Temple University

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.

  • Collections

Top 20 Articles of Year 2024

Kalila Kingsford Smith

Our top reviews and thINK pieces from the past year

Photo: Centre Pompidou
  • .

The Folk in French Neoclassicism

Colin Murray

Mark Franko proposes an original theory of French balletic neoclassicism of the interwar period.

photo: Aidan Un
  • Reviews

Finding Breath in Our Altars: Reviving Black Bodies

L. Graciella Maiolatesi

Jones, standing behind the podium, echoes Garner’s words, and I can feel the air being sucked from the room.

Photo: Brian Mengini
  • Reviews

Eye of the Storm

Carolyn Merritt

A symbol of feminine power, Oya represents both obliteration and, in its wake, renewal.

Photo: Bill Hebert
  • .

Owning Hip Hop: The Politics of Citizenship

Gregory King

McCarren laid the foundation for discussions about urban dance practices from both American and European perspectives.

Photo: Jean Grosser
  • Reviews

An Offering? I Want More!

Julie B. Johnson

Perhaps the program’s title, "An Offering," suggests that this is just a small quantity of what Phil Grosser has in store.