Philadelphia

Male dance artist Kun-Yang Lin balances on one leg in flowing red silk, hands flexed gracefully, looking downward while holding a poised dance pose.
Photo: Bill H
  • Interviews

To Move in the In-Between: The Legacy of Kun-Yang Lin/Dancers

Lauren Berlin

Kun-Yang Lin/Dancers, among the country’s top Asian American dance companies, marks its final season with a lasting legacy.

Choreographer Charles Askegard guides a poignant moment as Oksana Maslova collapses into Sterling Baca’s arms. Her knees are drawn to her chest, toes pointed, arms extended overhead, lifted off the floor, expressing grief while supported by her partner.
Photo: Adrenaline Film
  • Interviews

The Art of Rising: Ballet Responds to the War in Ukraine

Lauren Berlin

Dance, War, and the Work That Became the Most Important of Maslova’s Career.

An unseen person holds a colorful event flyer over a wooden surface alongside a DJ turntable an a pair of black sneakers. Vibrant and dynamic, the flyer depicts a sunset city skyline in the background and a breaker, wearing a teal patterned shirt and cargo pants, frozen in mid-air performing an impressive freeze. The title “End of Summer Jam” is boldly displayed in graffiti-style red lettering with the subtitle “1 vs 1 Breaking Battles” below it in black on yellow. The left side of the flyer is red and contains event details, including the date (08•17•25), time (Doors 3PM), and entry fee ($10). It also lists the venue — Philly Movements Dance Company in Philadelphia, PA — and mentions a $200 grand prize. Additional info includes the DJ (Jey Prime), the judges (Fierce One, B-Girl Gloh, and Mikey), and the host (Wrath of Khan). The overall design is energetic and urban, capturing the spirit of a Philadelphia breakin' competition.
Image: Jey Prime
  • Reviews

End of Summer Jam: Honoring Tradition Through Breakin’ in Philadelphia

Emily “Lady Em” Culbreath

End of Summer Jam preserves long-standing Hip Hop tradition with local flair.

Tables and chairs form a “U” shape to the left of the photos frame. One person with brown skin and glasses is visible through the negative space of two onlookers facing away from the camera. Bystanders stand or sit in the distance.
Photo: Miryam Coppersmith
  • Reviews, Write Back Atchas

Realness For the Patrons – Rennie Harris Beautiful Humans Lies: Chapter 4

Noel Price-Bracey

Waiting for the Rhythm and the Funk

A mischievous joy permeates the image, as one performer with blunt black bangs seems to cheer with an open-mouthed grin, shoulders reaching up to her ears. To her left, another stands gazing at her, with a grin just as wide, but a tad more sinister, an open jazz hand covering her face. Behind the first is a taller person with a yellow bow, tucking something into the first performer’s black-and-white luxury jumpsuit.
Photo: Lance Reha
  • Reviews

From the Studio: “MAYDAY” with Grace Tong

ankita

“MAYDAY” resists assimilation through self-producing.

Dancer Merián Soto kneels with one knee slightly higher than the other. Her body faces the camera but her eyes are downcast. Her medium length gray hair falls towards her face. She is wearing a flowy rust-colored top and loose khaki-colored pants. In her outstretched hands she holds two curved branches. The branch in her left hand is nearly bent in half and almost touches the floor. The branch in her right hand extends in a graceful arc above her head, mirroring the casual grace in Soto’s pose.
Photo: Bill Hebert
  • Interviews

I am the Archive

Ellen Miller

Still dancing, Merián Soto reflects on her storied career.

Two people dressed in blue sit on top of an overturned recycling bin, with their arms extended overhead as if riding a rollercoaster. They have nervous looking facial expressions, and are in front of a curtain backdrop which is painted like a bedroom. There is a hand coming from behind the backdrop, grasping it, as if preparing to enter the stage.
Photo: Dylan Smythe
  • Reviews

Has Sadness Ever Taken You Down to the Dump?

Caitlin Green

“THIS IS THE WORST DAY EVER!”

Marguerite Hemmings is surrounded by green trees and grass, pictured mid-air, as if descending to the ground head-first. One arm is outstretched to break the fall while the other arm is bent around their head, and their feet have kicked up the sand behind them.
Dante Napoli
  • Reviews

What is justice without love?

Caitlin Green

Uninhibited, Hemmings generates an electrifying presence, channeling vitality and rupture.

Meghan Frederick in a kneeling, twisted pose, wearing a tank top covered in yin-yang symbols and a skirt patterned with the American flag, performing on a stage with abstract drawings taped to the wall behind.
Photo: James Izlar
  • Reviews

Embodying a Turbulent World

Ziying Cui

A rejection of traditional meaning-making in Western theater and improvisation.

A young Black woman (Arianna Polite) holds a wooden bowl glowing with warm white light. She looks downward, sprinkling marbles of light onto the ground as darkness falls after sunset.
Photo: Daniel Madoff
  • Reviews

Homage to the Passed

Ellen Miller

A candle-lit performance offers a meeting and honoring of Black Philadelphians.