Israeli choreographer Ohad Naharin, director of Israel’s Batsheva Dance Company, set his duet Passomezzo (1989) on the Koresh Dance Company for performances during the company’s 2009–10 season. Naharin also taught a series of master classes in “Gaga,” his signature dance technique, for the Philadelphia community. This is the first time Gaga had been taught in Philadelphia, offering the local dance community a rare opportunity to experience the technique as taught by its founder. Philadelphia Mayor Michael Nutter proclaimed the opening night “Ohad Naharin Day” in honor of the renowned choreographer’s work with Koresh Dance Company.
Anna Drozdowski, a curator of performance, hosts European duo Jonathan Burrows and Matteo Fargion for a two-week retrospective of their collaborative career. The two juxtapose the formality of music composition with a radical and open approach to performance, composition and audience.
This month, Center-funded projects from Silvana Cardell and Anna Drozdowski culminate in live performances and workshops, while FringeArts looks forward to a fall theater presentation by hosting a discussion with Obie Award-winning Belgian theater director Ivo van Hove.
Merián Soto continued to develop the Branch Dance Series, a deeply meditative, multimedia performative process that became the basis for her piece in the 2009 FringeArts Festival.
Flamenco dancer Pastora Galván performs in this self-titled work, choreographed by her brother, Israel Galván.
Kathleen McLean, principal of Independent Exhibitions, recently co-facilitated the Center’s project, No Idea Is Too Ridiculous, with Performa curator Mark Beasley.
Dan Hurlin currently teaches performance art, dance, and puppetry at Sarah Lawrence College, where he also serves as the director of the graduate program in theater. In 2015, Hurlin served as a Performance LOI panelist.
Choreographer Jonathan Burrows and composer Matteo Fargion lead a master class investigating choreographic and compositional process, performance and philosophies, questioning how a performance can be made and what it might communicate to someone watching.
Cynthia Oliver is a New York Dance and Performance Award (“Bessie”)-winning choreographer whose work has been presented nationally and internationally.
Midway Avenue is a solo performance that uses personal reminiscences and universal yearnings to explore the relationship between memory and self.
Eric Jacobsen, a conductor and cellist hailed by The New York Times as “an interpretive dynamo,” has built a reputation for engaging audiences with innovative and collaborative projects. In 2015, Jacobsen served as a Performance LOI panelist.
In conjunction with the recent Center-funded retrospective, Trisha Brown: In the New Body, we invited author and art critic Douglas Crimp and MoMA PS1’s Peter Eleey to reflect on Brown’s influential choreographic practice.
Susan Hess Modern Dance hosted Ralph Lemon for a weeklong Masters Exchange residency, opening select sessions to the public to view the choreographic process at work.