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A giant discoball hangs at the back of the theater, Philadelphia’s “biggest”. The stage is awash in red with a spotlight at the lip of the stage. The theater is empty; there is a sense of anticipation as the discoball takes over the frame of the photo.
Photo: Paige Phillips
  • Interviews

‘Don’t Stop Me Now’: A Philadelphia Dance Extravaganza

Zoe Farnsworth

A community dance extravaganza full of queerness, flirtiness and wild Queen Interpretations.

Three performers stand in a triangle in Studio 34. The camera blurs the background and focuses on their upper torsos and faces. The two dancers in backwear jeans and t-shirts; one laughs and the other holds a serious expression, bracing for impact. Together, they support the front dancer’s hips and shoulders. This third performer looks expectantly forward for the shove of another performer not in the photo.
Photo: Rachel Warriner
  • Interviews

Resistance and Art-Making: ‘Dancing Collective Power’

Zoe Farnsworth

Integrating improvisational dance skills into direct action protest

Under a spot light a hand in a white glove is held up as though a small figure is walking. It wears black rimmed glasses with a big plastic nose and fuzzy eyebrows. The arm of the puppeteer is barely visible.
Photo: Brian Hashimoto
  • Reviews

Crafting Tall Tales at PhysFestNYC

Emilee Lord

puppetry and dancers speak with the body

Performer Ishmael Houston-Jones balances on his left foot, his right hand slightly extended forward, an expression of concern on his face. His pants look acid-washed in white and light blue, and on the front of his hoodie is painted a big brown face with wide open eyes.
Photo: Rachel Keane
  • Reviews

A Dance with Many Ghosts Boils Over

Brendan McCall

OO-GA-LA Reimagined: punk, queer, and drop dead gorgeous

Lauren Morrow, author of Little Movements, stares directly into the camera. She wears a white button-down, and her hair is in long black braids.
Photo: Kate Enman
  • Book Reviews

You Deserve It: Creative “Freedom” in a Dance Novel

Megan Mizanty

Lauren Morrow’s debut novel hits close to many dancers’ experiences

Matthew Neenan, a white man with light short-cut hair and bright blue eyes, stares forward. He wears a grey-ish blue casual button-down shirt.
Photo: Stephen K. Mack
  • Interviews

Quiet Loves and Potent Griefs: An Interview with Matthew Neenan

Caedra Scott-Flaherty

The beginning of a new chapter, a chance to connect with new people and find new voices.

A bald white man wearing white tights and tutu stands center stage in a fifth position soussous with arms stretched sideways, in silhouette on a black marley floor, surrounded by a black backdrop.
  • Reviews

The Krakatuk is the Hardest Nut in the World!

E. Wallis Cain Carbonell

“It’s the last place that magic exists.”

Anh Vo performing at The Rail Park, an outdoor space. Three dancers stand with their backs toward the observer, looking toward a blue and white modern-style building. They stand on a concrete edge, with the chalked words "FORM IS A FEELING" sketched across the platform.
Photo: Albert Yee, Courtesy of Asian Arts Initiative
  • thINKpieces

The Assurance of the Ecstatic: On Anh Vo’s Three Performances

Mang Su

Being possessed is not a state but a devotion.

Joan Myers Brown and eight fellow choreographers, dancers, and company leaders seated on a panel discussion on a blue-lit stage at the Perelman Theater, following the performance.
Photo: Lauren Berlin
  • Reviews

Philadanco: Then and Now

Lauren Berlin

Aunt Joan, Philadanco, and a Philadelphia Legacy: 65 Years and Counting

  • News

Fifteen Years of Dance Writing at thINKingDANCE

Emilee Lord

Dive into the archive and move through the years with us!