in a thick, hooded raincoat, stands crookedly with her weight shifted over one foot. Her arms are lifted out from her sides and her hands are in fists. She is lit with harsh, bright lights, and boxed in on three sides with heavy transparent plastic. Behind her, a sheet of white marley and two red cables dangle limply, as if caught mid collapse. The floor beneath her feet, made of the same white marley, is spotted with piles of black paper confetti.
Photo: Bas de Brouwer
  • thINKpieces

Decomposing Mediation: On FRANK

Writings from tD's Emerging Writer's Fellowship

thINKingDANCE is a consortium of dance artists and writers who work together to provide critical coverage for dance, to build audiences for dance, and to foster the art of dance writing.

PARTNER CONTENT

The Latest from thINKingDANCE

A dancer caught mid-head spin with white sneakers punching into the air while a crowd of others watch intently, arms reaching towards each other.
Photo: Courtesy of Rennie Harris
  • Reviews

When do we Shout If Not Now?

Noel Price-Bracey
  • In Losing My Religion, Rennie Harris models resistance, teaching us to never tire until “victory is won.”
Dancer and Author Leslie Satin stands behind her book table, stacks of green spines in front of her. She has long strawberry blonde hair and long black sleeves. She is gesturing with her right arm up and palm wide open while she speaks to a group of four young women.
Photo: Todd Carroll
  • News

We Write Our Histories

Emilee Lord
  • An afternoon in NYC asking authors why books matter.
On a black marley floor and dimly lit stage, Amalia Colon-Nava and Anna Scattoni stand far left facing the audience. Behind them, three more dancers are captured in motion. Amanda Rattigan and Kayliani Sood are leaping, as Ian “Seven” Tackes is mid-handstand.
Photo: Jano cohen
  • Reviews

Carrasco/Haworth DANCEUPCLOSE: Where Artistic Rigor & Wit Meet Tender Touch

Caitlin Green
  • The complexity of care and connection
Four people in a desert. On the left, a woman with black hair in a red dress sits, a dusty backpack at her feet. Next to her, a bearded man with short brown hair sits looking down, his hands on his knees. To his left is a second man, bald and bare from the waist up, with tattoos covering his left arm and his right arm missing his hand. To his left is a third man, standing, with one hand on his right hip. He is older than the rest, has a white beard, and wears a light blue shirt.
Photo: Quim Vives
  • Reviews, thINKpieces

Nothing But Dust

Brendan McCall
  • Mysticism and rave culture collide in Oliver Laxe’s latest film "Sirât"
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From the Archives

A collection of featured work from our archives across the years

Photo: Vikki Sloviter
  • .

BalletX Reflects on Loneliness, Hope, and the Holidays

Christina Catanese
  • A Nutcracker-alternative, holiday-inspired dance, perfect for anyone who has ever felt isolated by holiday cheer.
Photo: Steven Gunther
  • Reviews

Lionel Popkin and Gabrielle Revlock at the Performance Garage

Jonathan Stein
  • The declarative title of Lionel Popkin's "There Is An Elephant In This Dance" cued us to look for a pachyderm. But "Aida" it ain't.
Photo: Anna Drozdowski
  • News

Elizabeth Zimmer Works With Philadelphia Writers: Shock and Awe!

Kariamu Welsh
  • Elizabeth Zimmer, the venerable New York dance critic ran one of her infamous Kamikaze workshops with the newly formed thINKi
Photo: Johanna Austin
  • Reviews

Women With Saying Power: The Requisite Movers

Kirsten Kaschock
  • The movement artists and choreographers calling themselves The Requisite Movers sat on the stage to field questions.

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thINKingDANCE gratefully acknowledges support from the Philadelphia Cultural Fund, the Pennsylvania Council on the Arts, and from our readers and other individual donors like you! thINKingDANCE is supported by Critical Minded, an initiative to invest in cultural critics of color cofounded by The Nathan Cummings Foundation and The Ford Foundation.

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