Life as a Modern Dancer

Category: One Good Quote

  • One Good Quote: SHOUT IN THE DARK with Deborah Slater Dance Theater

    Back in Fall 2017, Life as a Modern Dancer launched One Good Quote for post-performance discussion and writing. The goals were multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and…

  • One Good Quote: pateldanceworks in “wild light”

    Back in Fall 2017, Life as a Modern Dancer launched One Good Quote for post-performance discussion and writing. The goals were multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and…

  • One Good Quote: Ciarra D’Onofrio + Dancers in “Heart String”

    Back in Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals were multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and…

  • One Good Quote: MoToRING ON

    MoToR/dance. Photo by Kevin Adams. Back in Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals were multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)?…

  • One Good Quote: Mia J. Chong’s EIGHT/MOVES in Season 1

    Kira Fargas. Photo by RJ Muna. Back in Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals were multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United…

  • One Good Quote: Nina Haft & Company, “The Spaces Between”

    In Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals are multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and read more…

  • One Good Quote: “Go Big or Go Home” with Aiano Nakagawa and Heth Stockton

    In Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals are multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and read more…

  • One Good Quote: “One Body, Five Dances, Six Perspectives II” with Peiling Kao Dances

    In Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals are multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and read more…

  • One Good Quote: “Things I Don’t Tell You” with Peiling Kao Dances

    In Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals are multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and read more…

  • One Good Quote: “Things I Don’t Tell You” with Peiling Kao Dances

    In Fall 2017, Life as a Modern Dancer launched a new concept for post-performance discussion and writing. The goals are multi-fold: What are new ways to invite post-performance writing (since so few publications now print dance reviews, and there are fewer and fewer dance critics in the United States)? How can choreographers hear and read more…