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Rhonda Moore stands with her arms outstretched in a low “V” position looking directly at the camera. Ben Grinberg stands behind her with his arms outstretched in a high “V” position looking at the camera. Grinberg wears a green sleeveless top, and Moore is wearing a longsleeve black button-down under a light-brown jumpsuit. They stand in front of a gray backdrop.
Photo: Johanna Austin
  • Reviews

Defying the Odds and Inspiring Possibility with Almanac Projects

Caitlin Green
  • Grinberg and Moore demonstrate skill that flaunts their proficiency in partnership.
Performers in colorful pajamas juggle neon hoops under vibrant stage lighting, evoking themes of childhood, playfulness, and simpler times.
Photo: Steve Sarafian
  • Reviews

A Circus Family Comes Home

Lauren Berlin

Trenton’s own Black Ice Circus Debuts Growing Pains at Cannonball.

Off center, an old woman sits on a metal chair in front of white curtains. Her hands sit comfortably on top of her stomach, and she smiles mischievously at the camera.
Photo: Ron Wyman
  • Interviews

Becoming “Not You” in Action Theater: An Interview with Skye Hughes

Brendan McCall

Skye Hughes talks about her experience with Action Theater

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

thINKingDANCE is a consortium of dance artists and writers who work together to provide critical coverage for dance, to build audiences for dance, and to foster the art of dance writing.

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The Latest from thINKingDANCE

A black-and-white photo of two dancers in a brick-walled room. One, masc-presenting, has long curly hair and peeks out at the ceiling, mouth slightly open in expressive thought, one hand bent to touch their forehead, shielding half of their face. The other hand rests against the center of their body. A second dancer stands to their left, mirroring this pose with face tilted all the way to the sky and taut arms.
Photo: Thomas Kay
  • Reviews

Dances from the Churn

Ankita
  • Bodies across generations resist being silenced.
A white person with curly hair, a beard, and piercing blue eyes shows half of zir face, covering the rest with a red dome shaped hat. Pain au chocolat is stuffed in zir mouth, and zir clothes are bifurcated, much like zir face––half outfitted in red and gold, and the other half in black.
Photo: Janoah Bailin
  • Reviews

Possibilities Within Pain

Ankita
  • Maybe…pain can make one whole.
A large group of dancers stand closely together in a studio, their bodies tilted in unison with heads falling dramatically to one side, creating a strong visual wave across the room. They are arranged in staggered rows that draw the eye from front to back, emphasizing their collective rhythm and connection. The black floor grounds the image, while the wall behind them bursts with bold, curving black outlines and sweeping pink brushstrokes, giving the space an energetic, almost theatrical backdrop.
Photo: Jonathan Van Arneman
  • Reviews

Flow State: Less Recital, More Revival!

Emily “Lady Em” Culbreath
  • A church basement party-performance
A female circus artist with a brown ponytail leans back over a trapeze and stretches her arms. She wears a shiny blue leotard and flies high above a full audience.
Photo: E. Wallis Cain Carbonell
  • Reviews

Heartfelt Showmen

E. Wallis Cain Carbonell
  • “Clap! Holler! We want all the attention from you guys tonight!.”

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From the Archives

A collection of featured work from our archives across the years

Fanned out in a circle on a white surface are 12 booklets in a range of colors. Here and there are sections of text covered or obscured by other booklets. In the center of this circle is the title piece in a wash of brown darker at the bottom and lightening toward the top. The vague image of pine tree tops on its surface. It reads, Dance across the top and History(s) across the bottom with the subtitle Imagination as a Form of Study in the center. Underneath in smaller letters it reads edited by Thomas F. DeFrantz and Annie-B Parson.
Photo: Jack Lazar
  • Reviews

To Us/Because of Us

Emilee Lord
  • Dance is a Weed
Photo: Linda Johnson
  • Reviews

An Inquiry of Oz

Kat J. Sullivan
  • Quintessence Theatre’s imagining ends without closure.
Portrait of Alvin Ailey with Judith Jamison, Linda Kent, and Dudley Williams in dance studio, 1973. Photography by Jack Mitchell, © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.
© A. Ailey Dance Foundation and Smithsonian
  • Reviews

Parsing the Significance of a New Archive

Emma Cohen
  • A collection of Alvin Ailey photographs is made available to the public for the first time.
Photo: Mark Garvin
  • .

Mayhem and Laughter at People’s Light

Kristen Shahverdian
  • A Christmas Panto created a community for an afternoon and a chance to celebrate each other.

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