Headlong engaged choreographer Tere O’Connor in a five-month research and choreographic project as part of the organization’s continuing effort to remain porous about its artistic process. O’Connor brought new strategies to Headlong’s dance studio by inviting the company’s three co-directors, David Brick, Andrew Simonet, and Amy Smith, to work independently. Without the pressure to produce a finished dance, the project became a research laboratory, and expanded the company members’ working methods. The project was documented in the online publication danceworkbook: Braiding / Unbraiding / Rebraiding, presented by the Center.
Alan W. Moore is an art historian and activist whose work addresses cultural economies and groups and the politics of collectivity.
Now at the Harbourfront Centre in Toronto, illusionist and performer Geoff Sobelle’s The Object Lesson unpacks the material components of memory.
While Jens Hoffmann was in Philadelphia to lecture at the Center in 2011, he made a few “studio” visits with local dance companies and described the experience to us.
Choreographer Lucinda Childs visits Philadelphia to recover dances she choreographed in the 1960s and ’70s.
Janet Wong became rehearsal director of the Bill T. Jones/Arnie Zane Dance Company in 1996 and associate artistic director in 2006.
Supporting, documenting and presenting Philadelphia area folk arts, the Philadelphia Folklore Project is committed to sustaining community cultural knowledge.
In 2010, the Center hosted Václav Havel, the late renowned playwright and former President of the Czech Republic, for an interview at The Wilma Theater, prior to the American premiere of Leaving, his first play in 20 years.
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.
Kun-Yang Lin/Dancers is one of the country’s foremost contemporary Asian-American dance companies, celebrating the ability of dance to integrate body, mind, and spirit.
The James A. Michener Art Museum conducted research for a retrospective exhibition on the work of designer-craftsman Paul Evans (1931–87).
The company is dedicated to making critically important performance opportunities available to the current generation of opera and theatrical performers, designers, and directors.
Greg “Hodari” Banks is a dancer and a 1992 Pew Fellow.