Germaine Ingram, a tap dancer, choreographer, and a 2010 Pew Fellow in the Arts, collaborated with improvisational dancer and choreographer Leah Stein in a year-long laboratory to examine how dance can explore rhythm and improvisation practices as it also addresses historical, social, and political themes. Previously, Ingram developed The Spirits Break to Freedom, a performance that explored the history of slavery at Philadelphia’s President’s House. That project pushed her to look beyond tap for new tools of expression. Ingram and Stein worked with other artists and dance professionals interested in researching and experimenting with new methods for conveying history and social issues through movement, including Ananya Chatterjea, executive director of Ananya Dance Theatre in Minneapolis, and Peter DiMuro, former producing artistic director of Liz Lerman Dance Exchange.
Shannon Jackson is the Associate Vice Chancellor for the Arts and Design, the Cyrus and Michelle Hadidi Chair of the Humanities, and a Professor of Rhetoric and of Theater, Dance and Performance Studies at the University of California, Berkeley.
Astria Suparak is an independent curator and former director and curator of Carnegie Mellon University’s Miller Gallery.
Fall begins with a lively schedule of Center-funded projects, including ambitious artistic collaborations, performance premieres, exhibition openings, and experimental installations.
Susana Tubert is the co-founder and executive director of the Latino International Theater Festival of New York and executive producer of its annual TeatroStageFest.
Buff Kavelman founded the Kavelman Group Philanthropic Advisors in 1997 to serve individual donors, foundations, and organizations in strategic planning, board development, philanthropic initiatives, and external affairs.
Four flamenco scholars weigh in on the connections between flamenco and popular culture in varying historical contexts.
Suzanne Carbonneau is a dance writer and historian, and she directs the Institute for Dance Criticism at the American Dance Festival.
In March 2005, The Pew Center for Arts & Heritage invited choreographer and dance artist Wendy Rogers to lead a presentation and town hall discussion for dance makers and cultural practitioners.
For decades this suburban university gallery has presented exhibitions of a quality and field-wide significance well beyond what one might expect, given its size and location.
“There is a hunger for a conversation about process,” says dancer and choreographer Tania Isaac, when asked about changes in audience expectations.
In June 2013, Pennsylvania Ballet presented the Center-funded company premiere of William Forsythe’s Artifact Suite, which was previewed by ABC 6 Action News.
Setting the stage for the performances of Trisha Brown’s Early Works at the Barnes Foundation, Susan Rosenberg, scholar-in-residence at the Trisha Brown Dance Company, offers an overview of Brown’s career at the crossroads of dance and visual art.