Susanna Sloat is a writer, editor, and arts consultant in New York City who has written about a diverse range of dance. She is the editor of Caribbean Dance from Abakuá to Zouk: How Movement Shapes Identity (winner of the de la Torre Bueno Prize for 2003) and of Making Caribbean Dance: Continuity and Creativity in Island Cultures. She served as a Center panelist in dance from 2009–10 and as a LOI panelist in 2011.
Setting the stage for the performances of Trisha Brown’s Early Works at the Barnes Foundation, Susan Rosenberg, scholar-in-residence at the Trisha Brown Dance Company, offers an overview of Brown’s career at the crossroads of dance and visual art.
A number of ongoing and recently completed Center-funded projects have filled theater houses and garnered extensive media coverage.
Anna Halprin is a pioneering choreographer whose work has led to a reconsideration of dance as an art form.
A contemporary restaging plan will be developed to showcase the Philadelphia City Planning Commission’s 1947 Better Philadelphia Exhibition—a pivotal historic project that helped define the future of urban redevelopment.
During Dancing around the Bride’s run at the Philadelphia Museum of Art, the exhibition received a string of glowing reviews from the New York Times.
Timothy Rub is The George D. Widener Director and Chief Executive Officer of The Philadelphia Museum of Art.
Directing My Dancers/Directing Myself allowed Nichole Canuso to reevaluate her choreographic practice, mentoring under U.K.-based dancer Wendy Houstoun.
Contemporary Renaissance man, 2011 Pew Fellow, and “idea factory” Jorge Cousineau counts set design, lighting design, videography, and music composition among his talents.
For the past four years, Meg Foley has been inserting unexpected performance into ordinary life with her 3:15 dance project, in which she creates a dance, wherever she is, at exactly 3:15 p.m.
Anna Drozdowski, a curator of performance, hosts European duo Jonathan Burrows and Matteo Fargion for a two-week retrospective of their collaborative career. The two juxtapose the formality of music composition with a radical and open approach to performance, composition and audience.
Adam Lerner directs the Museum of Contemporary Art Denver, where he has also assigned himself the title of chief animator in the Department of Fabrications.
Writer and dancer Wendy Perron evokes Trisha Brown to explain why contemporary dance is open to multiple meanings.