Robyn Mineko Williams is setting her latest dance in a bar, with a rocker and a puppetmaster

Chicago Sun-Times: Robyn Mineko Williams began her dance career with Hubbard Street Dance Chicago in 2000, fulfilling a childhood dream. “I saw Hubbard Street when I was 9 and decided, ‘That’s what I want to do, somehow,’” she said.

‘Macbeth’ gets an immersive dance-theater adaptation at UMBC

DC Theater Arts: I’m not too familiar with Macbeth, or any of William Shakespeare’s work, for that matter, but that didn’t stop me from enjoying it. If you’re like me and have little to no prior knowledge of Macbeth, first performed in 1606, it’s a tragedy that dramatizes the physical violence and psychological effects of political ambition and power.

Royal Ballet School head: Dance has long way to go to combat body image issues

www.thestage.co.uk: The Royal Ballet School’s artistic director Iain Mackay has claimed the dance industry has “a long way to go” in terms of tackling body image issues. Mackay acknowledged the responsibility of training institutions to protect young dancers, declaring: “I don’t want students to come out of school and say they need to heal now.”

Dance Theatre of Harlem returns to the Auditorium after a ten-year hiatus

Chicago Reader: On October 17, Dance Theatre of Harlem (DTH) returned to Chicago for the first time in a decade, with a mixed bill featuring artistic director Robert Garland’s Return, George Balanchine’s Donizetti Variations, and John Taras’s Firebird. Founded in 1969 by Arthur Mitchell and Karel Shook after the assassination of Martin Luther King Jr., the company began as a school in the Harlem community in New York City, where Mitchell was the first Black principal dancer with New York City Ballet, to “prove . . . that Black children, given the same opportunity as white children, could be great dancers and . . . to show people what Black artists could do.”

How ‘Dancer,’ a ravishing musical, uses contemporary dance to tell the story of a famous racehorse

www.thestar.com: Accompanied by a propulsive, anthemic melody on the piano, a group of performers charge onto the stage at the Terminal Theatre. Their hands are clenched into fists, arms tucked by their waists, backs arched forward and necks bobbing to the rhythm of the music. Ba-dum, ba-dum, ba-dum, ba-dum.

Robbins Dance & Performing Arts Expands Division

BroadwayWorld: Robbins Sports Surfaces has announced the expansion of Robbins Dance & Performing Arts as a dedicated division, reinforcing the company's longstanding commitment to dancers and performers with the same focus it has long delivered to professional athletes. Leading the charge is James Fayette, former New York City Ballet Principal Dancer, who joins as Vice President of Business Development.

The Martha Graham Dance Company Has Moved to New Space in Times Square

Playbill: The Martha Graham Dance Center has officially relocated to its new, expanded home in Times Square at 1501 Broadway. A ribbon-cutting ceremony was held September 14, attended by members of the Martha Graham Center’s staff and board, dancers, and community partners, as well as New York State Senators Erik Bottcher and Liz Krueger and New York City Council Member Carl Michael Wilson.

Tango and Havana Fiesta Brings Latin American Dance Traditions Together in Miami

BroadwayWorld: Miami’s Flamingo Theater became the setting for Tango y Havana Fiesta: Music & Dance Celebration, a production conceived, directed and produced by Analía Farfan that brought together several traditions of Latin American and Hispanic music and dance.

Inside 'The Shards' 1980s TV Dance Off With Homer Gere, Kaia Gerber

www.hollywoodreporter.com: Midway through this season of The Shards, the Ryan Murphy adaptation veered sharply away from its Bret Easton Ellis-penned source material and onto the dance floor. The set was inspired by 1980s teen dance shows like Dance Party USA, a cable phenomenon that aired weekdays from 1986-1992. The Shards devoted an entire episode — titled “Murder on the Dance Floor” — to recreating this genre when it dropped its starry ensemble played by Igby Rigney, Homer Gere, Kaia Gerber, Hayes Warner, Graham Campbell and Daniel Day onto Murphy’s recreated stage, where jealousy, an on-set brawl and, eventually, a murder overshadowed the competition’s final results (Susan, Gerber’s character, was the dancing winner; much to the dismay of her best friend, played by Warner).

American Dance Guild to Present 70th Anniversary Festival…

www.broadwayworld.com: The American Dance Guild (ADG) will commemorate its 70th anniversary with Celebrating the Past. Inspiring the Future, a four-day Performance Festival taking place Thursday, October 22 through Sunday, October 25, 2026, at the Ailey Citigroup Theater. The festival will bring together more than 30 works representing a wide range of aesthetic, cultural and generational perspectives in contemporary dance.

70 years ago, Anna Sokolow predicted our epidemic of loneliness

forward.com: When the dance begins, they are all onstage together. But they are each very much alone. In the opening vignette of Anna Sokolow’s “Rooms,” there are eight chairs scattered across the stage and eight performers who inhabit them — like city apartments squished so close together yet keeping their occupants apart.

100 Years of Martha Graham in Dance Magazine

dancemagazine.com: In 1926, the pioneering modern choreographer Martha Graham founded her eponymous dance company. One year later, Dance Magazine (originally called The American Dancer) published its first issue. The two institutions’ histories are twined together. Over the following decades, the Martha Graham Dance Company became a profoundly influential force in a dance world that was rapidly evolving; Dance Magazine became that world’s foremost chronicler.

Young Martial Artists Perform a Spectacular Traditional Dance in Perfect Sync With Humanoid Robots

laughingsquid.com: During the 2026 CMG Spring Festival Gala in Beijing, a group of very talented young martial artists performed a spectacular dance in perfect synchronization with a group of elaborately costumed humanoid robots.

Martha Graham Took Classic Ballet and Turned It Into Modern Dance. It’s Still Moving Us 100 Years Later

www.smithsonianmag.com: This past fall, in a sunlit studio in Manhattan’s West village, the Martha Graham Dance Company was rehearsing a production of Cave of the Heart, a fiery one-act ballet created in 1946.

Step Afrika!’s 'The Migration: Reflections on Jacob Lawrence' Ignites a Fire of Hope and Rejuvenation

onstagepittsburgh.com: The Pittsburgh Dance Council’s 2025-26 series continued last night with Step Afrika!’s The Migration: Reflections on Jacob Lawrence. Combining traditional African instruments and choreography, artistic director Mfoniso Akpan and 17 tremendously talented cast members brought this profoundly moving piece to life. The Migration: Reflections on Jacob Lawrence tells the story of African Americans moving from the rural South to the industrial North to escape Jim Crow, racial oppression, and lynchings in the early 1900s.

Ronald K. Brown Looks Forward and Back as EVIDENCE Turns 40

dancemagazine.com: When Ronald K. Brown was in second grade, he went on a school trip to see Alvin Ailey American Dance Theater, returned home, and made his first dance. Seeing his interest, his mother took him to the Bedford Stuyvesant Restoration Plaza in their Brooklyn neighborhood for a dance class.

How Artists Are Exploring the Possibilities and Implications of Dance in Space

Dance Magazine: In a performance at the Conference for Research on Choreographic Interfaces this past June, Sasha Peterson leaned the side of her body onto Michael Figueroa’s shoulders, sharing weight in a traditional contact-improvisational lift. But rather than disembark back to the floor, Peterson rolled down Figueroa’s back—and stayed there, her body perpendicular to his, suspended in space.

Sporting Equals on the positive impact of Dance Westminster

disabilityarts.online: Forrester Court Care Home proudly participated in the Dance Westminster 2025 initiative, supported by Active Westminster and Step Change Studios, an award-winning dance company committed to making dance accessible to all. Held at Porchester Hall, the event celebrated movement, creativity, and inclusion, giving people with disabilities the chance to express themselves through dance, regardless of mobility, age, or experience.

Lleyton Ho on Attending Stanford University While Dancing With San Francisco Ballet

Dance Magazine: In 2022, Lleyton Ho was at a crossroads. He’d just wrapped up his first full season as a corps de ballet member with San Francisco Ballet (the previous two seasons’ programming had been interrupted by the COVID-19 pandemic), and he was eager to continue dancing with the company. Ho had completed his freshman year at Stanford University the year before, and the leave of absence he’d taken since then to pursue ballet was about to expire. He had to make a decision: Would it be college life or company life? “I thought to myself, What if I just did both?” remembers Ho. “If someone tells me something is impossible, I say, ‘Actually, it’s possible, and I’m going to make it happen.’ ”

How Have Computer Applications Changed the Way We Make Dance?

Dance Magazine: I was one of the pioneers of what I call “computational choreography”—dance made with the assistance of computers. In 2007, I created and performed my work Choreobot with VICKi (Virtual Interactive Choreographic/Kinetic instructor), software that I coded to generate choreography, live. My experiences in this constantly evolving field give me a unique perspective on both its history and the questions AI now presses on dance.