As part of our new “Fellows Friday” web feature, we focus on the artistic lives of our Pew Fellows: their aspirations, influences, and creative challenges. This week, we speak to 2013 Pew Fellow and hip-hop dancer and choreographer Raphael Xavier, whose recent Center-funded work, The Unofficial Guide to Audience Watching Performance, was hailed by Dance Magazine as “artful and mesmerizing.”
When did you know you were going to be an artist?
Can’t say when I knew I was going to be an artist, but I knew I was going to be something other than a nine-to-fiver. I think the first time I realized things were different was when my teacher asked me to read and present in front of class at seven years old. Not once, but all the time. I could tell great stories and read exceptionally well. In the second grade, I was reading on a sixth-grade level. My head was always somewhere else.
How has your thinking about the business of your practice changed since you started working professionally?
I now think about the long-term process and benefits of working alone or on a hire-by-project basis. I try to keep things simple and movable and interchangeable, so I’m always ready for anything. Because I understand it’s a business, I have to learn how to survive and make a living by creating work for the people who are interested in seeing it. I make and create work for me—that’s the bottom line—but if I want people to see it, there’s a bit of compromising that goes along with it. That allows me to create work that is 95 percent for me and five percent for an audience. And it sells. Before that, I was all about me and making the work the way I wanted it. It was always a hard sell but now I understand you have to be open enough for it to be accessible.
If you could collaborate with anyone alive today (someone you don’t know personally), who would it be?
What images or things keep you company in the space where you work?
Nothing in particular but I’m a fan of Post-it notes. So I will say Post-it notes.
The award-winning choreographer’s striking approach was exemplified in Artifact Suite, which received its Philadelphia premiere with Pennsylvania Ballet in June 2013 performances.
Known for its high energy performances, Koresh Dance Company was founded in 1991 by Israeli-born choreographer Ronen Koresh.
Karen M’Closkey and Keith VanDerSys (2013 Pew Fellows) explore the potential of new tools, fabrication technologies, and construction to expand the beauty and sustainability of the urban landscape.
Founded in 1887, the Penn Museum has begun to establish relationships with its neighbors in West Philadelphia and open conversations with communities outside the university.
In June 2013, Pennsylvania Ballet presented the Center-funded company premiere of William Forsythe’s Artifact Suite, which was previewed by ABC 6 Action News.
Wendy Sutter is widely acclaimed as a cellist by critics in The New York Times, The Washington Post, The Los Angeles Times, and many others. In 2015, Sutter served as an LOI panelist in Performance.
The Philadelphia Flamenco Festival offers a free master class with flamenco master Pastora Galván.
Founded in 2005 by Christine Cox and Matthew Neenan, BalletX unites distinguished choreographers with a company of world-class dancers to “forge new works of athleticism, emotion, and grace.”
Jenifer Papararo was appointed Director of Artistic Programs at the Plug In Institute of Contemporary Art in Winnipeg, Canada in November 2014. Papararo served as a Pew Fellowships panelist in 2015.
Jumatatu Poe’s Private Places examined everyday interactions with service providers through the choreography of J-Sette, an underground dance style.
Visual artist Brent Wahl works primarily in photography and time-based mediums, transforming everyday materials and detritus into mesmerizing compositions.
A midnight mass service featured Claudin de Sermisy’s Missa voulant Honneur, French Noel songs, and a nativity play.