Danceworkbook, a series produced by The Pew Center for Arts & Heritage, documents the creative practice of living and working with dance.
“I was born in Tokyo but when I was three my family immigrated to Pennsylvania. In many ways, my life is a continued dance between these two countries.” —Roko Kawai
In the second iteration of danceworkbook, Belonging and Solo: Roko Kawai, dancer and choreographer Kawai reflects upon and shares images of her dance work since 1992. The workbook features two essays, “We Should Bring Our Muzukashii,” by Kawai and “Izu House” by Brent Edwards; journal entries from a 2005 Japan–United States Friendship Commission Fellowship, during which Kawai lived, trained, and traveled for seven months in Japan; and photos and videos from a decade of dance-making, collaboration, and cultural inquiry.
In her essay, “We Should Bring Our Muzukashii,” Kawai notes, “Themes of identification and sourcing, belonging and soloing, comfort and battle, and who-sees-who-interpreting-whom have continued to drive, plague, [and] carry me forward in my dance culture work.” Brent Edwards writes in his own essay that Kawai has “begun to explore a version of choreography that suggests an entirely new range of possibilities for site-specific dance.”
Known for its high energy performances, Koresh Dance Company was founded in 1991 by Israeli-born choreographer Ronen Koresh.
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.
The Arden Theatre Company launched a playwright residency program that gives audiences behind-the-scenes access to the creative process of a theater production.
Sarah Felder’s solo performance piece combined comedy, juggling, and multi-media projections to address societal discomfort around mental illness.
Established in 2004, Jazz Bridge is a hybrid nonprofit organization joining performance presentation with professional support services for regional jazz and blues artists.
Pew Fellow and choreographer Kate Watson-Wallace created Store, a site-specific dance work performed inside an abandoned megastore.
In conjunction with its ongoing project Endless Shout, the Institute of Contemporary Art presents a conversation between visual artist Charles Gaines and poet Fred Moten.
In 2002 the Center awarded Pew Fellowships to 12 Philadelphia-based artists, and grants to 57 dance, music, theater, and visual arts organizations and practitioners in the greater Philadelphia region.
This groundbreaking exhibition presented the early artwork of the late Pati Hill, an American writer who pioneered the use of the photocopier as an artistic tool in the 1970s.
Thaddeus Phillips’ new bilingual performance work for theater, inspired by his experience working on Colombian telenovela Alias El Mexicano, premieres as part of the 2015 Fringe Festival.
“What is an author?” It is a question the composer George Lewis asks, via Foucault, in his keynote essay for our Questions of Practice series on co-authorship in artistic practice.
Paula Marincola was named the first executive director of The Pew Center for Arts & Heritage in June 2008. She leads the organization in developing and implementing its strategic agenda as both grantmaker and hub for knowledge-sharing.