The Fall/Winter 2026 Print Issue!

BY EMMALY WIEDERHOLT

Good dance can happen anywhere, and it happens everywhere. There’s a misconception that good dance takes place on noted stages in big cities. And yes, of course there’s good dance in the expected places, but there’s also good dance happening where one might not even know to look.

I like to think that the articles in the recently released Fall/Winter print issue of Stance on Dance ask where good dance happens and what it can look like: Canadian aerialist Erin Clark reflects on how her disabled body in performance juxtaposes superhuman ability with impairment. Artist and researcher Ajani Brannum describes the moving potency of Dancing Through Prison Walls’ show FREEDOM TIME in Los Angeles earlier this year. Southern California-based dancer and filmmaker Mary Trunk meditates on the parallels between her house burning down and her body aging in her film The Geography of Memory. Costa Rica-based JoAnne Tucker and Poughkeepsie, New York-based Kezia Gleckman Hayman pose dance as an antidote to the onslaught of AI, especially in college settings. Yvonne Montoya of Safos Dance Theater in Tucson, Arizona, shares the findings of Dance in the Desert, an in-depth study on the state of dance in Latine communities in Arizona and New Mexico. Toby MacNutt, a queer, nonbinary trans, disabled dancer living in rural Vermont, delves into the multiple year saga of creating their film A Singular They. Rosie Trump, curator of the Third Coast Dance Film Festival in Reno, Nevada, illustrates how dance on film can be a form of resistance, especially when it’s DIY. Alice Lawhorn, flamenco dancer and director of Abrepaso Flamenco out of Cleveland, Ohio, contemplates the breadth and depth of performing tientos for two decades and counting. Visual artist Atefeh Morshedi in San Francisco deftly attempts to capture what movement feels like rather than what it looks like. And Maggie Stack, the inimitable dancer and artist based in Reno, Nevada, helps me tease at the absurdity of trying to parent and dance at the same time (believe me – we’ve both been there, and are there).

I also like to think that good dance is what resonates, and it might at the time of doing/viewing, or it might years later, or it might for the person next to me. Regardless, it’s a pretty good bet that all dance is resonating with someone somewhere. And if we have the patience and audacity to look, we might be surprised at all the good dance we can find.

~~

GET YOUR COPY OF THE FALL/WINTER 2026 PRINT ISSUE NOW!

Cover art by Atefeh Morshedi

Back to Top