
Meghan Frederick and Kate Seethaler are a duo of multi-hyphenate
Meghan Frederick and Kate Seethaler are a duo of multi-hyphenate
Announcing VISIBILITYtalks Video Series
thINKingDANCE is excited to announce VISIBILITYtalks; a new video series
Announcing Decolonizing Dance Writing: International Exchanges
thINKingDANCE is honored and overjoyed to announce Decolonizing Dance Writing: International
What We Publish, How We Do It, and Why
Dear Reader, 2021 will mark our tenth birthday! Over this
thINKingDANCE Partners with Young Involved Philadelphia
Join thINKingDANCE on Zoom for a conversation on the intersections
Decolonizing Dance Writing: The Necessity of Evolution!
We could shrug our shoulders—the generic reaction of the ambivalent—when
An Interview with Iquail Shaheed Part 1: Black Love and Tenderness on Stage
Ahead of Dance Iquail’s Art Thrives from Black Lives: An
Holding Dance Institutions Accountable: An Interview with Amalia Colón-Nava
Responses to the recent deaths of George Floyd, Breonna Taylor,
COVID-19 Financial Resources for the Philadelphia Dance Community
In the months since COVID-19 was named a global pandemic,
A COVID-Era Conversation with Thomas Choinacky
As I write from the safety of my apartment, I
The Deep Waves of Jillian Jetton
Jillian Jetton is a prolific, multi-talented artist and performer who
All I Want For Christmas is One-Man Nutcracker
Theatre Philadelphia and thINKingDANCE continue our partnership, begun in 2018, bringing
Cowboys Chugging Red Bull in Iraq
Before seeing Pursuit of Happiness I believed mass media and culture, generally
Nothing is Certain, Except Death and Hoagies
In a quest to reach new audiences for performing arts
An Electrifying Choreopoem from Moor Mother
Circuit City is Philadelphia musician/composer Moor Mother’s first ever theatrical work.
Milka Djordjevich’s Anthemic Opus
A quartet of mostly white women, donning hazy nostalgia garb
Carol Burnett once called Gwen Verdon “the sweetest, and most
Almanac Dances Toward a Classical Ideal of Equality
The latinate title of Almanac’s Communitas creates high expectations for its audience.
My Hips (and my Postcolonialism) Don’t Lie
Spanish for Estranged Latin Kids fits squarely into the coming-of-age autobiography
A Song, a Dance, and a Coat Hanger
In a quest to reach new audiences for performing arts
It’s 2009 and Beyonce’s “Single Ladies (Put A Ring On
In the Latvian Society’s lobby, a crowd of eager theatregoers
In his curtain speech with Ishmael Houston-Jones, Miguel Gutierrez described Variations
FIGMAGO: Dances For Eternal Children
Brian Sanders’ JUNK’s FIGMAGO commenced with a studio tour by a polished, LeCoq-trained actor,
Fringe Picks: 5 tD Writers on What They’re Seeing this Year and Why
The FringeArts Festival, no matter your take on it, is a
Nicole Burgio commanded Almanac Dance Circus Theatre’s first collectively devised solo work, xoxo
Art World Interloper: Elizabeth Streb in Her Own Words
The iconic Brooklyn-based Streb Extreme Action brought its work SEA, Singular Extreme Actions,
George Balanchine’s Jewels, choreographed in 1967 for the New York City
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Mira Treatman studied for her Master of Science in trauma counseling after ten years of work in the non-profit performing arts sector. Born, raised, and rooted in the city of Philadelphia, she is committed to connecting people around ideas and meaningful experiences across social and choreographic boundaries. She is a former staff writer and managing director with thINKingDANCE.