Interviews

At the RISE 2025 Summit held at the New York Library for the Performing Arts, panelists for a discussion entitled “Data is Revolutionary” gather in black office chairs with silver legs in front of a large projector screen that reads “Dance Data Project, Harriet Tubman Effect Institute, & Women Count” in a pastel blue above the title “Data is Revolutionary” in a light yellow. Six circles containing the headshots of the panelists dot the rest of the projection. Amidst the other seated speakers, Nancy Owen stands holding a microphone in her right hand. She leans forward toward the audience, eyes alight, mouth open in speech that slips through an excited smile. In the lower left corner of the frame, a bald man in a crisp blue suit brings the crook of his thumb and second finger to his chin at stage right. He looks out toward the audience with his chair angled away from the six panelists.
Photo: Victoria Detres
  • Interviews

Dance Leadership by the Numbers

Jennifer Passios

A Conversation with Elizabeth “Liza” Yntema of Dance Data Project®

Andrew Skeels, a White man with buzzed hair, wearing a black T-shirt, stands against a black background. He is turned to the side but looks directly out with a soft smile.
Photo: Damian Siqueiros
  • Interviews

Meanwhile, in an Indoor Meadow: An Interview with Andrew Skeels

Caedra Scott-Flaherty

A new dance and exhibition explore growth and change in an intimate setting.

A group of dancers wearing various multi-colored shirts sit in chairs arranged in a circle in the center of a church meeting room. They are surrounded by intricate stained glass windows, warm wooden flooring, and off-white painted walls. As they sit, they raise their arms above their heads and smile at one another.
Photo: Helio Ha
  • Interviews

Tango – I Think About It All the Time

Rachel DeForrest Repinz

Tango Therapy Project offers community, connection, and joy.

In a close up photograph, ten dancers in spaghetti-strap leotards lean in, their eyes covered by a sheer black cloth. The middle dancer, closest to the camera, is mid-scream. Behind the dancer is the newly engraved building signage reading “The Donald J. Trump and John F. Kennedy Center.” Some words are covered by the dancers’ heads.
Photo: Courtesy of The First Amendment Troop
  • Interviews

The Epstein Files and Redacted Bodies 

Megan Mizanty

An interview with choreographer Matthew Steffens on ResistDance vs. Redaction

Two dancers in long-sleeved red tops face away from us with arms round one another’s waists as their free arms reach outwards. There are singular, red feathers extending from their heads many feet into the upwards space. To the left of the duet, we see a large Taiko drum.
Photo: Mike Hurwitz
  • Interviews, thINKpieces

Afterglow: The Dancers of KYL/D Take a Final Bow

E. Wallis Cain Carbonell

‘Anticipating something and hoping it will be everything you wished for’

nora chipaumire, a Black African woman takes the stage in 100% POP with her collaborator, Shamar Watt, a Black Jamaican man in a black Adidas tracksuit and red-green-yellow, Zimbabwe-flag-colored Nike shoes. As he runs through the frame upstage, backgrounded by a grungy, urban wall, chipaumire captures the camera’s focus as she jumps into the air, one knee tucked up to her chest, the other a foot off the ground. Wearing a ripped white shirt, black track pants, and all-white high tops, chipaumire gazes down at the ground while she leaps up, as if stomping her way back to Earth.
Photo: Ian Douglas
  • Interviews

The West Did Not Make Me

ankita

An Interview with nora chipaumire

Georgina Pazcoguin, her short black bob framing her face, wears a white bodysuit decorated with blue and red flowers and holds a classical Chinese fan. Her eyes are defined with lined makeup as she extends into an elongated ballet pose.
Photo: Pentalina Productions LLC
  • Interviews, thINKpieces

About Face: Yellowface and the Cost of Looking Away

Lauren Berlin

To love ballet is to let it evolve

A group of dancers move together in a clump holding toilet plungers, some of which are donning messy black wigs or flightlights-as-eyes.
Photo: Jenna Maslechko
  • Interviews

By the Way, You Can Laugh

Rachel DeForrest Repinz

Brian Golden on disability, play, and humor as access.

A woman with short cropped hair wearing a long white tunic balances on her left leg in front of a large stone pillar and a section of the American flag. She looks over her extended right arm, her wrist gently lifted.
Photo: Meg Goldman
  • Interviews

The Truth Lives in The Body

Lauren Berlin

Reflections from Naomi Goldberg Haas on Movement, Belonging, and the Body as a Place to Return

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.