dance education

Zaquia Salinas kneels on a yoga mat in a naturally-lit studio with wood walls and flooring. She embodies a grounded, punk energy, with a half-shaved head and an all-black outfit of a muscle shirt and capri-length workout pants. Her hands gesture out from her body as she speaks to a class of participants who are similarly seated on yoga mats with blocks surrounding them. The participants include one black-haired individual whose head is foregrounded in the image, one white-haired individual in t-shirt and shorts on the opposite side of the room, and a brown-haired person laying down on their stomach reading from their journal as Zaquia speaks.
Photo: WATS (You've Scene Enough Productions)
  • Interviews

Teaching Embodied Activism

ankita

A conversation with Zaquia Salinas

In a dance studio with white walls, a light gray marley floor, and two large whiteboards along the back wall, situated above a double-stacked wooden ballet barre, eleven college students lay supine with their arms raised and legs parted in an “X” shape on the ground. They lay at different angles, breathing deeply, following the instructions of the teacher at the front of the room. The instructor, tD writer Jennifer Passios, faces the students. She wears a black Adidas jacket. Her hair falls in a half-up-half down updo as her arms reach skyward in the same “X” gesture that the students make on the ground.
Photo: Jacob Regan
  • thINKpieces

To You—who I think about all the time:

Jennifer Passios

A letter to my favorite student

Three dancers, all clad in black cotton outfits, sit on the floor while leaning one arm up and over their bodies. Their spines curve to the side.
Photo: Gonzalo Mejia, University of Miami
  • Book Reviews

Reckoning with Power in the Classroom

Megan Mizanty

Nicole Perry’s publication urges critical reflection for movement educators

Various cast members of The Nutcracker at Ballet Theatre of Scranton pose and smile against a white background. They gaze at one another, wearing costumes from the show: tutus, a giant mouse costume, men in leggings and boots. The women wear diamond crowns and curls in their buns, and everyone looks delighted to be with one another.
Photo: Ballet Theatre of Scranton
  • Interviews

A Tale of Two Cities: “The Nutcracker” in Pennsylvania

Megan Mizanty

A behind-the-scenes look at a beloved annual performance.

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
  • Book Reviews

Dancing Our Way to Meaning

Garamh Kim

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

Photo: McFarland Press
  • Reviews

Disrupting Invisible Choreography: Understanding Implicit Bias in Dance Education

Leila Mire

Concrete steps toward a more equitable and inclusive dance field.

Photo: Paul Virtucio; courtesy of Ananya Dance Theatre
  • thINKpieces

Unpacking the buzzword “Decolonization”

Anito Gavino

Art is a vessel for creative expression, a space of freedom. Yet, here I am, a dancer, dancing to liberate myself from dance

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Dance Education: A Privilege in Public Schools?

Megan Bridge

As codirector of a performance group based just blocks away from KCAPA, I dreamt about the partnerships I could initiate at the school.