jazz

A group of five dancers, three women and two men, form a circle around a female soloist. The soloist, wearing a vibrant pink vest over a black top paired with light blue, wide-legged pants, moves exuberantly with her arms out akimbo while standing on her left toes with her right leg out to the side. A live five piece jazz band, including a piano, drums, a bass trumpet, and trombone, is visible behind the dancers upstage. A projection on the brick wall in the back displays a collage of sheet music and colonial artwork of a scene from a pub.
Photo: Jano Cohen
  • Reviews

Scats off the Score

Nadia Ureña

Lauren and Brent White breathe new life into Francis Johnson’s suites from the Antebellum.

From left to right, dancers Dormeshia, Rachna Nivas, Rukhmani Mehta and Michelle Dorrance. They are in motion. Dormeshia and Dorrance wear white pants, thigh length white tunics, and tap shoes. Nivas and Mehta wear white leggings, long white dresses with golden details on the skirts and bodices. They have bands of bells around their ankles and are barefoot. The tap dancers have a quality of bending and sending energy into the floor. The Kathak dancers are lifted, arms raised, poised.
Photo: Richard Termine
  • Reviews

Joy in SPEAK

Emilee Lord

When Masters Converse

Four performers share a stage lit in deep blue and purple tones. On the left, a musician sits at a drum kit, focused on his instrument, microphones hanging overhead. At center, another performer is captured mid-jump, arms extended overhead and feet dangle above the floor, as if suspended in motion. Beside him, a musician stands playing an upright bass, leaning slightly into the instrument. A small, moveable stage light sits on the floor in front of him. On the far right, a dancer bends forward in a dynamic pose, one arm reaching back and the other curved in front of her, suggesting swift, expressive movement.
  • Reviews

Shadow Cities: Weaving Histories Through Motion, Music, and Light

Emily “Lady Em” Culbreath

Ephrat Asherie Dance, Arturo O’Farrill, and Kathy Kaufmann take audiences on an exhilarating journey of blurring artistic boundaries.

Aylin Bayaz stares fiercely into the camera as her arm whips behind her head, the large red and gold fringed fabric she holds billowing out in front of her, completely hiding her lower body . To her right, Raul Mannola sits in a black suit strumming a guitar, his eyes closed as he listens to the music.
Photo: Richard Clark, Philippe Dedryver
  • Reviews

Flamenco Whenever, Wherever

Caedra Scott-Flaherty

The skillful duet brings to mind a dimly-lit café in Seville.

Photo: Sasha Onyshchenko
  • Reviews

we show you what we want to

desire amaiya

are moments enough?

Photo: Jano Cohen
  • Reviews

Vibrational Affinities

Shayla-Vie Jenkins

The musicians skillfully call and respond while the dancers unabashedly labor to find a visceral relationship in concert with

Photo: Tim Blackwell
  • Reviews

Ripples of Rhythm

Miryam Coppersmith

Rhythm carries me through; each of the performers shine in moments of complex rhythmic interplay.

Photo: Maria Baranova
  • Reviews

Love and Fight

Emilee Lord

Non-linear storytelling charged with struggle.

Image: Alex Tharnish
  • Collections, thINKpieces

Decolonizing Dance Writing: The Necessity of Evolution!

Gregory King

Five writers from the "Dance Criticism and Aesthetics" summer course share their insights.

Image: Alex Tharnish
  • Interviews

Decolonizing Dance Writing: Body Stories and the Bedrock of Dreams

Gregory King

Five writers from the "Dance Criticism and Aesthetics" summer course share their insights.