What drives cultural practitioners to experiment, discover, and create?
In conjunction with Orchestra 2001’s Philadelphia premiere of Frank Zappa’s The Yellow Shark, Jayce Ogren and Dr. Joseph Klein consider the Zappa’s legacy and the process of bringing scores to life for a contemporary audience.
Poet, performer, and scholar Tracie Morris describes what inspires her to “follow her muse.”
We spoke to interdisciplinary artists Camae Ayewa and Rasheedah Phillips (2017) who describe themselves as “afrofuturistic cultural producers.”
We spoke to Annie Wilson (2017), a choreographer and performer whose work intertwines experimental dance, humor, feminist practice, and audience interaction.
For the Philadelphia Museum of Art’s 2016 “Museum as Score” symposium, philosopher Marie Bardet reflects on the presumed “paradoxical” idea of dancing in a museum.
We spoke to poet Julia Bloch (2017) whose lyric and prose poems blend the personal and the political to, she says, “negotiate tensions between individual forms of expression and webs of social meaning.”
Social choreographer Ernesto Pujol explains why durational performance “fights our cult of speed."
We spoke to Brenda Dixon Gottschild (2017) whose 50-year career as a writer and cultural scholar surveys the presence and influence of the black dancing body in America, in what she calls “choreography for the page”—an “embodied, subjunctive approach to research writing.”
We spoke to poet M. Nzadi Keita (2017), whose work weaves intricate narratives with historical research and vivid imagery in both lyric and prose forms.
Pew Fellows and media artists Michael Kuetemeyer and Anula Shetty on creating community-engaged work, the best advice they ever received, and more.