In conjunction with the Center-funded project re-PLACE-ing Philadelphia from Painted Bride Art Center, we asked choreographers Reggie Wilson and Faustin Linyekula about the concept of “place.” For Wilson, “place does exist as a concrete thing, but it also exists in stories, in histories,” he says in a conversation with artist Marty Pottenger. Linyekula considers the idea of place one of “permanent negotiation”—a dynamic space in which people engage to “find some common ground,” as he explains.
Reggie Wilson is the artistic director of Reggie Wilson/Fist & Heel Performance Group, where he presents his unique blend of African and post-modern dance styles. Wilson’s work has been presented nationally and internationally at venues such as Brooklyn Academy of Music, Jacob’s Pillow Dance Festival, REDCAT, and Dance Umbrella. He is the recipient of a 2002 Guggenheim Fellowship, 2009 United States Artist Fellowship, and a 2009 Herb Alpert Award in Dance, among others. Learn more.>>
Faustin Linyekula, based in Kinshasa, is a leading contemporary African choreographer. He is the founder of Studios Kabako, a dance and visual arts center in the Democratic Republic of Congo that provides dance training and performs Linyekula’s work in Africa and abroad. Linyekula has collaborated with international artists from France, Morocco, Ethiopia, and Sweden, and is the recipient of a 2007 Principal Award from the Prince Claus Fund for Culture and Development. Learn more.>>
The Pennsylvania Horticultural Society is a nonprofit organization, founded in 1827, dedicated to creating beauty and building community through gardening, greening, and learning.
Twelve years after its debut, Bryn Mawr College’s Performing Arts Series presented this work with the John Jasperse Company.
Philadelphia Mural Arts Advocates established a new curatorial residency program that looks to the future of mural-making.
Bowerbird is a presenting organization that showcases over 70 events annually, with a focus on raising awareness of “provocative and divergent musical traditions.”
Julia Wolfe explains how she transformed the historical nuggets of her research into a 45-minute live performance by the 140-voice Mendelssohn Club of Philadelphia.
Headlong Dance Theater worked with a team of advisors to assess its options following the recent departure of one of its three founding directors.
Pew Fellow Matthew Suib’s work comes from a deep engagement with moving-image culture and how moving images shape our understanding of culture, history, and politics.
The William Way LGBT Community Center presents OutBeat: America’s First Queer Jazz Festival. The four-day festival will highlight intersections between sexual orientation, gender identity, and jazz history and culture.
During a recent conversation at the Center, performance impresario and Center visiting scholar Kristy Edmunds was asked, “Why do you do what you do?”
taisha paggett is a Los Angeles-based artist whose individual and collaborative work for the stage, gallery, and public space takes up questions of the body, agency, and the phenomenology of race and gender. In 2015, paggett served as a Performance LOI panelist.
Dan Hurlin currently teaches performance art, dance, and puppetry at Sarah Lawrence College, where he also serves as the director of the graduate program in theater. In 2015, Hurlin served as a Performance LOI panelist.
Swedish saxophonist-composer Mats Gustaffson leads the United States debut of Swedish Azz, an all-Swedish ensemble.