“You have to almost exhaust yourself sometimes to let yourself say what it is, or do what it is, in the most honest way.”
Charles O. Anderson (b. 1971) approaches choreography as metaphor for kinetic storytelling or testimony. His work strives to illuminate the ability of African-informed movement to reconcile the physical with the spiritual. In 2001, he founded dance theatre X, where he marries traditional and contemporary Africanist dance styles (African, hip-hop, samba, etc.) with the spoken word, and the formal concerns of western dance (postmodern dance and ballet) in such a way as to give contemporary, but historically textured voice to marginalized Africanist perspectives (on the concert stage). Anderson often collaborates with other artists, including King Britt, a 2007 Pew Fellow.
Anderson earned a B.A. in Dance from Cornell University, Ithaca, NY and an M.F.A. with honors from Temple University in Philadelphia, were he was a Future Faculty Fellow. He has also received training and mentoring with Vincent Sekwati Koko Mantsoe of South Africa and training with Ronald K. Brown in New York. He has performed at the FringeArts Festival; The Wilma Theater; Improvised and Otherwise Dance Festival, New York; and International Festival of Modern Dance, Kaunas, Lithuania. Among his awards are grants from the Philadelphia Cultural Fund and the Puffin Foundation, and a Center for International Educational Exchange Fellowship to South Africa.
Andrew Horwitz is a writer, producer, curator and creative strategist with over 20 years of experience in the for-profit and not-for-profit creative sectors.
The prize, established in 1981, “recognizes exemplary and provocative work by young practitioners and provides a public forum for the exchange of their ideas.”
Patricia Lent of the Merce Cunningham Trust, theater-maker Richard Schechner, and video/installation artist Sharon Hayes gather to discuss the question of reenactment in cultural practice, with UC Berkeley professor Shannon Jackson as moderator.
In 2017, the Center celebrates the 25th anniversary of the Pew Fellowships in the Arts, with a lively website and short film highlighting a quarter-century of steadfast belief in the value and impact of artists.
Bruce Altshuler directs the museum studies program in the Graduate School of Arts and Science at New York University.
Aviva Kapust is the executive director of the Village of Arts and Humanities (the Village), a multifaceted organization dedicated to community revitalization through the arts.
Artistic Director Nichole Canuso likes to explore “dances that celebrate the awkwardness, humor and surprise in human experience.”
Pew Fellow Robert Matthews’ drawings are representational with varying degrees of narrative. They are not illustrations but rather investigations of unsolvable questions.
The Pew Center for Arts & Heritage (the Center) announced today its 2015 grants in support of the Philadelphia region’s cultural organizations and artists. Marking the Center’s 10th year of grantmaking, a total of more than $9.6 million will provide funding for 12 new Pew Fellowships, 34 Project grants, and three Advancement grants.
Tomah uses traditional folk songs of compassion, trust, and reconciliation to generate collective strength and foster dialogue about critical issues facing Liberian immigrant communities.
Directing My Dancers/Directing Myself allowed Nichole Canuso to reevaluate her choreographic practice, mentoring under U.K.-based dancer Wendy Houstoun.
The Institute of Contemporary Art presents a performance of Pew Fellow Jumatatu Poe’s Let ‘im Move You, organized by Danielle Goldman.