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At the RISE 2025 Summit held at the New York Library for the Performing Arts, panelists for a discussion entitled “Data is Revolutionary” gather in black office chairs with silver legs in front of a large projector screen that reads “Dance Data Project, Harriet Tubman Effect Institute, & Women Count” in a pastel blue above the title “Data is Revolutionary” in a light yellow. Six circles containing the headshots of the panelists dot the rest of the projection. Amidst the other seated speakers, Nancy Owen stands holding a microphone in her right hand. She leans forward toward the audience, eyes alight, mouth open in speech that slips through an excited smile. In the lower left corner of the frame, a bald man in a crisp blue suit brings the crook of his thumb and second finger to his chin at stage right. He looks out toward the audience with his chair angled away from the six panelists.
Photo by Victoria Detres
  • Interviews

Dance Leadership by the Numbers

Jennifer Passios

A Conversation with Elizabeth “Liza” Yntema of Dance Data Project®

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.

Eight dancers, all wearing loose white fabric, lean into one another and stare directly at the camera. Some rest their heads on one another’s shoulders; all lean inward toward the middle dancer, who sits in a casual seated position.
Photo: Artur Gevorgyan
  • Reviews

Sips of Stories: A Testament to (Short) Time

Megan Mizanty

Three Years, Boundless Connections

Awash in a red light, three femme presenting performers dressed in black hold a boat constructed out of tape and twigs. They are putting two halves of it together: one looks like several apartment buildings all together and the bottom is a clearer boat shape. An oversized coat hangs in the background, along with many different puppets from previous moments scattered along the back of the stage.
Photo: REC Philly
  • Write Back Atchas

The Stories We Steal and the Stories We Make

Zoe Farnsworth

A rich performance of Kea Tawana’s life and how constructing reality can be both advantageous and destructive.

A black and white bust shot of Bempa looking forwards with a serene and powerful expression. He is black and wears his hair short cut in a fade. His chest juts out forwards proudly in his collared cross hatched shirt.
Photo: Vessel Day
  • Reviews

Afrofusion, Bempa’s Way

Zoe Farnsworth

“Untitled” explodes with queer black joy as Bempa gives the audience his own version of a good time.

A group of dancers wearing various multi-colored shirts sit in chairs arranged in a circle in the center of a church meeting room. They are surrounded by intricate stained glass windows, warm wooden flooring, and off-white painted walls. As they sit, they raise their arms above their heads and smile at one another.
Photo: Helio Ha
  • Interviews

Tango – I Think About It All the Time

Rachel DeForrest Repinz

Tango Therapy Project offers community, connection, and joy.

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

Two bodies are centered in the image, their brown skin a vibrant complement to the red skin tight garments they wear. One dancer balances on her coccyx bone and hands while supporting a tall figure lushly leaning against the seated dancer's two feet.
Photo: Mark Garvin
  • Reviews, Write Back Atchas

Temperature Check

Noel Price-Bracey

Tommie-Waheed Evans’s World Premier of in case of fire, speak

maura nguyễn donohue lunges forward onto one foot with her arms slicing outwards from her back. She wears a mustard yellow button-down shirt, navy blue coat, grey pants, and vibrant blue sneakers. She is framed by the grey-shirted backs of Shannon Yu and Rami Margron, and the darkness behind her.
Photo: Marcus Middleton
  • Reviews

There is Something Happening in the Basement of Judson Church

Rachel DeForrest Repinz

The relentless drive of Pink Fang’s “The Table.”