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 Merián Soto/ SoMoS

"It was operatic. I watched the ending from further away lhe second time and was enchanted by the whole village of it, zoomed out, with its glowing homes. Watching twice was also great because of how the mind shift that happened got deeper and deeper. Like the kids who got quiet and still and watched things for a long time, I sank into the state I have while watching a flickering fire.Just present. And warmed." — Lisa Kraus, thINKing Dance
Inside, the summer tent had the feel of a beach, and the sound of the sea rolling to and from the shore. Kids were drawn here not just because it was strewn with beach balls, but for the tent’s focal point: a woman dressed as a mermaid, lying in the center as if she’d just washed ashore. Children became part of the performance as they rolled the balls around her. Occasionally the mermaid would kick up her tail or stir to tap on balls that came her way. It was convincing enough: One child was overheard asking her parent, “Is that a real mermaid?”  Deni Kasrel, Philadelphia City Paper
"As I cut a path between the domes, my eye catches Olive Prince, a lone dancer within a space demarcated by chairs and branches. I move in close and watch. She is balancing on one leg, her body contracted. A large branch sits atop one shoulder. At first, she appears still, but as I continue to watch I see that she isn’t. Her body expands slowly outward, seemingly from within. Small gusts of wind gently toss her hair, creating a rhythmic counterpoint to the quietude of her body. Her gaze, slightly downward, seems alert; I feel included in her awareness. My body begins to settle, joints softening, feet registering concrete ground below. I sense the dome of space around us, edged with row homes, street lamps, the distant skyline. Overhead, planes blink methodically across the sky." Robert Bingham, The Dance Journal
Photo: Lindsay Browning
Photo: Lindsay Browning
Photo Gabriel Martinez