imprint

Reflection on "BURN," a work-in-progress showing at ODC Theater’s 2026 State of Play Festival.

photo credit: Chris Hardy When San Francisco Ballet premiered Mere Mortals in January 2024, the production announced itself as an institutional landmark event. Choreographer Aszure Barton’s first full-length commission for the company and the centerpiece of Artistic Director Tamara Rojo’s inaugural season had patrons and non patrons of the ballet anticipating the program. It was subsequently encored both in 2024 and again in 2026 after multiple sold-out performances and has j

photo by: Robbie Sweeney ICE. CAR. RAGE. remounts a landmark work from the San Francisco experimental dance scene, Jess Curtis/Gravity’s 1999 work, Ice Car Cage. In that piece, dancers Jess Curtis, Keith Hennessy, and Jules Beckman performed with the same elements which structure the 2026 work; an enormous block of ice, a car operating under its own power, and a gilded cage. In their original context, these elements served as a cri-de-couer; the ice, a blistering statement on

The work offered the viewers moments to reflect on ritual, the role of technology and our relationship to ecology.

Turning Toward Exquisite Attention by Bhumi B Patel

The Invitation Situation at Stomping Ground LA this month!

Review: Denice Frohman's "Esto No Tiene Nombre"

by Teo Lin-Bianco

On June 1, 2026, I participated in Hope Mohr's Queer Theory Buffet as part of Keith Hennessey and CIRCOZERO's prefigure during ROT Festival. Four of us—Hope Mohr, Mike Chin, Maria Silk, and myself—selected a queer theorist we wanted to dive into for 5 minutes and provided an embodied prompt to move through the theory. I thought I'd share my buffet offering here! Sara Ahmed is a British, feminist writer and independent scholar working at the intersection of feminist, queer, an

Queering Dance Festival: Frolic! by Teo Lin-Bianco Queering Dance Festival's Frolic! at Dance Mission Theater is as electric as it is thoughtful. From street-style tap to stories of inadvertent sex work, every piece pulls the audience in, hoots and hollers one moment, held breath the next. What emerges across the evening is a portrait of a fundamental duality at the heart of queer life: immense, unrestrained joy alongside a sharp, critical eye toward building a more just wo

Through a Prism: pateldanceworks’s wild light by Marlena Gittleman

The Limits of Critical Distance and Teo Lin-Bianco’s “Copper P*ss Lasagna” by Marlena Gittleman

CounterPulse and the Curse of the Urban Echo Chamber by Teo Lin-Bianco

Reviews by Bhumi B Patel, Marlena Gittleman, and Jeffrey Gan "Breaking Out of the Grip of Mexican Masculinity: Rogelio López and Dancers’ Mucho machismo y pocos machos" by Marlena Gittleman

Dancing for Dwindling Crowds: ODC’s Struggle for Relevance by Teo Lin-Bianco

making space to be many things at once by Bhumi B Patel The promises of immigration are often safety, wealth, prosperity, and stability,...

imprint is an annual dance writing fellowship program designed for QTBIPOC dance writers. Launched in 2025, pdw's artistic director,...

Dear pdw family, For the last few days, I’ve been sitting with a swirl of feelings that cycle through frustration, anger, sadness, fear,...

On July 21st, I walked through Flax Art and Design to the Oakland Theater Project in anticipation of Ishami Dance Company’s first company...

In conversation with: fault lines by pateldanceworks by Meghana Ravikumar in collaboration with Bhumi Patel, Sholeh Asgary, Rachel...