thINKingDANCE

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Interviews

Off center, an old woman sits on a metal chair in front of white curtains. Her hands sit comfortably on top of her stomach, and she smiles mischievously at the camera.
Photo: Ron Wyman
  • Interviews

Becoming “Not You” in Action Theater: An Interview with Skye Hughes

Brendan McCall

Skye Hughes talks about her experience with Action Theater

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.

Caught in mid flight against a blurred background of golds, oranges, and blues, a Warbler arches its head up and pushes its wings down together in a lifting stroke. It has a golden brown head with a white throat under its small pointed beak. There is a small gold patch above its tail feathers and its wing and tail feathers are shades of black, grey, brown, and white.
Photo: Christine Cieslak
  • Interviews

Neighbor Watching

Emilee Lord

Dance and science create space for learning and hope.

Dancer Merián Soto kneels with one knee slightly higher than the other. Her body faces the camera but her eyes are downcast. Her medium length gray hair falls towards her face. She is wearing a flowy rust-colored top and loose khaki-colored pants. In her outstretched hands she holds two curved branches. The branch in her left hand is nearly bent in half and almost touches the floor. The branch in her right hand extends in a graceful arc above her head, mirroring the casual grace in Soto’s pose.
Photo: Bill Hebert
  • Interviews

I am the Archive

Ellen Miller

Still dancing, Merián Soto reflects on her storied career.

January, 2025. Lisa Kraus dances solo at Tictac Art Centre. Facing stage left, Kraus crosses her left thigh behind her right. Her knees meet. The tops of her left toes press into the ground as her right heel lifts in a demi releve. Kraus releases her sternum to the sky, elbows pulled back, forearms lifted, face tipped toward the ceiling.
Photo: Arnaud Beelen
  • Interviews

Part 2: On Dance Writing, Improvisation, and Dancing Forever—An Interview with Lisa Kraus

Charly Santagado

Kraus takes on the role ‘missionary for dancing forever’

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.

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

On the Avenue in front of the red sign above Radio City Music Hall, a group of Highland dancers are pictured landing out of a leap onto their right toes, the left leg bent at the knee out to the side, with the left foot touching the opposite leg just below the knee. They have their hands on their hips and broad, bright smiles. The brightly colored white and red, dark blue, light blue, purple, and green plaids of their Tartans and knee socks stand out on the cloudy day.
Photo: Josef Pinlac
  • Interviews, Reviews

Flinging in the Rain

Emilee Lord

A Glimpse into Scottish Highland Dance

Against a grassy, hilly field, six humans are collected in space. Four are standing in a line, two white individuals and two Black individuals, and two white individuals are kneeling facing each other in front of the standing people. They wear an assortment of loose and tight clothing and are all smiling with joy.
Photo: Laura Desimine
  • Interviews

Finding Community, Building Community: An Interview with Philly Dance Share

Madeline Shuron

With and through each other, PDS is reshaping the Philly dance scene, one class at a time.

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