“As Seen Through the Windshield (And Other Perspectives on Making Dance)” is from the Document(s) series, a library of commentary on people and issues in the dance field. This repository of essays includes interviews by writers and thinkers on dance, as well as “dance discursions,” which offer opportunities for reflection on the field of dance commissioned by The Pew Center for Arts & Heritage.
In March 2005, The Pew Center for Arts & Heritage invited choreographer and dance artist Wendy Rogers to lead a presentation and town hall discussion for dance makers and cultural practitioners. For related content, see “Capturing the tone, celebrating the work: A conversation with Wendy Rogers and Sara Rudner.”
From Rogers’ presentation:
“…One particular project I want to remember and start this conversation with is Sara’s five-hour dance. In the spring of 1975 Sara [Rudner], Risa Jaroslow, Wendy Perron, and I trained all season long, day after day, building up our stamina, building material, so that we could dance for five hours straight. Her agenda was not to choreograph; she just wanted people to come in directly on the dancing, for us to share with the viewers something that we as dancers were experiencing and loving. She didn’t want to mediate—she didn’t want to make a beginning and an ending. She wanted what we were doing to be ‘dancing on view’ (which is what she named the piece).”
“I’m interested in the landscape for political reasons, environmental reasons…things that have to do with us and our society right now,” says painter and 2008 Pew Fellow Mauro Zamora.
Recognized as one of the world’s leading conservatories, The Curtis Institute of Music (Curtis) was founded in 1924 by Mary Louise Curtis Bok. Curtis has educated and trained some of the most exceptionally gifted young musicians from around the world for careers as performing artists on the highest professional level.
Dance artist and writer Lisa Kraus developed ThinkingDance.net, an online project that covers the landscape of dance in the Southeastern Pennsylvania region.
This series curated by a local music expert sought to challenge our notions of music and noise with playlists that represented a range of genres, accompanied by interpretive narratives.
Raphael Xavier presents Raphstravaganza, a contemporary circus-style performance featuring street performers, extreme BMX riders, acrobatic contortionists, and live music.
Theater artists Suli Holum and David Bradley reflect upon the ways disability and difference might be represented, interrogated, and objectified in performance.
Kùlú Mèlé African Dance & Drum Ensemble worked with contemporary choreographer Ronald K. Brown in an extended residency to develop new approaches to its work.
Jeffery N. Bullock is chair of the dance department at Hollins College in Roanoke, VA and director of the graduate degree program in association with American Dance Festival.
Opera Philadelphia will implement a new business and program model that will feature an annual season-opening, multi-venue festival, launching in fall 2017, supported by new marketing strategies and a broad range of performance offerings designed to draw audiences from both inside and outside the regional metropolitan area.
Michelle Heffner Hayes will provide context for the development of flamenco as a technique, its gendered conventions, and the standardization of its norms.
April welcomes a number of Center-funded performances to the region.
Choral Arts Philadelphia presents the second of three concert series as part of 1734–1735: A Season in the Life of J.S. Bach.