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nora chipaumire, a Black African woman takes the stage in 100% POP with her collaborator, Shamar Watt, a Black Jamaican man in a black Adidas tracksuit and red-green-yellow, Zimbabwe-flag-colored Nike shoes. As he runs through the frame upstage, backgrounded by a grungy, urban wall, chipaumire captures the camera’s focus as she jumps into the air, one knee tucked up to her chest, the other a foot off the ground. Wearing a ripped white shirt, black track pants, and all-white high tops, chipaumire gazes down at the ground while she leaps up, as if stomping her way back to Earth.
Photo: Ian Douglas
  • Interviews

The West Did Not Make Me

ankita
  • An Interview with nora chipaumire
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.

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

Mulunesh, a Black woman in a thick, hooded raincoat, stands crookedly with her weight shifted over one foot. Her arms are lifted out from her sides and her hands are in fists. She is lit with harsh, bright lights, and boxed in on three sides with heavy transparent plastic. Behind her, a sheet of white marley and two red cables dangle limply, as if caught mid collapse. The floor beneath her feet, made of the same white marley, is spotted with piles of black paper confetti.
Photo: Bas de Brouwer
  • thINKpieces

Decomposing Mediation: On FRANK

Writings from tD's Emerging Writer's Fellowship

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

Two white women with bright red hair pulled back loosely, wear black pants and tank tops and accentuate the curves of their waists, leaning into their hips and slightly covering their eyes with elbows bent at different angles. They are loosely connected by a thin, red thread and in the background there is a hill constructed of wooden blocks against a white wall. Completing the scene are red galoshes, two picture frames hung above the hill and a large new moon hung from the ceiling.
Photo: Shosh Isaacs
  • Reviews

Jack and Jill Trudge up the Hill

E. Wallis Cain Carbonell
  • "No one help me. I’m falling towards wholeness."
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.
Green-toned book cover featuring the silhouette of a forest and leaping figure with the title “Ways to Move: Black Insurgent Grammars by Jonathan González” on the right, and poetic text on the left reading: “i want to be with you in the ways with you of vertigo seas,” “i want to be with you in the ways with you of smashing monuments,” and “i want to be with you in the ways with you of these lonely trees.”
Photo: Courtesy of Jonathan González and Ugly Duckling Presse
  • Book Reviews

On Language Learning

Emilee Lord
  • A reading of Ways to Move: Black Insurgent Grammars by Jonathan González
A flat image of the front cover of "Resistance and Support: CI @ 50" appears centered on a dark maroon background. From top to bottom, the cover descends through sunset – muted burnt orange, carrot, creamsicle, golden rod, pale yellow, into a black and white photo of two dancers partnering in the ocean. One dancer is on his ass in the water. The other stands, both knees bent, reaching out for her comrade in the waves. They hold hands at the wrists, arms fully extended. The title “Resistance and Support,” each word on its own line, spans the top third of the cover page in a burgundy, serif font. Below, the subtitle “CI @ 50” slants in smaller white italics. The text “EDITED BY: Ann Cooper Albright,” back to the burgundy with no italics, sits about one thumbs width above the dancers in the ocean.
Photo: Courtesy of Ann Cooper Albright, includes photo by Lasse Lychnell
  • Book Reviews

Zooming Out and Weighing In

Jennifer Passios
  • Thirty-three writers shape Contact Improvisation’s next chapter.
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From the Archives

A collection of featured work from our archives across the years

Photo: Vikki Sloviter
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BalletX Reflects on Loneliness, Hope, and the Holidays

Christina Catanese
  • A Nutcracker-alternative, holiday-inspired dance, perfect for anyone who has ever felt isolated by holiday cheer.
Photo: Steven Gunther
  • Reviews

Lionel Popkin and Gabrielle Revlock at the Performance Garage

Jonathan Stein
  • The declarative title of Lionel Popkin's "There Is An Elephant In This Dance" cued us to look for a pachyderm. But "Aida" it ain't.
Photo: Anna Drozdowski
  • News

Elizabeth Zimmer Works With Philadelphia Writers: Shock and Awe!

Kariamu Welsh
  • Elizabeth Zimmer, the venerable New York dance critic ran one of her infamous Kamikaze workshops with the newly formed thINKi
Photo: Johanna Austin
  • Reviews

Women With Saying Power: The Requisite Movers

Kirsten Kaschock
  • The movement artists and choreographers calling themselves The Requisite Movers sat on the stage to field questions.

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thINKingDANCE gratefully acknowledges support from the Philadelphia Cultural Fund, the Pennsylvania Council on the Arts, and from our readers and other individual donors like you! thINKingDANCE is supported by Critical Minded, an initiative to invest in cultural critics of color cofounded by The Nathan Cummings Foundation and The Ford Foundation.

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