“In my improvisational explorations, I achieve a state where my brain quiets and my physical sensations are LOUD. My body falls from action to action, looping back, distending, recoiling, finding tiny articulations.”
In 2010 and 2011, choreographer Meg Foley (b. 1981) inserted unexpected performance into ordinary life with her 3:15 project, in which she created a dance, wherever she was, every day at exactly 3:15 p.m. This project allowed her to think critically about what constitutes dance—an investigation that has evolved into the core of her practice. Foley explores how every movement, no matter how ordinary or seemingly inconsequential, informs a responding movement, and so on, in an ongoing creative feedback loop. Her dances are often marked by specific and small gestures, suggesting intimacy or speaking to the innate awkwardness of the human body. “I aim for simultaneous abandon and command of my body, surrendering control while scanning and noticing how an action evolves or transitions,” Foley says. “I notice decisions without interfering in their making. The dance is pure architecture and sensation.”
Foley is a 2012 recipient of the Philadelphia-based Independence Foundation Fellowship. Her work has been presented locally by the FringeArts Festival, Bowerbird, and Vox Populi gallery, and nationally in the Movement Research series at New York’s Judson Church, at Scripps College in Claremont, CA, and at TEDx Phoenixville. The whole time in the meanwhile, a new choreographed work made in collaboration with Chris Forsyth, a 2011 Pew Fellow, and light designer Lenore Doxsee, was presented by Thirdbird in January 2013. In the spring of 2014, Foley participated in TAPAS, a month-long collaborative residency culminating in a performance as part of Pasión y Arte’s 2014 Philadelphia Flamenco Festival. Foley has also received a 2014 grant from the Center for action is primary, which continues and expands upon her 3:15 project.
A Steady Pulse: Restaging Lucinda Childs, 1963–78 is a dynamic reexamination of the early dances of one of America’s most influential contemporary choreographers. In this excerpt from the forthcoming multimedia online publication, dance critic and historian Suzanne Carbonneau reflects on beauty as refusal in Childs’ work.
Nichole Canuso and her collaborators created TAKES, an interactive environment that applied the cinematic notion of the “take” to the world of dance.
Kyong Park is an architect, artist, urban theorist, and activist, whose research and artistic practice focus on urban landscapes and contemporary social geography.
Network for New Music produced the album Now Again for Albany Records, featuring compositions by Bernard Rands.
An immersive, participatory vocal performance, developed from the sounds, stories, and movements of individual bodies, will place audiences amidst performers, creating an intimate experience of group voice.
Frank Sherlock is named Philadelphia’s new poet laureate, William Daley receives a solo exhibition at the Philadelphia Art Alliance, and poets Teresa Leo, Pattie McCarthy, and Jenn McCreary release new books.
Justin Cronin is a writer and a 2001 Pew Fellow.
Jan Krzywicki is a composer and a 1996 Pew Fellow.
Russian folktales and South African music and puppetry united in a multidisciplinary interpretation of Igor Stravinsky’s composition for the 1910 ballet The Firebird, featuring The Philadelphia Orchestra, Grammy Award-winning South African vocal ensemble Ladysmith Black Mambazo, and larger-than-life puppets by Janni Younge of South Africa’s renowned Handspring Puppet Company.
Since 2007, Helguera, a visual and performance artist, has served as director of adult and academic programs in the department of education at the Museum of Modern Art, New York.
Roko Kawai and a team of collaborators traveled to Japan to develop the dance/sound piece Izu House.
Emmet Gowin is a photographer and a 1994 Pew Fellow.