Pennsylvania Ballet acquired and presented Artifact Suite, its third work in three years by William Forsythe, a choreographer noted for propelling ballet from a strictly classical dance form to a dynamic, 21st-century art. Featuring 29 dancers in a 45-minute ballet, Forsythe’s signature choreography in Artifact Suite pushes dancers beyond their perceived physical limits, demanding sharp timing, precise syncopation, and coordination. Forsythe keeps the work fresh by making changes to the choreography every time a new company performs it. “There is always something to improve, some craftsmanship to carry out, and new solutions to discover,” he says.
Three of the choreographer’s former dancers—Jodie Gates, Noah Gelber, and Laura Graham—staged Artifact Suite over four weeks of rehearsal. Forsythe visited Philadelphia to work with the dancers in advance of the final performances in June 2013. A public symposium was held, prior to the performances, moderated by Linda Caruso Haviland, director of dance at Bryn Mawr College, and featured Forsythe; Freya Vass-Rhee, dramaturge of the Forsythe Company; and Jennifer Homans, author of Apollo’s Angels: A History of Ballet.
Headlong Dance Theater brought dance directly into the private homes of Philadelphia citizens, where the members of those households became the dancers.
Silvana Cardell is a choreographer, dancer and, educator, whose choreographic impulses are defined by her experience as an Argentine expatriate living, working, and raising a family in the United States.
Bill T. Jones is an artist, choreographer, dancer, theater director and writer, as well as the founder of Bill T. Jones/Arnie Zane and executive artistic director New York Live Arts.
Leah Stein Dance Company conducted on a year of research and training with electronic music pioneer Pauline Oliveros, who coined the practice of “Deep Listening.”
Bryn Mawr College presents a retrospective of selected dances by Trisha Brown, an internationally known leader of post-modernism and an enduring renegade whose work has rarely been seen in Philadelphia.
Pasión y Arte’s 2014 Flamenco Festival was featured in the Philadelphia Inquirer, the CBS Philly website, and on WRTI.
Philadelphia Dance Projects began a presenting series of dance performances, workshops, and “informances” by individual dance artists.
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.
The overall intent of my work is to develop a visual myth about the build up and aftermath of war.
Bryn Mawr College’s Performing Arts Series presented a month of free events to expand audience’s knowledge of Cambodian dance, music, and culture that culminated in a performance of The Lives of Giants by the Khmer Arts Ensemble.
The New Year will bring ambitious and innovative Center-funded projects to the Philadelphia region that will inspire audiences and push the boundaries of artistic discovery and expression.
Dan Byers is Senior Curator at the Institute of Contemporary Art, Boston. Byers contributed to the Center’s 2013 publication Pigeons on the Grass, Alas: Contemporary Curators Talk About the Field. He was a 2014 panelist and a 2015 LOI panelist, both in Exhibitions & Public Interpretation.