The Philadelphia Folklore Project (PFP) will undergo a major organizational restructuring and, in an effort to galvanize staff collaboration, will launch the Folklore Congress, an annual event that serves over 300 members of the folk arts community. Over the course of two years, PFP will transition to its new leadership and bolster its existing staff with additional hires meant to strengthen program impact: an education director, to work with teaching artists and develop education strategies across PFP’s many programs; and a communications manager, who will develop PFP’s online presence and explore new ways to connect and dialogue with members of local communities. Working under a new generation of leaders with a common vision, and harnessing the potential power of the Folklore Congress to improve communication among staff members, the organization stands to increase its national standing and become a leader in the folk arts field.1
This project investigated various issues surrounding (co-)authorship in cultural production, asking questions around definitions of authorship, collaboration, audience participation, the influence of marketplace, and other concepts.
Frances McElroy (Pew Fellow, 2009) creates elegantly crafted documentaries that delve deeply into personal stories.
Operating onsite at Revolution Recovery, a recycling company in Northeast Philadelphia, RAIR (Recycled Artist in Residency) is an arts organization acting as an artist-in-residency program, a materials supplier for artists and designers, a mouthpiece for outreach and education, and a source for exhibitions.
Pig Iron is a company specializing in exuberant ensemble-devised works. The organization has begun to train the next generation of daring physical theater artists through the Pig Iron School of Advanced Performing Training.
This timely, interdisciplinary, experimental series of dance, music, poetry, mixed media installations, and interactive programs—from acclaimed artists and scholars such as choreographer taisha paggett, designer Raul de Nieves, and composer George Lewis— invites audiences to consider African American performance aesthetics and the role of performance in museum spaces.
Settlement Music School will develop programs that are responsive to the needs of nearby residents by studying neighborhood demographics and working with “community advocates.”
Brooklyn-based performers Liftig and Cleary present an evening of performance rooted in comedic and ecstatic engagements of the everyday.
The concluding performance of Jamillah James’ AUX Curatorial Fellowship includes new dance performances by New York-based choreographer and dancer niv Acosta, and Philadelphia-based choreographer and dancer Jumatatu Poe.
Bruce LaRowe served as the Executive Director of the Children’s Theatre of Charlotte from 1993 to 2013.
Building on the success of its Museum Without Walls project, the Association for Public Art is working to engage audiences in an online dialogue about Philadelphia’s public art.
Thomas O. Kriegsmann is the Director of Programs at New York Live Arts and the founder of ArKtype, a management and production agency supporting emerging and established domestic and internationally based artists. In 2015, he served as an LOI panelist in Performance.
Following closely on the heels of revolutionary events in Tunisia, Egypt, and Libya in 2011, Marginal Utility’s exhibition explored the topic of protest through the work of five artists.