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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.

With eyes closed, Nadia Beugré holds a stick in her mouth and tilts her head to the left. More wooden sticks frame her face. She is sweaty, her right arm strong and flexed.
Photo: Werner Strouven
  • .

Le Corps (The Body)

E. Wallis Cain Carbonell

A body of work, a dancer’s body, a home for a human being, a “corps de ballet.”

JJ Omelagah, holding a mic for Kayla Hamilton, inside of a Movement Research studio. Kayla is demonstrating a movement for the How We Move cohort with both arms pointing in opposing directions. Both folks are masked.
Photo: Whitney Browne
  • Reviews

When Something Does Not Exist, We Must Create It

Rachel DeForrest Repinz

Embraced Body redefines the dance intensive in their inaugural How We Move program.

Four women stand in a group with their arms upraised and their heads in profile. They are wearing long-sleeved shirts in yellow, red, navy blue, and black.
Photo: Alan Simpson
  • Reviews

the power of community

desire amaiya

a caring, authentic ensemble that allowed me to bask in the community of movement.

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.

Portia, a white trans non-binary person, crouches over a mix of DJ mixer, wires, and opened journals strewn across the floor. They wear a black tank top and athletic shorts, and focus in on a laptop. The glow from the laptop and other technical elements subtly illuminate Portia.
Photo: Ofentse Kwenaite
  • Reviews

When the Muzzle Comes Off, Who Do You Bite?

Rachel DeForrest Repinz

Portia Wells finds their bark.

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

A white gay man lies on the floor, almost fully naked. A Black gay man dressed in a tropical dress with a hair scarf, sunglasses, and a floral bag stands next to them, extending their arms as if asking, “What’s the matter?”
Photo: Paule Turner and Dane Eissler
  • Reviews

My Pussy Hurts Too

Anito Gavino

Crumpled tissues on the floor, half-emptied soda bottles, and a raggedy wig tossed on the floor tell stories.

A white female dancer moves in a bright green pasture, framed by a vibrant blue sky. Some trees and housing are behind her in the distance. Around her, an abstract circle frames her as she leans over her shoulder, with arms floating out to the side. Within this frame she appears fragments, with fingers and palms floating detached from her body.
Photo: Nikki Weems
  • Reviews

Just wait. It will become something new.

Megan Mizanty

When your ancestors share their stories after death, how do you answer?

A group of dancers wearing all black with old-fashioned wartime helmets pile over one another, leaning onto each other with eyes tensely closed. A red light encapsulates the space, as large black spikes climb upwards along the back wall.
Photo: Andrea Mecchi
  • Reviews

earth as a woman’s body

desire amaiya

on the frontlines in France, there is an innocence as they talk about war.

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