Our “Fellows Friday” series focuses on the artistic lives of our Pew Fellows: their aspirations, influences, and creative challenges.
This week, we speak to choreographer Merián Soto (2015), whose 40-year career in performance has been marked by a concern for the body—most recently manifested in a somatic, conceptual, and process-based practice that investigates the living body and its relationship to consciousness. Soto has created the Center-funded Branch Dance Series, SoMoS, and Wissahickon Park research project, as well as Historias (1992), which the National Endowment for the Arts recognized in its American Masterpieces program. From May 14-15, Soto will perform in the Center-funded, large-scale performance piece, Supper, People on the Move, by Silvana Cardell at La MaMa in New York City. In October, Soto will participate in the Center-supported multimedia dance theater work salt soul by Jungwoong Kim, premiering at Asian Arts Initiative (dates forthcoming).
Why do you choose to work and live in Philadelphia? In your experience, what makes this art scene distinctive?
When I first moved to Philadelphia in 1999 to assume a position at Temple University Department of Dance, I was amazed by the warm welcome I received from the artistic and dance community. The scene here is sized and relaxed enough for people to know and support each other; it’s also vibrant and replete with opportunities for exchange and exposure. I’ve been able to earn a living as an artist/educator, to provide for my family, as well as grow my work. The Wissahickon woods in Northwest Philadelphia have been a refuge. “Branch Dancing” came to me there.
What is your most treasured possession?
My family beach house among almond trees in Puerto Rico, a place for retreat and reunion.
What was the first artistic experience that really mattered to you? Did it influence your approach to your work?
My mother, Andy Soto, was a visual artist, painter, and ceramist. She struggled with the demands of raising four children and pursuing her art, but she always produced work; always found joy in creativity. That tenacious persistence has stayed with me and inspired me to continue my work in the everyday.
What books are currently on your bedside table?
Attunement Through the Body by Shigenori Nagatomo (1992).
Your performance work has been marked by a concern for the body and its relationship to consciousness. What inspires you to create this type of work?
The lived experience of the body/mind moving, sensing, playing, inquiring, is all about consciousness and awareness. I enjoy jumping into the rabbit hole.
What single ethical consideration most impacts the decisions you make as an artist?
Do you think about your legacy and, if so, how does your thinking about it affect your practice?
I do. Lately, I’ve been engaged in retrospective projects that bring back artistic products and knowledge of 40-plus years of making and producing performance work, and over 20 years of teaching. My newest project, “Modes!” documents Modal Practice, the improvisational methodology that has been at the center of my work since early on in my career. Combining video and live performance, I aim to capture embodied knowledge, “written” in the bodies of highly skilled performers. You can catch a glimpse of a recent performance here.
>>Further reading: Merián Soto on Site, Improvisation, and Embodiment in SoMoS
In 2013, the Center funded 52 projects, welcomed 13 new Pew Fellows, and brought to Philadelphia exemplary cultural practitioners from around the world for roundtable discussions and lectures.
Raphael Xavier (Pew Fellow, 2013) has practiced “breaking,” an acrobatic street dance style commonly known as breakdancing, since 1983.
Through the ongoing Center-funded project re-PLACE-ing Philadelphia, Painted Bride Art Center presents a new work by choreographer and Guggenheim Fellow Reggie Wilson.
Germaine Ingram, a 2010 Pew Fellow, collaborated with improvisational dancer and choreographer Leah Stein in a year-long laboratory to explore rhythm and improvisation practices.
The Philadelphia Chamber Music Society presented a series intended to forge connections between preeminent chamber musicians and the next generation of classical music audiences.
Promoting cultural exchanges between Ukrainians and the global community, Voloshky Ukrainian Dance Ensemble seeks to represent the country’s culture through dance.
Pulitzer Prize-winning composer Zhou Long is visiting professor of composition and director of Musica Nova at the University of Missouri, Kansas City Conservatory of Music.
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.
Philadelphia Dance Projects has grown into an organization focused on presenting performances and workshops to challenge and develop local artists.
Nichole Canuso and her collaborators created TAKES, an interactive environment that applied the cinematic notion of the “take” to the world of dance.
Peter d’Agostino is a multimedia artist and a 1992 Pew Fellow.
“Rogers + Rudner: Then + Now,” co-presented by The Pew Center for Arts & Heritage and Dance/USA Philadelphia on September 29, 2007, culminated in a discussion with the two pioneer postmodern dance artists.