There was a lot of “dancing naked in public” Saturday at Public Functionary. That’s how Jerry Saltz describes what artists and critics—and by extension, curators—do when they produce, present, and publish.

Lightsey Darst on Greg Waletski’s swan song with Zenon, SuperGroup’s work for Momentum 2013, and her own exit from the Twin Cities scene.

For the May edition of the You Are Hear podcast, Sam Landman contributes a story that falls somewhere between Philip K. Dick, David Ives, and Joe Frank.

Lightsey Darst remembers John Munger, “dance everything” in the Twin Cities arts community: dancer, choreographer, student, teacher, writer, administrator, activist, and curator—in short, a “human exclamation mark.”

Deborah Carver explores the burgeoning Twin Cities women’s choral scene—Prairie Fire Lady Choir, Twin Cities Women’s Choir, and Nona Marie’s Anonymous Choir.

Lightsey Darst profiles mercurial dancer Nic Lincoln, soon to be on stage for YES, an evening of solos by five choreographers: Judith Howard, Megan Mayer, Penelope Freeh, Kristin Van Loon and Wynn Fricke.

The experience of Emily Johnson’s latest dance work, Niicugni, is like being immersed in the waking dream of a young woman who, with ancestors and friends, navigates the terrain of memory and art-making.

Contemporary life blurs the boundaries between fact and fiction, reality and fantasy—we’re accustomed, even numb to that fact. The MIA’s More Real? takes a direct dive into this murky territory, where such questions and conundrums abound.

Ballet, like many classical arts, begins with form, discipline, steps—not improvisational play and feeling. Authority comes later—so much later that most students (and many professionals) never get there. Not so with Young Dance.