Choreographer Amanda Miller explored the movement of Cambodian classical dance as it intersects with Miller’s western classical ballet training. This research took place in collaboration with Cambodian dance artist Sophiline Cheam Shapiro in Takhmao, Cambodia, and involved physical practice as well as critical analysis and reflection. Cheam Shapiro is the co-founder of the Khmer Arts Academy and one of the first graduates of Phnom Penh’s Royal University of Fine Arts, following the Cambodian genocide under the Khmer Rouge. She has made a significant contribution to the preservation of traditional Cambodian dance forms and has been honored with Guggenheim and Irvine dance fellowships, as well as the 2006 Nikkei Asia Prize for Culture.
Jeffrey Herrmann is the managing director of Seattle Repertory Theatre.
Václav Havel was a renowned playwright and political activist who became president of the Czech Republic in 1990, the country’s first noncommunist leader since 1948.
Michael Kiley is a composer, sound designer, performer, and educator working in dance, theater, and public installation.
As a presenting arts organization, the Painted Bride offers a wide range of work in music, dance, spoken word, and theater.
LaVaughn Robinson (1927–2008) was a tap dancer and a 1992 Pew Fellow.
Russian folktales and South African music and puppetry united in a multidisciplinary interpretation of Igor Stravinsky’s composition for the 1910 ballet The Firebird, featuring The Philadelphia Orchestra, Grammy Award-winning South African vocal ensemble Ladysmith Black Mambazo, and larger-than-life puppets by Janni Younge of South Africa’s renowned Handspring Puppet Company.
This paper by Indonesian dance scholar Sal Murgiyanto was originally presented at “Traces of Tradition,” a panel discussion held at the International Dance Conference, August 1-4, 2004.
Throughout Dancing around the Bride’s run at the Barbican Art Gallery in London, the exhibition received media attention from a number of publications.
We ask DeFrantz how changes in technology are impacting the ways in which artists produce narrative.
In 2013, the Center funded 52 projects, welcomed 13 new Pew Fellows, and brought to Philadelphia exemplary cultural practitioners from around the world for roundtable discussions and lectures.
Dorothy Wilkie’s (Pew Fellow, 2007) choreography involves the re-staging and re-choreographing of traditional West African and Afro-Cuban dances.
Supporting, documenting and presenting Philadelphia area folk arts, the Philadelphia Folklore Project is committed to sustaining community cultural knowledge.