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TD Writers Win Awards

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Three Flavors of Ballet

Lynn Matluck Brooks
Jennifer Jones, a middle-aged African American woman, smiles radiantly into the camera. Her arms are crossed, and she wears a white V-neck top.
Photo courtesy of Jennifer Jones
  • Reviews

Blend In, Stand Out: The First African American Rockette Shares her Story

Megan Mizanty

“Becoming Spectacular” is an earnest memoir of illusion and perfection

The image depicts a striking moment in the first act of Maslow’s Peak. Set in a lush, jungle-like environment, long ropes adorned with hanging foliage and knots descend from above, creating the illusion of vines. A group of BalletX dancers dressed in black, military-fitting costumes with sheer panels stand in formation under dramatic lighting, evoking a sense of intensity and ritual. Each dancer stands behind a rope and synchronously lifts their arms in strong, angular gestures in front of their chest to surround the dropped ropes. The backdrop features dense tropical plants and misty green lighting, enhancing the immersive, nature-inspired atmosphere.
Photo: Vikki Sloviter
  • Reviews

A Ballet for Everyone

Ziying Cui

Jennifer Archibald’s world premiere at the BalletX Festival at the Mann

It’s 1986. Lisa Kraus, positioned slightly to the right of center of the image, falls to the side over one ankle, the other leg outstretched behind her. She raises her arms upward and lifts her head back, hair flying behind her. She dances in a spotlight on a mat on the floor that reads “DESERT ISLAND” in all capital letters. The image, captured by acclaimed dance photographer Lois Greenfield, is in black and white.
Photo: Lois Greenfield
  • Interviews

Part 1: On Dance Writing, Improvisation, and Dancing Forever—An Interview with Lisa Kraus

Charly Santagado

Kraus reveals the origins of thINKingDANCE and discusses the relevance of dance writing.

(Left to Right): Burr Johnson, Savannah Gaillard. A bald man with a beard sits on the floor, he wears what looks like a loose skirt or dress, and gazes at his right arm which is gently extended horizontally from his side. Nearby, a woman with dark hair wearing shorts stands in profile in front of a wall made out of tatami, a small doorway in front of her.
Photo: Maria Baranova
  • Reviews

Trisha Brown: The Joy of Looking Back

Brendan McCall

Reconstructions and a world-premiere continue Trisha Brown´s legacy

A woman holds a full-size human skeleton model in her arms, meeting its gaze with puckered lips in an expressive, playful gesture. She wears a black shirt and is framed against a solid black background. Her body and the skeleton mirror each other, suggesting a dialogue between life and anatomical structure. The image appears on both a tablet and a hardcover book placed on a wooden surface, emphasizing the book's physical and digital presence.
Photo: Todd Carroll
  • Reviews

Dancing Our Way to Meaning

Garamh Kim

A Review of Teaching and Learning Dance through Meaningful Gestures by Anabella Lenzu

  • Letters to Editor

Hip-Hop Culture

A woman, Erin Carlisle Norton, wears a sleeveless cotton shirt. She stands casually and smiles. Her shoulder-length hair is loose and wavy. Her hands are crossed, and to the left reads a “Movers and Shapers: A Dance Podcast” Logo. The background is a prism of rainbow (blue and purple) colors.
Photo: Erin Carlisle Norton
  • Interviews

The Web: Celebrating Ten Years of Podcast Interconnectedness

Megan Mizanty

Movers and Shapers dances into the next decade

Three dancers from the side in a black space, two in front and one behind them and centered. The dancers in front hold a basket between their right hands. They are all bent at the knees, arching over their left shoulders with the right shoulder sunken toward the floor. Their left arms fly out in long, clean lines.
Photo: Steven Pisano
  • Reviews

Why? And Where Are You?

Emilee Lord

Pain is not a flower