The PRISM Quartet creates and performs music that places the saxophone in unexpected contexts, charting fresh musical territory that challenges audiences. For Color Theory, PRISM will commission new works by Guggenheim Fellow Steven Mackey and Berlin prize recipient Ken Ueno, which will pair the saxophone with a wide range of percussion instruments, in order to investigate the concept of “musical color.” PRISM will partner with Partch, an ensemble devoted to American composer and musical instrument builder Harry Partch (1901–74), and Brooklyn-based ensemble Sō Percussion, for Color Theory concerts at the Kimmel Center for the Performing Arts. These concerts will be broadcast live on WWFM and a follow-up audio recording will be available on Innova Records. The project will also include panel discussions that examine color theory across disciplines; a Harry Partch lecture and instrument-making workshop; a composer symposium at the Curtis Institute of Music; and family workshops at the Free Library.
Additional unrestricted funds are added to each grant for general operating support.
In order to examine the difficult topic of addiction and its consequences, Pushers uses celebrity culture as its lens, as a way to connect with West Philadelphia youth and encourage them to share their own experiences.
Founded in 2002 by two composers, Chamber Music Now provided the Philadelphia community with original concert productions.
Winner of two ASCAP Awards for Adventurous Programming, the Crossing is a professional contemporary chamber choir conducted by Donald Nally.
Jamillah James is assistant curator at the Hammer Museum in Los Angeles.
In advance of the September workshops with Boris Charmatz, project co-directors host an informal professional preview for dance and performance artists .
Drexel University’s Antoinette Westphal College of Media Arts & Design fosters the study, exploration, and management of the arts: media, design, the performing, and visual.
The PRISM Quartet presents new works composed and performed by Dave Liebman and Greg Osby.
Donna Graves is a historian and cultural planner with over 20 years experience developing public history projects that document and interpret unrecognized histories.
Directing My Dancers/Directing Myself allowed Nichole Canuso to reevaluate her choreographic practice, mentoring under U.K.-based dancer Wendy Houstoun.
Robert Mealy is director of the Historical Performance Program at The Juilliard School, a professor at the Yale School of Music, orchestra director for the Boston Early Music Festival, and co-director of the 17th-century ensemble Quicksilver.
Natasha Bakht is an Indian contemporary dancer and choreographer. In 2015, she was a panelist in Performance.