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Participants in a Write Back Atcha talk together and write in a theater lobby. On top of the image, the logos for Art Philly's What Now Festival and thINKingDANCE's Write Back Atcha series are displayed.
  • News

thINKingDANCE hosts “Write Back Atcha” series at ArtPhilly’s What Now Festival

Noel Price-Bracey
Historic postcard image from the 1930s–1940s showing the Flagler Memorial Bridge illuminated at night, spanning the water between West Palm Beach and Palm Beach, Florida.
Photo: courtesy of the Tichnor Brothers Collection, Florida Postcards Series
  • thINKpieces

Dancing Across the Bridge from Epstein: A Beautiful Place of Horrors

Lauren Berlin

A reckoning with girlhood, dance, memory, and power in Palm Beach County

Douglas Dunn stands wearing a bright yellow mask which covers his eyes. His right arm is extended to his side while his other rests on a wooden chair painted with yellow flowers. He wears a grey vest, red tie, and dark pants--a contrast to dancers Dongri Suh and Janet Charleston who stand behind him weaering flowered garlands around their heads and wear tulle skirts. A video of two waterfalls is projected onto the wall behind them.
Photo: Jacob Burckhardt
  • Reviews

Douglas Dunn’s Post-modern Pastoral

Brendan McCall

An intrepid choreographer examines classical forms through a post-modern lens

Two people draped in brown fabric rest their heads on one another’s shoulders in front of a white background. The image is edited with faint red and blue outlines.
Photo: Kosoko Performance Studio
  • Reviews

This Is Not Surveillance. You Gon Have To Participate.

Caitlin Green

//shrouded\\ evokes a necessary discomfort within the container of performance.

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

Four dancers move in front of a large abstract painting rich with textured color, their bodies reaching, extending, and twisting in multiple directions. Their hands and feet reach upwaerds, downwards, and away from us, creating dynamism in the air. Along the edges of the painting, bystanders stand and look--some at the dancers, others at something unseen.
Photo: Maria Baranova
  • Reviews

Perception is Participatory

Brendan McCall
  • John Jasperse frolics amidst fields of perception in this site-specific collaboration with artist Julie Mehretu.
Three people sit in an oblique triangle that fills the frame. To the left, a musician, Aabeizer, sits on a black bench in carpenter jeans and a dark t-shirt. His eyes are closed and his feet bare. He moves his hands around a circular plate and wooden dowels that extend from a wood board he holds against his chest. To the right, a saxophonist, Bhob Rainey, sits on a folding black chair in a black cardigan and grey pants, blowing into the mouthpiece and pressing the keys. Between them, a person with short red curls, Kayliani Sood, crosses their legs on a white stool, sitting higher than the musicians beside her. They wear brown shorts over grey pants and a black t-shirt with a blue square patch in the center. She rests one hand on her knee, and the other over their forearm, closes her eyes and tilts their head pensively to the right.
Photo: Loren Groenendaal
  • Reviews

Unscored Improvisation, H-O-T or Not?

Xander Cobb
  • Does dance need meaning to be meaningful?
In a close up photograph, ten dancers in spaghetti-strap leotards lean in, their eyes covered by a sheer black cloth. The middle dancer, closest to the camera, is mid-scream. Behind the dancer is the newly engraved building signage reading “The Donald J. Trump and John F. Kennedy Center.” Some words are covered by the dancers’ heads.
Photo: Courtesy of The First Amendment Troop
  • Interviews

The Epstein Files and Redacted Bodies 

Megan Mizanty
  • An interview with choreographer Matthew Steffens on ResistDance vs. Redaction
Two dancers in long-sleeved red tops face away from us with arms round one another’s waists as their free arms reach outwards. There are singular, red feathers extending from their heads many feet into the upwards space. To the left of the duet, we see a large Taiko drum.
Photo: Mike Hurwitz
  • Interviews, thINKpieces

Afterglow: The Dancers of KYL/D Take a Final Bow

E. Wallis Cain Carbonell
  • ‘Anticipating something and hoping it will be everything you wished for’
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From the Archives

A collection of featured work from our archives across the years

Photo: Intellect Books
  • Reviews

Dialoguing Ethics in Dance

Leila Mire
  • It is often taken for granted that dance, a field that proclaims to celebrate humanity, places ethics at the forefront of its
Photo: Amber Johnston
  • Reviews

I present a present presently

nikolai mckenzie ben rema
  • Stacking on bones like a winter blizzard...time can accumulate/elongate and backflip on itself.
  • Reviews

A Dance of Attention

Megan Bridge
  • Presence isn’t about acting, or charisma, it’s about directed and specific consciousness.
Photo Credit: Robert Eticheverry
  • Reviews

Everyone’s Dancing in “Le Grand Continental”

Jonathan Stein
  • The post-moderns not only asked “what is dance?” but also “who can or should the dancer be?”. The latter question will soon receive the resounding answer--“Everyone!"

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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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