Kun-Yang Lin/Dancers’ company training project was a working laboratory which supported artistic director Kun-Yang Lin’s continuing investigations into embodying contemplative practices that are at the core of his creative process. Dancer training in meditation and martial art practices with guest artist teachers was central to the program; many activities were also open to the public, including workshops, community dialogues, and open rehearsals. Guest teaching artists included former principal dancer of Taiwan’s Cloud Gate Dance Theatre, Hsu-Hui Huang; martial artist Dr. Chik Qadir Mason; mandala artist, Buddhist philosopher, and teacher Losang Samten; and puppeteer Hua Hua Zhang. The project was accompanied by a restaging of choreographer Kun-Yang Lin’s dance Beyond the Bones for performances at Philadelphia’s Painted Bride Art Center.
Choreographer Lisa Kraus collaborated with longtime colleagues to create a piece that examined how longstanding relationships affect dancing and dancemaking.
Thomas Dan is a multimedia artist and a 1995 Pew Fellow.
Raphael Xavier (Pew Fellow, 2013) has practiced “breaking,” an acrobatic street dance style commonly known as breakdancing, since 1983.
What inspires our imaginations and catalyzes our creativity? As we bid farewell to 2014, we asked members of our cultural community to share something that inspired them this year.
Nichole Canuso and her collaborators created TAKES, an interactive environment that applied the cinematic notion of the “take” to the world of dance.
Caribbean-American dancer-choreographer Tania Isaac (Pew Fellow, 2011) fuses choreography with personal documentary and social commentary.
José Luis Bustamante is the former artistic director of Sharir+Bustamante Danceworks.
Congolese choreographer and dancer Faustin Linyekula discusses why he believes that theater is “a lab for how we live as citizens.”
Philadelphia Dance Projects and Group Motion Multi Media Dance Theater present the finale of Susan Rethorst/Moving in Philadelphia: 2013-2014, a world premiere work by choreographer Susan Rethorst.
Writing an artist statement is one of those exercises that is re-performed time and again over the course of a career. The following statement was written by David Gordon in 1995.
The melody needs some dress. I cannot send it naked, so I dress it up with the harmony, you know?
Center-supported performance projects and exhibitions continue to have successful presentations after their initial premieres in our region.