How can history and traditions be reimagined for today’s audiences?
Prior to the opening of his play Red-Eye to Havre de Grace, Phillips met with Rosemurgy, a 2012 Pew Fellow, to discuss the intersection of historical investigation and creative license.
This essay is a revision of a paper delivered at the University of Texas as part of "An Uncanny Beauty: A Celebration of Deborah Hay Performance and Symposium," held April 7–8, 2010.
Jan Ramirez, chief curator and director of collections for the National September 11 Memorial & Museum in New York City, speaks about the interpretive planning process for the museum.
This paper by Indonesian dance scholar Sal Murgiyanto was originally presented at "Traces of Tradition," a panel discussion held at the International Dance Conference, August 1-4, 2004.
"Reinventing Tradition: New Dance in Indonesia" was a workshop series on cross-cultural practice that explored notions of the contemporary and the traditional in Indonesian dance.
David Vaughan, who served as the archivist of the Cunningham Dance Foundation, gave this address to the Dance Critics Association at Dance New Amsterdam in June 2007.
Ballet répétiteurs such as Ruanne work one-on-one with dance artists to articulate and find the essence of a character or particular portrayal that becomes distinctive to their physicality.
Ballet répétiteurs such as Parkinson work one-on-one with dance artists to articulate and find the essence of a character or particular portrayal that becomes distinctive to their physicality.
Dance ethnologist and anthropologist Toni Shapiro-Phim traces the legacy of Cambodian dancer and teacher Pen Sokhuon against a backdrop of historical and political changes in Cambodia.
During the 2005–06 season, Philadelphia's Dancefusion reconstructed Mary Anthony's Women of Troy (1954). Dr. Linda Caruso Haviland prepared this essay for the accompanying symposium on dance preservation.