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  • 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.

A man wearing a white corset leans on a woman wearing a black unitard to his right. He extends his left leg, which a second woman wearing a black unitard holds above her shoulder while sitting on the floor
Photo: Jamie Kraus
  • Reviews

Homecoming: Stephen Petronio Company´s Final Season at the Pillow

Brendan McCall

Stephen Petronio Company's Final Bow

  • News

Transitions in thINKingDANCE Leadership

Kalila Kingsford Smith

Kalila Kingsford Smith passes the pen to new Executive Director Miryam Coppersmith

Tristan Price plays the cello seated on stage with a black microphone positioned in front of him. He wears black shoes, khaki pants and a white button-down shirt. He looks directly at dancer and his mother, Megan Bridge, who is dancing in the foreground, arching backward with one arm extending above her. Bridge wears a white top and grey cargo pants with sneakers.
Photo: Tyler Kline
  • Reviews

A Mother-Son Duo Exchange Expertise

Caitlin Green

His musicianship paves the way for her play.

Three performers dressed in single-color primary colored outfits (one blue, one red, one yellow) express surprise with open mouths. The performer in blue, Kevin Flanagan, grips the wrists of Sierra Rhoades Nicholls, dressed in red; he leans back while supporting her weight as she appears to levitate off the ground, her legs extended in front of her body six inches above the floor. Above her, Liam Bradley, dressed in yellow, pulls their legs up in a tuck jump, feet flexed and arms extended above their shoulders.
Photo: Johanna Austin
  • Reviews

Raw Egg and All, It Works

Ellen Miller

Full Out Formula’s circus act lets the audience decide.

Fanned out in a circle on a white surface are 12 booklets in a range of colors. Here and there are sections of text covered or obscured by other booklets. In the center of this circle is the title piece in a wash of brown darker at the bottom and lightening toward the top. The vague image of pine tree tops on its surface. It reads, Dance across the top and History(s) across the bottom with the subtitle Imagination as a Form of Study in the center. Underneath in smaller letters it reads edited by Thomas F. DeFrantz and Annie-B Parson.
Photo: Jack Lazar
  • Book Reviews

To Us/Because of Us

Emilee Lord

Dance is a Weed

A line of eleven people are holding hands in front of bright large windows, their legs lunging and their heads turned in different directions. They were sweat pants and t-shirts, shorts or tank tops, all of various colors. Some of them are looking to their right and down, others looking up and left.
Photo: Julie Lemberger
  • Reviews, thINKpieces

Approaching the End: Open Rehearsals with Stephen Petronio Company

Brendan McCall

Petronio Company's intimate and moving rehearsals during their final season.

With eyes closed, Nadia Beugré holds a stick in her mouth and tilts her head to the left. More wooden sticks frame her face. She is sweaty, her right arm strong and flexed.
Photo: Werner Strouven
  • Reviews

Le Corps (The Body)

E. Wallis Cain Carbonell

A body of work, a dancer’s body, a home for a human being, a “corps de ballet.”