feature

A photo from Nami Yamamoto’s work of an Asian femme with blunt bangs and a shoulder-length haircut, standing open-mouthed. This image is translucently superimposed onto another image of two dancers wearing colorful tshirts and sweats, engaging in physical scores.
Photo: Elyse Mertz
  • Reviews

40-years-old and still kicking

ankita

Opening night at the Performance Mix Festival

Historic postcard image from the 1930s–1940s showing the Flagler Memorial Bridge illuminated at night, spanning the water between West Palm Beach and Palm Beach, Florida.
Photo: courtesy of the Tichnor Brothers Collection, Florida Postcards Series
  • thINKpieces

Dancing Across the Bridge from Epstein: A Beautiful Place of Horrors

Lauren Berlin

A reckoning with girlhood, dance, memory, and power in Palm Beach County

Douglas Dunn stands wearing a bright yellow mask which covers his eyes. His right arm is extended to his side while his other rests on a wooden chair painted with yellow flowers. He wears a grey vest, red tie, and dark pants--a contrast to dancers Dongri Suh and Janet Charleston who stand behind him weaering flowered garlands around their heads and wear tulle skirts. A video of two waterfalls is projected onto the wall behind them.
Photo: Jacob Burckhardt
  • Reviews

Douglas Dunn’s Post-modern Pastoral

Brendan McCall

An intrepid choreographer examines classical forms through a post-modern lens

Two people draped in brown fabric rest their heads on one another’s shoulders in front of a white background. The image is edited with faint red and blue outlines.
Photo: Kosoko Performance Studio
  • Reviews

This Is Not Surveillance. You Gon Have To Participate.

Caitlin Green

//shrouded\\ evokes a necessary discomfort within the container of performance.

A dancer caught mid-head spin with white sneakers punching into the air while a crowd of others watch intently, arms reaching towards each other.
Photo: Courtesy of Rennie Harris
  • Reviews

When do we Shout If Not Now?

Noel Price-Bracey

In Losing My Religion, Rennie Harris models resistance, teaching us to never tire until “victory is won.”

In a dark-lit space, a group of barefoot dancers huddle together. Someone lays on top of their shoulders, their face upside down to the audience.
Photo: Michael Tubbs
  • thINKpieces

Ephemeral Patterns: Translating “The Yellow Wallpaper” into Movement

Writings from tD's Emerging Writer's Fellowship