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A woman with short cropped hair wearing a long white tunic balances on her left leg in front of a large stone pillar and a section of the American flag. She looks over her extended right arm, her wrist gently lifted.
Photo: Meg Goldman
  • Interviews

The Truth Lives in The Body

Lauren Berlin
  • Reflections from Naomi Goldberg Haas on Movement, Belonging, and the Body as a Place to Return
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

A group of dancers move together in a clump holding toilet plungers, some of which are donning messy black wigs or flightlights-as-eyes.
Photo: Jenna Maslechko
  • Interviews

By the Way, You Can Laugh

Rachel DeForrest Repinz

Brian Golden on disability, play, and humor as access.

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

Two white women with bright red hair pulled back loosely, wear black pants and tank tops and accentuate the curves of their waists, leaning into their hips and slightly covering their eyes with elbows bent at different angles. They are loosely connected by a thin, red thread and in the background there is a hill constructed of wooden blocks against a white wall. Completing the scene are red galoshes, two picture frames hung above the hill and a large new moon hung from the ceiling.
Photo: Shosh Isaacs
  • Reviews

Jack and Jill Trudge up the Hill

E. Wallis Cain Carbonell
  • "No one help me. I’m falling towards wholeness."
David Adrian Freeland Jr., wearing a blue sleeveless top and pants, and Morgan Lugo, wearing a red sleeveless top and pants, kneel facing each other on the red-lit stage. With closed eyes and tilted heads, they touch palms, one arm straight and the other bent by their cheeks.
Photo: Stephanie Berger
  • Reviews

A (Mostly) Moving Romeo & Juliet for Our Times

Caedra Scott-Flaherty
  • Benjamin Millepied’s Romeo & Juliet Suite uses dance, theater, and film to retell a timeless tale.
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.
Green-toned book cover featuring the silhouette of a forest and leaping figure with the title “Ways to Move: Black Insurgent Grammars by Jonathan González” on the right, and poetic text on the left reading: “i want to be with you in the ways with you of vertigo seas,” “i want to be with you in the ways with you of smashing monuments,” and “i want to be with you in the ways with you of these lonely trees.”
Photo: Courtesy of Jonathan González and Ugly Duckling Presse
  • Book Reviews

On Language Learning

Emilee Lord
  • A reading of Ways to Move: Black Insurgent Grammars by Jonathan González
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From the Archives

A collection of featured work from our archives across the years

Photo: Mark Garvin
  • Reviews

Mayhem and Laughter at People’s Light

Kristen Shahverdian
  • A Christmas Panto created a community for an afternoon and a chance to celebrate each other.
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: Bill Hebert
  • Reviews

Wish You Were Here: “Fresh Juice” Serves Up Age Old Questions In A New Vessel

R. Eric Thomas
  • It was easy to imagine yourself on the stage of the Performance Garage at some point during “Fresh Juice”
JJ Tiziou / jjtiziou.net
  • Reviews

Seen and Heard: It’s Music to My Eyes

Ellen Gerdes
  • Promising “potential for disaster and greatness,” Blind Date: dance and music duos presented far more greatness than disaster.

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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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