- Curator’s Statement
This past February 2018, thousands of people filled the streets of Philadelphia in a spontaneous combustion of celebration over the Eagles winning the Super Bowl. A week later over a million filled the streets again for the victorious team’s homecoming parade. Celebrants had green hair, wore green clothes and dog masks (symbolizing the rise of the underdog). One man spread his grandfather's ashes on the Parkway parade route!
Barbara Ehrenreich in her book Dancing in the Streets: A History of Collective Joy remarks how sports in today's world provide one of the last ways people can experience collective ecstasy. She ends her book stating, “We need more on this crowded planet to acknowledge the miracle of our simultaneous existence with some sort of celebration.” 1
When invited to curate a video program for the Philadelphia Museum of Dance, the charge was to investigate how people gather, considering it as “choreographic assembly.” This idea was inspired by the conceptual thinking of French choreographer Boris Charmatz, who is a featured guest artist in the Philadelphia Museum of Dance event. His Musée de la danse is a “nomadic idea” which observes and places dance or the art of motion in various spaces and places, enlarging the ways we can observe and participate in both performative gestures and political attentions. “Offbeat propositions and fantasy collections are all born directly from a reflection on what this playful and hybrid museum could become. Turning upside down the established relations between audience, art, and its physical and imaginary territories [sic].2”
With all this in mind, I set out thinking first about the way we move in urban spaces, including movement in everyday passage, in artistically choreographed presentations, or in mass turnouts for events. I also thought back to my first encounters with dancing in the streets in movies, like Jerome Robbins’ iconic choreography for West Side Story, where tough teenage gang members commandeer playgrounds, sidewalks and empty lots, or Gene Kelly’s puddle stomping tap dance in Singin’ in the Rain. I thought about how Kelly’s romantic solo later morphed into Michael Jackson’s censored protest in his Black or White video. I googled the numerous “flash mob” videos posted on YouTube. There was a lot to consider.
In these films and videos we see how people assert their physical presence in conventional and unconventional ways...
in a dance that reflects what many things, feelings, beauties, and changes can happen when everybody moves.
I also thought back to a dance on film/video series that I co-curated for Philadelphia Dance Projects with Gretjen Clausing, currently Director of PhillyCAM. Over 10 years of looking at entries and screening some of the most interesting dance documentaries and short works, including YouTube posts and MTV, has revealed that the overriding content of the work had to do with the desire on the part of dancers/choreographers and videographers to move dance off the proscenium theater stage and out into the world – to be present in and responsive to what is the natural world and the human-made one within it. In short films and videos, dancers were everywhere – train stations, beaches, steps of formidable architecture, abandoned city spaces, and wide open landscapes. Pedestrian motions mingled with or were augmented by all kinds of dance styles.
This program is a sampling of some of those attempts by artists as well as the everyday public to reclaim natural and civic space through movement, dance, ritual, and protest. The program title riffs off of an Albert Einstein quote: “Nothing happens until something moves.” What is it that happens when everyone moves? What new meaning emerges? What connections are made? The selected videos may demonstrate ways people have found answers.
We humans are always alone and together. As cultural philosopher Michel de Certeau has observed of people in the city, “Their swarming mass is an innumerable collection of singularities.”3
In these films and videos we see how people assert their physical presence in conventional and unconventional ways, through making art, through mourning, through celebrating, through protest movements, through flights of fancy – in a dance that reflects what many things, feelings, beauties, and changes can happen when everybody moves.
Director, Philadelphia Dance Projects (PDP)
- Planetary Dance, Anna Halprin
USA · 2016 · 12.18 min
Anna Halprin originally created Going to the Mountain 1981, and it has evolved into Planetary Dance. It was created in response to the local community’s wish to reclaim Mount Tamalpais from the threat of a serial killer. This participatory ritual has become a worldwide dance for peace among peoples and for peace with the Earth. It is open to people of all ages and abilities. Each year a special theme is chosen, highlighting a community concern. Moving to the musicians’ steady beat, participants run or walk in concentric circles, creating a moving mandala. Every step becomes a call for peace. “When enough people move together in a common pulse with a common purpose,” Anna says, “an amazing force takes over—a power that can renew, inspire, and heal.” The Planetary Dance is now held yearly in the Bay Area and has also been celebrated in more than 40 countries on every continent except Antarctica. Most recently Planetary Dance was the opening event and procession at the Venice Biennale in May 2017.
In the dance world Anna Halprin can truly claim the descriptor of “visionary.” Since the late 1930s she has been creating revolutionary directions for dance, inspiring artists in all fields. Richard Schechner, editor of The Drama Review, calls her “one of the most important and original thinkers in performance.” Through her students Trisha Brown, Yvonne Rainer, and Simone Forti, Anna strongly influenced New York’s Judson Dance Theater, one of the seedbeds of postmodern dance. She also collaborated with such innovative musicians as Terry Riley, LaMonte Young, Morton Subotnik, and Luciano Berio, as well as poets Richard Brautigan, James Broughton, and Michael McClure.
Defying traditional notions of dance, Anna has extended its boundaries to address social issues, build community, foster both physical and emotional healing, and connect people to nature. In response to the racial unrest of the 1960s, she brought together a group of all-black and a group of all-white dancers in a collaborative performance, Ceremony of Us. She then formed a multiracial dance company and increasingly focused on social justice themes. When she was diagnosed with cancer in the early 1970s, she used dance as part of her healing process and subsequently created innovative dance programs for cancer and AIDS patients. An early pioneer in the use of expressive arts for healing, she co-founded the Tamalpa Institute with her daughter Daria in 1978. Today, Tamalpa’s ArtCorps program continues a vision close to Anna's heart: using dance as a healing and peacemaking force for people.
Several acclaimed films celebrate Anna’s work, including Andy Abrahams Wilson’s Returning Home and Ruedi Gerber’s Breath Made Visible. The Dance Heritage Coalition has named Anna one of “America’s irreplaceable dance treasures.” Her honors include the Doris Duke Impact Award and Isadora Duncan Dance Award in 2014, as well as awards from the National Endowment for the Arts, Guggenheim Foundation, American Dance Festival, University of Wisconsin, and San Francisco Foundation.
In 2006 Anna was given a solo exhibition at Lyon’s Museum of Contemporary Art, which traveled to San Francisco’s Yerba Buena Center for the Arts. Her work has been featured in recent shows on performance art at MoMA PS1, Centre Pompidou, and ZKM Museum, among others. The Museum of Performance & Design in San Francisco houses the Anna Halprin Digital Archive. Additional material is available in the Anna Halprin Papers at the Jerome Robbins Dance Division at the New York Public Library for the Performing Arts.
- You better second line! Jazz funeral in New Orleans for Juanita Brooks
David Curley · USA · 2009 · 7.38 min
The "first line" is the main section of the parade. Those who follow the band just to enjoy the music are called the "second line."
A second line is a traditional element in brass band funeral parades. It is the community’s tradition to parade together in shared rhythm. The first line begins as family and friends accompany the coffin from the church to the cemetery. The line moves forward at a slow, deliberate pace. After the coffin is in the ground, the second line begins. The music becomes celebratory: the deceased is blessed and on the way “home.” Friends and family celebrate life, parading from the cemetery in easy, joyous dance steps. It is the beginning of a supportive and happy party in memory of the one who has been buried.
The second line's style of dance, in which participants walk and sometimes twirl a parasol or handkerchief in the air, is called "second lining.” It is part of African-American cultural traditions in New Orleans and has its origins in traditional West African circle dances. The dance was brought by enslaved people to New Orleans, where it was incorporated into processions such as funerals, causing the ring to straighten into a line. These dances were officially banned for a time because they were deemed threatening to the white inhabitants of the city, and their resurgence in second lining suggests a similar celebration of individual freedom.
Juanita Brooks (1954-2009) was a popular jazz and gospel singer who grew up in the Ninth Ward in New Orleans. She starred in One M’o Time and in another musical that Vernel Bagneris co-wrote with Allen Toussaint in 1986, Staggerlee, which ran Off-Broadway.
David Ryan Curley is the creative youngest son in a family of bright, funny, supportive, and gifted individuals who all grew up in Baton Rouge, Louisiana. David finished his degree at Louisiana State University and then traveled nationally and internationally, observing, documenting, and participating in community rituals, from the parade practices in Louisiana and the imaginative productivity of the United States’ West Coast culture to the historic markers of the Holocaust in Poland. He uses video to record everything from awareness of Lyme disease to the appearances of rainbows and sunsets, especially as they decorate cemeteries.
- Flying Lesson
Rosane Chamecki, Phil Harder & Andrea Lerner · USA · 2008 · 5.49 min
Concept and Choreography: Rosane Chamecki and Andrea Lerner
Photography: Phil Harder
Additional Camera: Darren Roark and Paris Remillard
Editing: Darren Roark
Music: Prelude No.1 from The Well-Tempered Clavier, Johann Sebastian Bach, performed by Vivian LeWine
Produced: Pano Pra Manga
Performed by: Rosane Chamecki and Andrea Lerner
Flying Lesson was made possible through the generous support of the Jerome Foundation for the performance piece EXIT, premiered at The Kitchen, New York/2007. Dance programs at The Kitchen are made possible with support from Altria Group Inc., the Harkness Foundation for Dance, the Mertz Gilmore Foundation, and with public funds from the New York State Council on the Arts. Special thanks to Tanja Meding, Maura Sircus, Kimbi, and Dimitrius. © Pano Pra Manga, 2007.
chameckilerner is a 20-year collaboration between Rosane Chamecki and Andrea Lerner. Over these years, they created a body of work that includes dance performances, video, and installation pieces.
Their work has been presented in the US by The Kitchen, DTW, The Joyce Theater, Performance Space 122, Central Park SummerStage, Portland Institute for Contemporary Art, Mass MoCA, Diverseworks, Jacob’s Pillow, and American Dance Festival, among others. chameckilerner has toured extensively throughout Brazil as well as Canada, Venezuela, Portugal, The Netherlands, UK, Austria, Germany, Denmark, Finland, Colombia, Costa Rica, El Salvador, and Romania.
chameckilerner is the recipient of various fellowships and grants including the prestigious Guggenheim Fellowship in 2008, The Foundation for Contemporary Arts, NYFA, NYSCA, NEFA, Jerome Foundation, Rockefeller Map Fund, Siemens, and is featured in the 2014/Spring issue of BOMB Magazine, in a 10-page interview with Eve Sussmann.
Supported by the Guggenheim Fellowship in 2008, their first short video, Flying Lesson, won the Jury Award at the 36th Dance on Camera Festival at Lincoln Center, was showed in more than twenty international film festivals, and broadcasted on Channel 13's REEL NEW YORK, in the UK, Australia, and the Netherlands.
Following Flying Lesson, chameckilerner made The Collection, commissioned by Robert Wilson’s Watermill Center; Conversation With Boxing Gloves Between Chamecki and Lerner, commissioned by PERFORMA 09 and the San Francisco Museum of Modern Art; and Samba #2 and Eskasizer, through a residency at EMPAC, Troy, NY.
Eskasizer, a four-channel time-based installation, premiered at EMPAC in January 2015, followed by an exhibition at WASP (Working Art Space and Production) in Romania and at DANÇA EM FOCO, Brazil. In 2016, Eskasizer opened a six-week run at THE BOILER, the Annex space at Pierogi Gallery in New York. Eskasizer was on view at The Flint Institute of Arts in Michigan in 2016, followed by a run during the San Francisco Dance Film Festival. Eskasizer was last presented at Bennington College in 2017.
In 2016 chameckilerner had a retrospective of their videos at the Festival DANÇA EM FOCO, Brazil. For the retrospective, they created two more works: Between Chamecki and Lerner and Exercise #4. Their latest work, Two Dogs and No Ball, revisiting William Wegman's 1972 work Two Dogs and Ball, is in post-production. Recently, chameckilerner had a residency at YADDO and was teaching at Sarah Lawrence College.
- Occupy Wall Street: the story behind seven months of protest
www.guardiannews.com · USA · 2012 · 4.42 min
Filmmaker: Kat King Hogue
Additional video: Bert McKinley and Luke Rudkowski/Occupy TVNY
Additional Production: Ryan Devereaux and Julie Turkewitz
This short video summarizes the Occupy protest movement that began on September 17, 2011 in Zuccotti Park, located in New York City's Wall Street financial district. The protest received global attention and spawned a surge in the movement against economic inequality worldwide.
Stephan Koplowitz and Axis Dance Company · USA · 2017 · 4.24 min
Film’s Directors: Stephan Koplowitz and Juvenal Cisneros
Film’s Choreographer: Stephan Koplowitz
Sound Composer: Pamela Z
Principal Dancers: Julie Crothers, Lani Dickinson, Scotty Hardwig, Carina Ho, Liv Shaffer, Dwayne Scheuneman, Kimberly Ocampo, Lydia Clinton, Elena Martins, Hannah Pierce, Hannah Westbrook
This short film documents the work Occupy, directed and choreographed by Stephan Koplowitz. Occupy is a site-specific performance work created for the Yerba Buena Gardens in San Francisco and commissioned by AXIS Dance Company.The work mines the intersection of space and its connection to our personal, domestic, physical and spiritual bodies. How does our occupation and navigation of space, when the very notion is being challenged, translate into our sense of who we are? Who gets in? Who gets pushed out?
Stephan Koplowitz is a director/choreographer/media artist known for his work on stage, film, and site. His work aims to alter people’s perspectives of place, site, and scale, all infused with a sense of the human condition. He is concerned with the intersection of natural, social, and cultural ecologies within urban and natural environments and his original works for public spaces aim to allow communities to discover and rediscover the knowns and unknowns of their own town square. Since 1984 he has created 91 works (64 commissions) in the US, Europe, and Asia. He is the recipient of an Alpert Award in the Arts, a Guggenheim Fellowship, a NYC “Bessie” Award, six NEA Choreography Fellowships (1988-97), and two distinguished alumni awards, from Wesleyan University (BA, Music Composition) and the University of Utah (MFA, Choreography). His short films have been screened at the Hamptons International Film Festival, Dance Camera West, and Screen Dance Miami, to name a few. Recent performance works include The Northfield Experience, an immersive site event taking place the entire city of Northfield, MN (2018); Mill Town, a media and performance work inspired by the historic mills in Lewiston, ME for the Bates Dance Festival (2017); and Occupy, commissioned by the mixed-ability AXIS Dance Company at the Yerba Buena Gardens (2017). He was a 2017 Rockefeller Foundation Bellagio Center Resident Fellow working on his book project about site creation and production.
- Holi Festival Of Colour
BBC Planet Earth II · UK · 2016 · 2.50 min
Holi celebrations start on the night before Holi with a Holika Dahan, where people gather in front of the bonfire. The next morning is celebrated as Rangwali Holi – a free-for-all festival of color. The Holi festival has a cultural significance among various Hindu traditions of the Indian subcontinent. It is the festive day to end and rid oneself of past errors, to end conflicts by meeting others, a day to forget and forgive. People pay or forgive debts, as well as deal anew with those in their lives. Holi also marks the start of spring, for many the start of the new year, an occasion for people to enjoy the changing seasons and make new friends.
- Beat Box Philly
Warren Bass and Liz Goldberg · USA · 2003 · 4.44 min
Directors: Warren Bass and Liz Goldberg
Sound Composer: Edward Snyder
“Beat Box Philly is a visual exploration of the urban environment set to mouth-generated “beat-box” sounds (the music of the streets) by performance artist Edward Snyder. The central character is a kind of “everyman” who morphs from a genderless, featureless scribble as the journey progresses. The film is built upon visual metaphors and allusions to specific landmarks, history, cultural icons, and to artworks from Leonardo’s [da Vinci] notebook to street murals to Robert Indiana. Among its layers of meaning, it is simultaneously a study of urban rhythms and spaces, and a subliminal political cartoon-in-motion exploring the ironies of the ‘City of Brotherly Love.’ ”
The video won the Platinum Award Houston WorldFest, first place Athens International Film Festival, first place First Glance International, Best-of-Festival Rochester International, second prize Canadian International, second prize New Haven International, Juried Finalist Chlotrudis Awards, Award of Merit UFVA, and was broadcast on WYBE Public Television, Philadelphia.
Warren Bass is Professor and former Chair of Film & Media Arts at Temple University. He was trained at the Yale School of Drama in directing, the Yale School of Art in graphics, and at Columbia University in film as their School of the Arts Scholar. He has taught at NYU, Yale, the State University of California, and AFI, and has served for extensive periods as Director of the Graduate Program in Film at Temple University. He has directed theater at Lincoln Center, Off-Broadway, and in regional theaters in six cities. His artwork has been exhibited at the Smithsonian, the National Academy of Design, and the Boston Museum of Fine Arts. His films have been aired on PBS; syndicated television; and on European, Asian, Middle Eastern, and Australian television. His work has received over 120 national and international awards.
Liz Goldberg is trained in painting and graphics with an MFA from Pratt Institute and a BFA from York University. She is currently on the Art faculty of Pratt. She has had 20 solo exhibitions, numerous juried group shows in the US and Canada, and is the recipient of the Leeway Foundation Window of Opportunity Grant for Women, the Wayne Visual Arts Grant for painting, the Muse Film Award for animation, international exhibit invitations from organizations such as the Henson Foundation, and multiple Pennsylvania Council for the Arts Individual Artist Fellowships.
Filmmaker Warren Bass and graphic artist Liz Goldberg collaborated on a series of international award-winning animated films from 1999 to the present.
- The Making of Episode 31
Alexander Ekman · USA · 2017 · 5.24 min
Film’s Directors: Alexander Ekman, Fernando Troya, Meredith Nutting (filmmaker)
Film’s Choreographer: Alexander Ekman
Sound Composers: Django Reinhart and Franz Schubert
Principal Dancers: Dancers of Pennsylvania Ballet - Aaron Anker, Aleksey Babaeyv, Ana Calderon, Marria Cosentino Chapin, Adrianna deSvastich, Etienne Diaz, Sydney Dolan, Federico D'Ortenzi, Russell Ducker, Austin Eyler, Marjorie Feiring, Albert Gordon, Alexandra Heier, Alexandra Hughes, Ian Hussey, James Ihde, Yuka Iseda, Misa Kasamatsu, Zecheng Liang, Nayara Lopes, Kathryn Manger, Ashton Roxander, Elizabeth Wallace, Craig Wasserman, Peter Weil
Dancers of Pennsylvania Ballet take Alexander Ekman’s work Episode 31 to city streets as part of the rehearsal process, experimenting with Ekman’s energetic choreography in and around Philadelphians and Philadelphia landmarks.
- Man Walking Down the Side of a Building
Courtesy of Trisha Brown Archive · USA · 1970 · 2.35 min
*Not included in catalogue due to copyright restrictions.
Choreographer: Trisha Brown
Principal Dancer: Joseph Schlichter
A natural activity under the stress of an unnatural setting. Gravity reneged. Vast scale. Clear order.
You start at the top, walk straight down, stop at the bottom. All those soupy questions that arise in the
process of selecting abstract movement according to the modern dance tradition—what, when, where, and
how—are all solved in collaboration between choreographer and place. If you eliminate all those
eccentric possibilities that the choreographic imagination can conjure and just have a person walk down
an aisle, then you see the movement as the activity. The paradox of one action working against another is
very interesting to me, and is illustrated by Man Walking Down the Side of a Building,
where you have gravity working one way on the body and my intention to have a naturally walking person
working in the other way.
Trisha Brown, quoted in Anne Livet, Contemporary Dance (New York: Abbeville Press, 1978), p.51.
This video has been screened extensively. It is currently being presented by the ACADÉMIE DE LA MARCHE, 2018 as part of the exhibition Je marche donc nous sommes (translation: I walk therefore we are) at Magasin des Horizons in Grenoble, France. It will also be presented September 16, 2018 – February 3, 2019 as part of the Judson Dance Theater: The Work Is Never Done exhibition at the Museum of Modern Art in New York City.
- “It's Show Time" Amazing Dance in a NYC Subway
SVfrosTV on YouTube · USA · 2017 · 0.42 min
Curator’s Note: This is one of the many clips one can find posted on YouTube and is not related to It’s Showtime NYC!, performing in the Philadelphia Museum of Dance, whose mission is to support the professional development of subway dancers. According to Wikipedia, “Showtime is a type of performance done as a busking routine using hand holds installed inside New York City Subway cars. Showtime includes acrobatic flips, hat and shoe tricks, and pole tricks.” The clip gives no information on dancers or videographer.
Jeannette Ginslov · UK · 2015 · 7.08 min
Director: Jeannette Ginslov
Choreographer: Acty Tang
Sound Composer: Jeannette Ginslov
Principal Dancer: Acty Tang
Special Effects: Jeannette Ginslov
Camera 01: Jeannette Ginslov (Grahamstown and Hong Kong)
Camera 02: Acty Tang (Grahamstown and Hong Kong)
Locations: Grahamstown and Hong Kong Video
Produced by Walking Gusto Productions
The body archives somatic memory as it moves through space and time. It is a site of interaction and perception of sensorial experiences, melding time and place through engagement of the senses. This engagement is seen through the “eyes” and body of the performer travelling in two distant places, Grahamstown, South Africa and Hong Kong, China.
“Nervous systems do not form representations of the world, they can only form representations of interactions with the world...human cognition is always situated in a complex sociocultural world and cannot be unaffected by it.”
Edwin Hutchins in Distributed Cognition and Embodied Cognition (1995)
The intention is primarily not to “show” experience but the experiential, not to represent but to present, the sensorimotor and the body engaging with place and technology. I’ve also tried to mediate the experience through the tools of videography, projection, and editing. The performer literally interacts with the projected footage he shot when in Hong Kong or Grahamstown, or in the TV footage of Hong Kong Student protests, or in the video footage projected onto his face.
The MTR in Hong Kong provides an objective linear narrative for the viewer to start off with but later this changes as the overlaying images meld in and out of each other. These provide the viewer with shifting nonlinear dialogical instances of visual, sensorimotor, and aural engagement: similar to how we engage and interact with the world and technology. The sound is diegetic or found sound, from all the locations and mixed with the movement in the footage, providing a synesthetic experience between vision, sound, and feeling or movement, environment, and sound.” - Jeannette Ginslov
Jeannette Ginslov is a specialist in Dance on Film for AR and Screen. She has an MSc Media Arts & Imaging – Screendance from Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland, (Distinction) and an MA Speech and Drama - Choreography, Rhodes University, South Africa. Currently she is a PhD Candidate at London South Bank University researching: Revisualising human movement with the School of Applied Sciences and School of Arts and Creative Industries - Centre for Media and Culture Research.
Ginslov is an independent dance filmmaker, producer, and workshop facilitator. She directs, shoots, and edits her own screendance works that center around affect, the moving body, and its digital materiality. She is an award-winning choreographer and dance filmmaker, and her works have been shown internationally - BBC Big Screens Outdoors UK, Danish Film Institute, Edinburgh Festival UK, British Film Institute, Lincoln Centre New York, Red Cat Theatre Los Angeles, and at many other screendance festivals around the globe.
Since November 2011 she has been a researcher, AR interaction designer, and videographer for the project AffeXity in collaboration with Prof Susan Kozel, at Malmö University Sweden. In May 2012 she was Artist in Residence at MEDEA, Malmö University, researching Affect and Screendance within AR. This resulted in DansAR 01& 02 and AffeXity: Passages & Tunnels. Their latest collaboration explores Somatic Archiving with the Living Archive Project in Malmö and Berlin-based choreographer Margrét Sara Guðjónsdóttir. Ginslov has also used Screendance and AR in her own projects: P(AR)ticipate: body of work/body of experience/body as archive.
Concurrently she is also Director and Curator of Screendance Africa (Pty) Ltd in Cape Town, South Africa. She was Coordinator for the 60secondsdance.dk (2011-2014) online annual screendance competition.
Ginslov has facilitated screendance and AR workshops internationally: USA, UK, Scotland, South Africa, Sweden, Germany, Rwanda, Hong Kong, Lisbon, Rio de Janeiro, Lithuania, Salvador, and Portugal.
Screendanca Africa (Pty) Ltd: facebook.com/screendanceafrica
- Terry Fox, Film Curator
Terry Fox, Director of Philadelphia Dance Projects (PDP), is a former choreographer/dancer. Currently she is on the Faculty of the Theatre & Dance Department at Rowan University, where she teaches Curatorial Practice in the Arts and coordinates the MA In Theatre Arts Administration Program through Global Learning & Partnerships.
Her curatorial activities include among others, co-curating PDP’s Motion Pictures, a dance on film/video series from 2002-2012, and DanceBOOM at the Wilma Theater in 2006 and 2007. For many years she served as an Artist Curator at the Painted Bride Art Center, where she founded the Dance With The Bride series. She was the Managing/Artistic Director of the Danspace Project in New York City 1984-1989. She has served on numerous boards and panels and has taught as adjunct faculty at various colleges and universities.
As an artist she was one of the first in Philly to explore postmodernism with improvisational structures in performance as well as a “pioneer” of the Old City District that later was developed as an arts district. Her dance work has been supported by The National Endowment for the Arts, the Pennsylvania Council on the Arts, and The Pew Center for Arts & Heritage, and presented by P.S. 122, NYC, the WPA in DC, and Tanzfabrik in West Berlin among other venues locally and nationally.
She has a BA from New York University and MA in Dance from Temple University, and she participated in the Whitney Museum of American Art Independent Study Program and The American Dance Festival.