Philadelphia Dance Projects Presents A Provocative Evening of Screendance and Live Dance – POSTPONED

DANCE UP CLOSE, Philadelphia Dance Projects’ series highlighting the work of an exciting set of predominately Philadelphia artists, concludes its 2020 Mid Winter Festival with Reassembling Corporeal Knowledge, a unique program of live dance juxtaposed with screendance at Fringe Arts (140 North Columbus Boulevard)  Wednesday, March 18 and Thursday, March 19, both evenings at 7:00 PM.  The program showcases short solos or duets choreographed by Danielle Currica, Paige Phillips and Kat Sullivan with dance videos by Chamecki/Lerner, and Amalia Colon-Nava/Tobias Skold.  Tickets at $15, $10 for students, are available at

PDP Director, Terry Fox has curated an evening length program pairing selected screendance works with live dance works that share an unique emphasis on how dancers direct the audience’s attention to their moving body. “To me, choreography is a way of assembling the dancer’s experience of dancing.  Each new time the dancer creates or performs they are “reassembling” what they know, hence the title of the program Reassembling Corporeal Knowledge,” she said.  “The contemporary dance artist in a small theater cannot approximate the Super Bowl halftime artist spectacle with its ‘in-your-face demonstration of a woman exulting in her own physicality, nor are the styles or aims the same.  However, the relationship between the dancer and viewer continue to be ever present and ripe for exploration.”

Reassembling Corporeal Knowledge features an impressive range of styles and approaches in both screendance and performance.  Kat Sullivan’s duet Reign by Sullivan masks the faces of the dancers, so the audience must focus on the expression of the bodies in motion.   Since graduating from Franklin & Marshall College with a BA in Dance in 2014, Kat Sullivan has been performing and creating work with Trio C, SKI BALL, Antonia & Artists,  and fidget.  She has collaborated with independent artists Sean Thomas Boyt, Meredith Stapleton and Evalina Carbonell, and has performed and shown work at Koresh’s Come Together Festival, Philly Fringe Festival and the Triskelion Arts Comedy in Dance Festival in New York City.

In the screen dance PITH, a collaboration of Ann Colon-Nava and Tobias Skold, a chorus of dancers are only seen from the back.  Amalia Colón-Nava is a dance/performance artist/filmmaker emerging on the Philly dance scene as a recent graduate of University of the Arts. She has presented her own work in Philly and at various venues in Boston. Further afield she has performed with Lauren Baskt, Paris, and JoMe Dance at the Fringe Buzz Montreal 2019 Festival.

Danielle Curica will perform a currently-untitled dance-in-process solo that is an amalgamation of free form movements influenced by dance styles house, African, ballet, modern with a nod to vaudeville and aspects of audience engagement and eye connection informed of Burlesque.  Born in Guyana, South America and raised in Memphis, Tennessee, Danielle Currica graduated from Virginia Commonwealth University with a BFA in Dance and Choreography in 2009.  As a freelance dance artist in Philadelphia, she has worked with Dance Theatre X, idiosynCrazy productions, Dance4Nia Repertory Ensemble, and Green Chair Dance Group, and appears as Sophie Sucre of Philadelphia’s neo-burlesque troupe The Peek-a- Boo Revue.

Paige Phillips will present duet excerpts from Apres moi,l’obsurite. her risky and daring, rather unballetic romp with tutus. Paige Phillips is a Philadelphia-based choreographer and interdisciplinary artist.  Her artwork engages most frequently with dancer, movement scores, installation and video, and her content is concerned with recontextualizing rituals and imagery from pop-culture and religion to better understand identity politics.  Some venues where she has exhibited include: National Museum of Singapore, Bangkok Art and Culture Center, Park Gallery (Kathmandu, Nepal), Microscope Gallery (New York City), Columbus College of Art and Design, On the Boards and Velocity Dance Center (both in Seattle), and Pyramid Atlantic (Washington, DC), along with Philadelphia venues Mascher Space, the CEC, Fringe Arts, High Tide Gallery, and Little Berlin.

Chamecki/ Lerner’s  video works will include Conversations with Boxing Gloves between Chamecki and Lerner which was commissioned for Performa ’09  when they were asked to interpret a segment of a 1918 Futurist film, and Samba #2, a film of one samba dancer in extreme slow motion, dissecting the iconic Brazilian cultural manifestation that reveals a profound physicality, the “samba.”  The work was commissioned in 2014  by EMPAC, Experimental Media and Performing Art Center.  Chamecki/Lerner is a 25-year collaboration between Rosane Chamecki and Andrea Lerner, creating a body of work that includes dance performances, video and installation pieces.  Their performance work has been presented in the US by The Kitchen, DRW, the Joyce Theater, Performance Space 122, Central Park SummerStage, Portland Institute for Contemporary Art, Mass MoCA, Diverseworks, Jacob’s Pillow, and American Dance Festival.  They have toured extensively throughout Brazil as well as Canada, Venezuela, Colombia, Costa Rica, El Salvador, Portugal, The Netherlands, UK, Austria, Germany, Denmark, Finland and Romania.

As prelude and corollary to Reassembling Corporeal Knowledge, Rosane Chamecki and Andrea Lerner will lead a special workshop, Dance in Frame, on Sunday, March 15 from 1:00-5:00PM at Cardell Studio (1713 Melon Street).  This workshop is a workshop about “why and when” to convey a choreographic idea into a video – what justifies taking dance out of the theater, and into the camera; when does one’s concept ask for the language of video making; what are the tools available in video that would not only facilitate the work, but demand that the work be made specifically for the screen. The free workshop is open to dancers, performers, video makers, photographers or anyone interested in this process.  Registration is necessary at

PDP Presents is made possible with support from the William Penn Foundation, The Philadelphia Cultural Fund, The Vanguard Charitable Foundation and individual donors.

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