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.”
Pulitzer Prize winner Paula Vogel and The Wilma Theater join forces to present the world premiere of a Vogel’s new play, about a Marine’s search for his missing lover once he returns home from war.
In conjunction with the recent Center-funded retrospective, Trisha Brown: In the New Body, we invited author and art critic Douglas Crimp and MoMA PS1’s Peter Eleey to reflect on Brown’s influential choreographic practice.
James Fei is an active composer and performer on saxophones and live electronics and an associate professor of electronic arts at Mills College in Oakland, where he has taught since 2006. He served as a Center music panelist in 2013, and an LOI panelist for Performance in 2015.
Experimental music presenter Ars Nova Workshop produced five recordings on the record label High Two.
Established in 1963, Pennsylvania Ballet has extended its important Balanchine-based repertoire by presenting new works by a variety of contemporary choreographers.
Thomas M. Hotaling is a principal and designer with Ann Beha Architects, a 35-person design firm in Boston, MA.
The Philadelphia Ceili Group brought some of the finest Irish traditional artists to Philadelphia for a concert series culminating in the Philadelphia Traditional Irish Music and Dance Festival.
Kim Whitener is the Producing Director at HERE in New York, where she works in partnership with Artistic Director Kristin Marting to curate and produce HERE’s performance programs and activities. She also served as the Center’s panel chair in theater in 2013 and as a Performance LOI panelist in 2014 and 2015.
An urban performing arts center on the campus of the University of Pennsylvania, the Annenberg Center presents touring theater, jazz, and world music.
One of this country’s oldest choruses, Mendelssohn Club of Philadelphia seeks to advance the development of choral music as an art form.
Michael Djupstrom premieres a new piano quintet at the 2016 National Cherry Blossom Festival, Beth Kephart and Caroline Lathan-Stiefel display works at the Philadelphia International Airport, and The New York Times reviews Chris Forsyth’s new album.
Dancer, choreographer, and 2011 Pew Fellow Tania Isaac presented a performance installation in June 2013, at which audiences were encouraged to share their thoughts through photos, writing, and self-recordings.