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Three dancers in dynamic positions pose against a stark white background. On the left Annie Peterson wears a red bandana and a red pinnie is hunched over looking down. In the center a Vitche-Boul Ra dons a colorfully patterned shirt, has one arm akimbo and the other reaches out towards the lens. On the right Zeze Schorsch in a red tie dye tee with a black vest overlain leans back and looks towards the other dancers.
Photo: Melissa Simpson
  • Reviews

Consenting to Play

Nadia Ureña

Sometimes the performance is in fact play.

white person wears an astronaut helmet with the face shield down, though it doesn’t quite cover their chin. They stand with one foot in front of the other and hold up an arm, softly opening their palm to face forward as if waving or saying “hold up”. Turquoise light makes shapes on their open palm and their neck. They’re dressed in textures of blue, glimmering pants and a blue bomber with cinched ruffled seams along the arms. Two stage blocks rest behind them, one with a pair of plush white boots set atop.
Photo: William Frederking
  • Reviews

Calling All Querthlings

Xander Cobb

An extraterrestrial Gospel to absolve you of queer shame and anxiety – no promises.

Two bodies pressed almost into each other, fingertips grazing another’s hand. In front, a dancer in a modest white shirt and long skirt glances behind her through tousled hair. A second dancer dressed in black sackcloth hovers behind her, as if readying to whisper something in her ear.
Photo: Anna Siegel
  • Reviews

Circling with the Dybbuk

Madeline Shuron

Beloved Yiddish play is translated through dance. Madeline Shuron reviews Nell Adkins & Helen Sher’s Within the Fall.

Aylin Bayaz stares fiercely into the camera as her arm whips behind her head, the large red and gold fringed fabric she holds billowing out in front of her, completely hiding her lower body . To her right, Raul Mannola sits in a black suit strumming a guitar, his eyes closed as he listens to the music.
Photo: Richard Clark, Philippe Dedryver
  • Reviews

Flamenco Whenever, Wherever

Caedra Scott-Flaherty

The skillful duet brings to mind a dimly-lit café in Seville.

Abby Donnenfeld appears to have just landed an arabesque leap. She stands on one bent leg, enwrapped in billows of white tool, her other leg abducted, knee bent and toes pointing backward. Her left arm extends to the side, wrist flexed, she holds the opposite end of the billowing tool between her lengthened fingers. Her right arm, extending behind her head, isn’t visible. She looks definitely towards a spot just left of the camera, hair smoothed back, lips red, face relaxed and focused. The background is entirely white and nearly envelopes her white fabric.
Photo: Rob Li
  • Reviews

59th exhale: A night of questions, answers optional.

Xander Cobb

Textured worlds provoke dynamic questionings.

A black and white still of a scene from Daniel Stein’s Inclined to Agree, 1986. A muscular Stein lunges his bent left leg upstage, bending his torso to his left, wearing dress slacks , movement shoes and shirtless. He is stepping on two bunches of taught chords that run diagonally from his right ankle up to the rafters where more chords of varying lengths hang with weights attached . An empty door frame hangs from chords just upstage of Stein, it tilts towards him on a steep incline.
Photo: Daniel Stein
  • Book Reviews

B.F.F. (Before the Fringe Festival: A Moving History)

Walter Bilderback

A reflection on the 2023 memoir of Michael Pedretti of Movement Theatre International, pre-Philadelphia Fringe Festival.

n a soft, blurry black and white photo, dancer Mary Wigman performs in Idolatry (Götzendienst), part of the solo cycle from Ecstatic Dances as revised for her first solo tour in 1919. She wears opaque black tights, shoeless, and a thick fringed black dress that covers her entire torso. It’s difficult to tell, but the shadowy form looks to be throwing her head back. Photograph Courtesy of the Mary Wigman Archive, Academy of Arts, Berlin.
Photo: Hugo Erfurth
  • Book Reviews

The Rear-View Mirror: Hindsight from a Dance Scholar

Megan Mizanty

How does the lens switch as time passes? Susan Manning's essays are collected in Dancing on the Fault Lines of History.

  • Reviews

Come Back Home

Megan Bridge
Christopher Kaui Morgan gazes off to the side, smiling serenely in a studio that radiates warmth. Outfitted in various shades of blue, his hands rest gently on his hips in the pockets of a navy cardigan, as his weight shifts over to one leg. He is an image of confident grace, wearing chunky high-heeled boots that add a splash of exuberance to his professional demeanor.
Photo by K.C. Alfred
  • Interviews

Infiltrating Institutions with Christopher Kaui Morgan

Ankita

Christopher Kaui Morgan—infiltrator and advocate—holds the door open for Native Hawaiian and queer communities.

A composite still from Pajarillo, Como No Voy A Llorar? (Little Birdy, How Could I Not Cry). Travieso stands naked on concrete in front of an abstract gray digital background. With eyes closed, she holds a large black satin fabric that billows out to her left. Covering her body is an image of a large bird-like creature fallen on the ground in a desert landscape, with a child and adult looking on.
Photo: Yara Travieso
  • Interviews

Inside/Out Protest: Embodied Liberation with Yara Travieso

Ankita

Softening into tender resistance and honest disobedience with NYC-based Cuban-Venezuelan artist Yara Travieso.

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