What drives cultural practitioners to experiment, discover, and create?
We spoke to landscape architects Anuradha Mathur and Dilip da Cunha (2017) whose collaborative work imagines new possibilities for design of the built environment and explores the lines separating land and water, and urban and rural environments.
We spoke to Tayarisha Poe (2017), whocreates complex portraits of young people of color in her multisensory work that blends film, photography, and prose across media platforms.
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.”