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Around 20 workshop participants pose in front of an abstract oil painting in a bright gallery. They are all in different positions inspired by the artwork. Many stretch their arms out and up as if reaching. Some arch their backs or bend forward.
Photo: Chika Kobari, courtesy of KinoSaito
  • Reviews

The Four Mothers of Miki Orihara, or Learning Dalcroze’s 20 Gestures with my Daughter

Caedra Scott-Flaherty
  • Miki Orihara explores early modern dance and mothers in her newest work.
Eight dancers, all wearing loose white fabric, lean into one another and stare directly at the camera. Some rest their heads on one another’s shoulders; all lean inward toward the middle dancer, who sits in a casual seated position.
Photo: Artur Gevorgyan
  • Reviews

Sips of Stories: A Testament to (Short) Time

Megan Mizanty

Three Years, Boundless Connections

A dancer dips into a low second position, leaning over her right knee, chest and chin lifted, an open right hand reaching. Her silver top and the billowing folds of her skirt shimmer in the blueish light. Behidn her a row of dancers standing in gowns of different constructions and colors, sparkling and reflecting as behind them a video of a field path plays, one dancer in a yellow dress walking on screen.
Photo: Maria Baranova
  • Reviews

Multilayered Memory in a Feminist Timescape

Emilee Lord

Jasmine Hearn’s Memory Fleet: Beloved, Let’s Cross

A photo from Nami Yamamoto’s work of an Asian femme with blunt bangs and a shoulder-length haircut, standing open-mouthed. This image is translucently superimposed onto another image of two dancers wearing colorful tshirts and sweats, engaging in physical scores.
Photo of Nami Yamamoto by Elyse Mertz
  • Reviews

40-years-old and still kicking

ankita

Opening night at the Performance Mix Festival

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.

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The Latest from thINKingDANCE

Several lines of students are mid bounce/step, focused on executing the choreography. All face front toward a wall lined with mirrors. The instructor stands in the middle of the front row of dancers. Participants wear a variety of athletic wear–workout sweats, tanks, shorts, long-sleeve zip ups–and most dance in sneakers.
Photo: Kirwei Lo
  • Reviews

Variety and Conformity in Community Work

Zoe Farnsworth
  • The enthusiasm and community were vibrant, but the choreography left me wanting more at Philly Dance Day's 2026 Showcase
Nia Love, Vincent Thomas, Miko Doi-Smith, Paloma McGregor, Will Bond, Leah Cox, Elisa García Radcliffe, and Ruby Morales in Wicked Bodies at Arizona State University, Gammage (2022). Organized in three staggered lines atop individual black stools, (three dancers, two dancers, three dancers), the performers each assume a “superman” position on their stomachs, back muscles taught as arms and legs lift off. The dancers wear an array of costumes (billowing pants, structured blazer, expansive gauzy skirt, a polka dot jumper) in shades of black, white, fuchsia, and red. Collectively, they cast their gaze stage left, the direction of their “flight” as haze descends over the top ⅔ of the stage height.
Photo: Tim Trumble
  • Book Reviews, thINKpieces

A witch, some kitsch, and a theory walk into a book

Jennifer Passios
  • On Liz Lerman’s "Shape and Momentum"
At the RISE 2025 Summit held at the New York Library for the Performing Arts, panelists for a discussion entitled “Data is Revolutionary” gather in black office chairs with silver legs in front of a large projector screen that reads “Dance Data Project, Harriet Tubman Effect Institute, & Women Count” in a pastel blue above the title “Data is Revolutionary” in a light yellow. Six circles containing the headshots of the panelists dot the rest of the projection. Amidst the other seated speakers, Nancy Owen stands holding a microphone in her right hand. She leans forward toward the audience, eyes alight, mouth open in speech that slips through an excited smile. In the lower left corner of the frame, a bald man in a crisp blue suit brings the crook of his thumb and second finger to his chin at stage right. He looks out toward the audience with his chair angled away from the six panelists.
Photo: Victoria Detres
  • Interviews

Dance Leadership by the Numbers

Jennifer Passios
  • A Conversation with Elizabeth “Liza” Yntema of Dance Data Project®
Andrew Skeels, a White man with buzzed hair, wearing a black T-shirt, stands against a black background. He is turned to the side but looks directly out with a soft smile.
Photo: Damian Siqueiros
  • Interviews

Meanwhile, in an Indoor Meadow: An Interview with Andrew Skeels

Caedra Scott-Flaherty
  • A new dance and exhibition explore growth and change in an intimate setting.
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From the Archives

A collection of featured work from our archives across the years

Two women standing in a spotlit space, each with a yellow top and white pants with the taller, Zoe Rabinowitz, gazing aside, embraces and holds Mary McGrath to her chest, one arm around her blond hair, the other around her back, her face buried in Rabinowitz’s chest.
Photo: Sara Radin
  • Reviews

Two tD Writers + Two Fringe Shows — A Reflective Conversation

Jonathan Stein
  • Dance and theater from artists/daughters address their mothers’ dementia.
Photo: Colleen Sirisky
  • Reviews

‘Time of Truth’–A Coming of Age Dance

Rhonda Moore
  • The entire cast jockeys between individual and collective truths.
Photo: Sam Tower
  • Reviews

New Maps from the Fringe Festival

Ellen Chenoweth
  • What new connections and directions emerge this year from the Fringe Festival's explosion of artistic expression?
Photo: Julieta Cervantes
  • Reviews

We Are Moses

Kalila Kingsford Smith
  • Reggie Wilson/Fist and Heel Performance Group's Moses(es) brings to life the nature of leadership within a community.

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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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