Danceworkbook, a series produced by The Pew Center for Arts & Heritage, documents the creative practice of living and working with dance.
“Dance leads a journey away from language, not against it, and the experience of watching a work parallels that of making it.” —Tere O’Connor
In the first iteration of danceworkbook, Braiding / Unbraiding / Rebraiding, Philadelphia’s Headlong Dance Theater examined artistic process in collaboration with Tere O’Connor, director of Tere O’Connor Dance in New York City. Headlong invited O’Connor, an innovator in the field of sustained dialogue, to join them over the course of four months in 2007, for rehearsals, workshops, and discussion. This was part of Headlong’s continuing efforts to challenge its members and remain porous about the creative process.
O’Connor brought new strategies to Headlong’s dance studio; he asked the three directors—Amy Smith, Andrew Simonet, and David Brick—to work independently from the start. With this radical alteration to their usual practice, and without the pressure of needing to produce a finished dance, this dedicated time became a research laboratory. The conversations that resulted extended beyond the studio to become part of the participants’ woven lives.
We asked MacArthur award-winning saxophonist and composer Ken Vandermark a deceptively simple question: Is jazz dead?
Throughout Dancing around the Bride’s run at the Barbican Art Gallery in London, the exhibition received media attention from a number of publications.
Artistic Director Nichole Canuso likes to explore “dances that celebrate the awkwardness, humor and surprise in human experience.”
Makihara’s performance work blends percussion with dance-like body movement, exercising a rigorous, systematic, and practiced process of experimentation and repetition.
Legendary downtown theater artist Richard Schechner asks, “What’s the difference between forgery and art,” between “new” and “original?”
Dorothy Wilkie’s (Pew Fellow, 2007) choreography involves the re-staging and re-choreographing of traditional West African and Afro-Cuban dances.
Judy Hussie-Taylor has served as Executive Director of Danspace Project, a New York City venue for independent experimental choreographers, since 2008. Hussie-Taylor served as a Pew Fellowships panelist in 2012 and 2013, a Performance LOI panelist in 2014, and as the Performance panel chair in 2015.
Frank Sherlock (Pew Fellow, 2013) views poetry as a call to action and a tool for encouraging interactions and conversations within public spaces.
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.
A series of community dance workshops will be held as part of Drexel University’s Antoinette Westphal College of Media Arts & Design’s Center-funded project Boris Charmatz: Levée des conflits.
Several Center-funded projects have received extensive international, national, and regional media coverage in recent weeks.