New York

A woman is in a headstand, while a man stands nearby with his arms raised in shadow to her right. Both wear tan, form-fitting clothes with strips of white plastic running along the outside of their limbs and backs. On the white walls are unusual glass sculptures that look like waterways.
Photo: Natalie Moore
  • Reviews

The Sand Is Alive

Brendan McCall

Dance, glass, and music invite a deeper contemplation of sand

Tissues are scattered all over the black box theater floor. Upstage a white wire waste paper basket sits upside down and empty. On a huge pile of tissues lies a woman in black with yellow crocs, yellow sleeves sticking out of her coat, a yellow scarf and white and yellow pompom knit hat. She stares up at the ceiling. She has a pair of red crocs on her chest.
Photo: Maria Baranova
  • Reviews

It would seem we need each other

Emilee Lord

The GREEF of Christina Gelsone at Baryshnikov Arts Center

Around 20 workshop participants pose in front of an abstract oil painting in a bright gallery. They are all in different positions inspired by the artwork. Many stretch their arms out and up as if reaching. Some arch their backs or bend forward.
Photo: Chika Kobari, courtesy of KinoSaito
  • Reviews

The Four Mothers of Miki Orihara, or Learning Dalcroze’s 20 Gestures with my Daughter

Caedra Scott-Flaherty

Miki Orihara explores early modern dance and mothers in her newest work.

Andrew Skeels, a White man with buzzed hair, wearing a black T-shirt, stands against a black background. He is turned to the side but looks directly out with a soft smile.
Photo: Damian Siqueiros
  • Interviews

Meanwhile, in an Indoor Meadow: An Interview with Andrew Skeels

Caedra Scott-Flaherty

A new dance and exhibition explore growth and change in an intimate setting.

A dancer dips into a low second position, leaning over her right knee, chest and chin lifted, an open right hand reaching. Her silver top and the billowing folds of her skirt shimmer in the blueish light. Behidn her a row of dancers standing in gowns of different constructions and colors, sparkling and reflecting as behind them a video of a field path plays, one dancer in a yellow dress walking on screen.
Photo: Maria Baranova
  • Reviews

Multilayered Memory in a Feminist Timescape

Emilee Lord

Jasmine Hearn’s Memory Fleet: Beloved, Let’s Cross

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 of Nami Yamamoto by Elyse Mertz
  • Reviews

40-years-old and still kicking

ankita

Opening night at the Performance Mix Festival

Three dancers, two men and one woman, stand on a stage covered in bright autumn leaves. The background is black. They stand in a wide stance, holding thick black rolls over their heads. The man on the left, in gray pants and a t-shirt, looks up at the roll. The brunette woman wearing green pants and a brown tunic stares directly out. The man on the right, dressed in a red suit and white dress shirt, also looks straight forward.
Photo: Steven Pisano - Courtesy of Ballet Hispánico New York
  • Reviews

Mujeres in Motion

Caedra Scott-Flaherty

Ballet Hispánico’s 56th season is an exciting women-led tour of the Latine diaspora.

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

David Adrian Freeland Jr., wearing a blue sleeveless top and pants, and Morgan Lugo, wearing a red sleeveless top and pants, kneel facing each other on the red-lit stage. With closed eyes and tilted heads, they touch palms, one arm straight and the other bent by their cheeks.
Photo: Stephanie Berger
  • Reviews

A (Mostly) Moving Romeo & Juliet for Our Times

Caedra Scott-Flaherty

Benjamin Millepied’s Romeo & Juliet Suite uses dance, theater, and film to retell a timeless tale.

Performers Bria Bacon and Okwui Okpokwasili, both Black women wearing black, stand in the middle of a spinning structure at the center of the room, surrounded by a seated audience. The structure is round with a black bottom and reflective panels about 8 feet tall surrounding it. Through the spaces between the panels, Bacon and Okpokwasili are seen standing close together, facing each other. Becon's knees and arms are bent. Okpokwasili has a hand on Bacon's head and gazes above it.
Photo: Ava Pellor
  • Reviews

My Tongue is a Blade, is a Blade, is a Blade

Caedra Scott-Flaherty

Sweat Variant’s new durational work tests the limits of attention.

Join us for

thINKingDANCE Winter Tea with tD: Come Celebrate the Year with us! Sunday December 13th, 2026 2-4:30pm Free event featuring work-in-progress performances, dancing, tea & snacks Come at 2om for a free beginner-friendly hip hop dance class with Bee
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