When PHILADANCO! performs internationally, audiences spring to their feet — expressing their deep appreciation of the arts. They bang on the floor enthusiastically during 20-minute ovations and reciprocally feed the dancers’ creative passion. With appearances in the Netherlands, Germany, Austria, Belgium and Hungary, company members vividly recall “rock-star” treatment during previous international tours.

“The country I like most is Turkey,” says Joan Myers Brown, founder and executive artistic director. “I like the atmosphere and response; I like the people. I like the way they treat artists. You’re someone special. They appreciate your talent and that you came to them to share. They’re so honest in the way they treat you.”

With positive audience response — in America and all over the world — as one of the most satisfying aspects of her work, Ms. Brown remembers telling the dancers to stop bowing after 10 curtain calls in Germany. She also describes the enthusiastic reception the company received in Korea.

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To dig each other out of the current economic morass, a fundamental integration of the arts and business worlds is urgently needed. Instead of segregating each into right- and left-brain domains relegated to work versus leisure time, these two equally important elements must finally be united into one forceful whole.

Artists know how to look at the world — and problem solve — with fresh eyes. If businesses regularly invited photographers, crafters and writers to participate in brainstorming sessions and hold employee workshops, some new solutions and strategies might arise.

For example, an “artist-in-residence” program — featuring rotating artists — could provide businesses with unexplored alternatives for deeply entrenched and ineffective practices. In exchange, business employees could share their technical expertise — from bookkeeping to technology — with artists who often prefer to focus on the creative process. Through advice about ingredients for a sound business, artists might discover ways to improve the nuts-and-bolts of their operations.

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Today, more than ever, the ability to hatch creative solutions is a key to survival. Driven by their own visions, entrepreneurs step forward boldly to reshape the future with new products and services.

Since 2001, Innovation Philadelphia has led regional efforts that target 25- to 34-year-old professionals to fuel the region’s creative economy.

“Innovation Philadelphia is a nonprofit economic development organization that serves 11 counties in Southeastern Pennsylvania, Southern New Jersey and Delaware. We are the only organization of our kind in the region,” said Lauren Beley, communications manager.

To support entrepreneurial enterprises, the nonprofit economic development organization coordinates many presentations and informational sessions. A recent event in Center City, titled “Running on Empty: Making a Little Go a Long Way,” offered tips about stretching every dollar.   READ FULL STORY

Dance Teams With Urban Edge Compete In Theatrical Shows
By Andrea K. Hammer, For The Bulletin

The Dance Wit Me Network (DWMN), with a title expressing its hip-hop spirit, springs from the motto “Dancing’s not just a hobby; it’s a way of life.”

Originating from a West Chester University event in March 2004, the dance-team competition expanded into DWMN when founder and president Jacob Gray graduated later that year. He said that the demand for repeat performances was widespread.

“Typically, there are two dance teams on a campus,” Mr. Gray explained. “One dances at different sporting events and a spring concert; this one is listed under athletics as the school dance team. Then, there’s another team: Someone will go out for the team, not make it and start their own. A lot of times, those people are from urban areas — African Americans who go out for school dance teams and, unfortunately, don’t make it. So they start their own dance team on campus.”

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By Andrea K. Hammer, For The Bulletin
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Zebra Visual’s slide show of many airborne Philadelphia dancers — from Koresh to Zane Booker — reflects a personal knowledge of dance in every image.

“Understanding the aesthetic of dance is paramount,” says Seattle-based photographer Gabriel Bienczycki, who started his career in Philadelphia and has remained active here. “There’s a great deal of translation going on in a studio situation. Besides the obvious technical challenges, others involve composing a frame, communicating with the dancer, and, most of all, storytelling in a miniature choreographic work.”

During this process, Mr. Bienczycki also strives to balance his own vision with those of the dancers involved.

“The challenges are similar to the ones with choreography: inspiration and clarity. It’s important to remain flexible and adapt to the material one works with. It’s a combination of creative work and service,” he adds.

Mr. Bienczycki — who was born in Bytom, Poland,
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