thINKingDANCE

Donate

All Articles

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.”

A performance of Anh Vo: Possessed by… at The Rail Park. The work takes the form of a devotional dance to the spirits, continuing a performance Vo previously staged on June 14, 2025, in front of the Apple Store in Downtown Brooklyn. There, the artist worshipped the temple of capitalism, drawing out the religiosity embedded in the store's architecture. In this iteration, Vo applies a similar logic: animating the site through repetitive, abstract movement to explore how architecture can embody systems of belief.
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!

A dancer (Gabriel Bruno Eng Gonzalez), wearing white pants and a sleeveless white top, is balanced on the ball of his right foot. His long arms are extended outwords, and both of his legs are bent. Another dancer (Aaron Loux), also wearing white, lunges on his right leg, and holds Gonzalez´s hand to help him suspend his balancing position. Behind the two of them, in front of a screen the color of deep blue, we can see other dancers standing in the distance, looking at them.
Photo: Maria Baranova, courtesy of New York Live Arts
  • Reviews

Artifacts of Thought from the Closeted Mind

Brendan McCall

Forty years on, Tere O’Connor’s dance visions remain personal, unpredictable, and provocative

Four performers share a stage lit in deep blue and purple tones. On the left, a musician sits at a drum kit, focused on his instrument, microphones hanging overhead. At center, another performer is captured mid-jump, arms extended overhead and feet dangle above the floor, as if suspended in motion. Beside him, a musician stands playing an upright bass, leaning slightly into the instrument. A small, moveable stage light sits on the floor in front of him. On the far right, a dancer bends forward in a dynamic pose, one arm reaching back and the other curved in front of her, suggesting swift, expressive movement.
  • Reviews

Shadow Cities: Weaving Histories Through Motion, Music, and Light

Emily “Lady Em” Culbreath

Ephrat Asherie Dance, Arturo O’Farrill, and Kathy Kaufmann take audiences on an exhilarating journey of blurring artistic boundaries.

A group of five individuals, dressed in business attire, all gather together for a selfie in the velvet-carpeted lobby of the John F. Kennedy Center for the Performing Arts. Jane, at the front left, is a white, brunette woman with a medium pixie cut. Clad in a magenta blazer and black turtleneck, Jane dons a bright, bespectacled smile. Grinning behind Jane, Mallory, a white woman with dirty blonde hair, wears a black and white gingham dress and holds a silver clasp. Malik, a tawny-skinned Black man in a black button-down and trousers, stands beaming at Mallory’s left. Allison and Chloe, dressed in a white button-down and a floral dress respectively, lean into the photo, offering their smiles as well.
Photo courtesy of Ashayla Byrd
  • Interviews, thINKpieces

The Leaders Behind the Headlines: Conversations with the Kennedy Center’s [Terminated] Dance Programming Team

Ashayla Byrd

What happens when political agendas take precedence over a nation’s desire to feel seen and supported in artistic spaces?

Lisa Kron, playing dance critic Walter Terry, has short brown hair, is dressed in a tan suit and wears thick-rimmed glasses, sits with their legs crossed and a notebook on top of their lap. Opposite, Richard Move as dance icon Martha Graham sits regally in a long dark dress, their hair up in a bun, and their eyes highlighted with dramatic eyeliner. Between them, is a small table with a vase of white flowers, and behind them are two women in a unison dance shape: bowed forward, with one leg extended high up behind them.
Photo: Andrea Mohin
  • Reviews

Long Live the Queen

Brendan McCall

It’s 1963 and 2025 and Richard Move IS Martha Graham

Photo of a dance studio with text End of Year Party! Mingle with tD writers and artists Sunday December 14, 4-7 pm at Cardell Dance Studio, 1713 Melon Street, Philadelphia
  • News

thINKingDANCE End of Year Party

Please join thINKingDANCE on December 14 for an end of year party.

Michael Sakamoto's profile is shown in light against a dark background, his left hand is raised, his eyes closed.
Photo: Cedric Arnold
  • Reviews

Michael Sakamoto– Intercultural Mixologist

Jonathan Stein

Boundaries dissolve in Sakamoto and DJ Spooky’s new Butoh and Hip-Hop multi-media work, time/life/beauty..