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In a close up photograph, ten dancers in spaghetti-strap leotards lean in, their eyes covered by a sheer black cloth. The middle dancer, closest to the camera, is mid-scream. Behind the dancer is the newly engraved building signage reading “The Donald J. Trump and John F. Kennedy Center.” Some words are covered by the dancers’ heads.
Photo: Courtesy of The First Amendment Troop
  • Interviews

The Epstein Files and Redacted Bodies 

Megan Mizanty

An interview with choreographer Matthew Steffens on ResistDance vs. Redaction

Two dancers in long-sleeved red tops face away from us with arms round one another’s waists as their free arms reach outwards. There are singular, red feathers extending from their heads many feet into the upwards space. To the left of the duet, we see a large Taiko drum.
Photo: Mike Hurwitz
  • Interviews, thINKpieces

Afterglow: The Dancers of KYL/D Take a Final Bow

E. Wallis Cain Carbonell

‘Anticipating something and hoping it will be everything you wished for’

A group of five dancers, three women and two men, form a circle around a female soloist. The soloist, wearing a vibrant pink vest over a black top paired with light blue, wide-legged pants, moves exuberantly with her arms out akimbo while standing on her left toes with her right leg out to the side. A live five piece jazz band, including a piano, drums, a bass trumpet, and trombone, is visible behind the dancers upstage. A projection on the brick wall in the back displays a collage of sheet music and colonial artwork of a scene from a pub.
Photo: Jano Cohen
  • Reviews

Scats off the Score

Nadia Ureña

Lauren and Brent White breathe new life into Francis Johnson’s suites from the Antebellum.

Three dancers, all clad in black cotton outfits, sit on the floor while leaning one arm up and over their bodies. Their spines curve to the side.
Photo: Gonzalo Mejia, University of Miami
  • Book Reviews

Reckoning with Power in the Classroom

Megan Mizanty

Nicole Perry’s publication urges critical reflection for movement educators

Three dancers, two men and one woman, stand on a stage covered in bright autumn leaves. The background is black. They stand in a wide stance, holding thick black rolls over their heads. The man on the left, in gray pants and a t-shirt, looks up at the roll. The brunette woman wearing green pants and a brown tunic stares directly out. The man on the right, dressed in a red suit and white dress shirt, also looks straight forward.
Photo: Steven Pisano - Courtesy of Ballet Hispánico New York
  • Reviews

Mujeres in Motion

Caedra Scott-Flaherty

Ballet Hispánico’s 56th season is an exciting women-led tour of the Latine diaspora.

Douglas Dunn stands wearing a bright yellow mask which covers his eyes. His right arm is extended to his side while his other rests on a wooden chair painted with yellow flowers. He wears a grey vest, red tie, and dark pants--a contrast to dancers Dongri Suh and Janet Charleston who stand behind him weaering flowered garlands around their heads and wear tulle skirts. A video of two waterfalls is projected onto the wall behind them.
Photo: Jacob Burckhardt
  • Reviews

Douglas Dunn’s Post-modern Pastoral

Brendan McCall

An intrepid choreographer examines classical forms through a post-modern lens

Two people draped in brown fabric rest their heads on one another’s shoulders in front of a white background. The image is edited with faint red and blue outlines.
Photo: Kosoko Performance Studio
  • Reviews

This Is Not Surveillance. You Gon Have To Participate.

Caitlin Green

//shrouded\\ evokes a necessary discomfort within the container of performance.

Six young dancers stand in profile, all facing right, under bloodred stagelights. They balance on their right foot, while holding their bent left leg with their left hand behind them. Their right arms are extended in front of them, their palms flexed, as if threy are saying "stop."
Photo: Steven Pisano
  • Reviews

Donald Byrd’s Five Alarm Dance

Brendan McCall

Donald Byrd sounds the alarm in his latest work connecting 9/11 to the crises of our current moment.

The vast white skirt of a female dancer spreads out across the center of the stage, drawn and lifted by dancers concealed beneath it, resembling a giant wave. The dancers are constantly struggling to crawl out from within this undulating mass of soft fabric. With their upper bodies bare, they curl up on the ground, suspended in a state between weightlessness and struggle. The spotlight focuses on the white fabric and the figures at the center, plunging the surrounding space into darkness.
Photo: David Wong
  • Reviews

Bodies Exposed Under Hard Light: Encountering Fables

Yuying Chen

Virginie Brunelle's Fables reveals how bodies resist and transform.

Thirteen dancers in all white and different color tap shoes dance joyfully off of wooden boards in all directions. Their bodies blurred in space.
Image Courtesy of Michael J. Love
  • Reviews

Peering into Practice

Noel Price-Bracey

Michael J. Love’s “Exercise 3” teaches us to value the balance between preparation and performance.