As artistic director of Philadelphia’s Voloshky Ukrainian Dance Ensemble, Taras Lewyckyj oversees performances that combine Ukrainian and American dance aesthetics, culled from folkloric traditions and contemporary styles. In this project he recovered, restaged, and documented lost works of acclaimed Ukrainian dance artist Anatoly Kryvochyzha. Lewyckyj first saw the work of Kryvochyzha, who was artistic director and chief choreographer of Yatran Ukrainian National Dance Company, in 1977, when Yatran performed in the United States. Shortly thereafter, Kryovchyzha was removed as head of the Yatran company for his interactions with the Ukrainian Diaspora community in Philadelphia and exiled from his native country for 14 years by the ruling Communist regime but has since returned to the Ukraine. Lewyckyj traveled to the Ukraine to work with Kryovchyzha and the Zoriany dance company to recover a series of dances, including restoration of the original musical scores and costumes. Working with videographer Henry Nevison, Lewyckyj made a film of the recovered work, which includes the history of Kryvochyzha’s experiences with censorship and political exile. Recent political uprisings in the Ukraine were incorporated into the narrative of the film. This was Lewyckyj’s first grant from The Pew Center for Arts & Heritage.
Revisit Center-funded The Dance Apocalypse in Brooklyn with The Dance Apocalypse/Solos. Creators Gabrielle Revlock and Nicole Bindler describe the piece as ” a radical challenge to the paltry circumstances in which artists seek funding and a heart wrenching end-of-the-world love story with pizazz.”
Kiranavali Vidyasankar is a vocalist, music teacher, and writer who comes from a lineage of legendary Carnatic (South Indian) musicians.
Promoting cultural exchanges between Ukrainians and the global community, Voloshky Ukrainian Dance Ensemble seeks to represent the country’s culture through dance.
Robert Crowder (1930–2012) was the founder of Kùlú Mèlé African Dance and Drum Ensemble and a 2004 Pew Fellow in folk and traditional arts.
As a presenting arts organization, the Painted Bride offers a wide range of work in music, dance, spoken word, and theater.
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.
Director of Three Aksha School of Performing Arts, Rao is trained in Bharatanatyam, a classical South Indian dance form marked by expressive hand gestures and elaborate rhythmic patterns.
Cheryl Hess is a media artist and a 2005 Pew Fellow.
The ICA presents Endless Shout, an interdisciplinary, multi-artist project examining the role of performance in museum spaces.
In perceiving the “just this”-ness, Group Motion Dance Company shares a preview of a new work by choreographer Susan Rethorst.
Established in 1963, Pennsylvania Ballet has extended its important Balanchine-based repertoire by presenting new works by a variety of contemporary choreographers.
A Steady Pulse: Restaging Lucinda Childs, 1963–78 is a dynamic reexamination of the early dances of one of America’s most influential contemporary choreographers. In this excerpt from the forthcoming multimedia online publication, dance critic and historian Suzanne Carbonneau reflects on beauty as refusal in Childs’ work.