BmoreArt

This week’s news includes: The Walters announces new Latin American Galleries to open in 2025, Walter Hood named 2024 Vincent Scully Prize winner, Back to School on the Walter’s ‘Free Admissions’ podcast, BSA’s Roz Cauthen on ‘The Truth in This Art’ with Rob Lee, Afro Charities announces their 2024/25 Artist Commissioning Project Cohort, ‘OH HAPPY DAY’ at Center Stage, paw paw time, BSO’s ‘Symphony in the City,’ Sonal J. Mehta Verma appointed President of VisArt’s board, WYPR Midday highlights 2024’s best American poetry, and CJ Philip curates Baltimore by Baltimore Festival — with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Neo-Huaco Resin (2023), Ana de Orbegoso. Resin. Walters Art Museum purchase, 2024

The Walters Announces Details for Its First Dedicated Latin American Art Galleries, Opening May 2025
Press Release :: September 4

The Walters Art Museum announced today that it will debut Latin American Art / Arte Latinoamericano, its first permanent exhibition dedicated to this important area of the museum’s collection, on May 17, 2025. Latin American Art / Arte Latinoamericano presents 200 works spanning 40 cultures across more than four millennia and will include bilingual didactic materials, another first for an exhibition at the institution. More than 3,300 square feet of the Walters’ 1909 Charles Street building are currently undergoing their first renovation and full reinstallation in nearly 40 years to facilitate this cultural, historical, and social exploration of Indigenous art of the Americas.

“For far too long, the voices of Latino artists have been absent from the museum’s offerings. Latin American Art / Arte Latinoamericano is not just a celebration of Latino art and culture from across time and space, it’s also another important step toward mirroring the Baltimore community in our galleries,” said Julia Marciari-Alexander, Andrea B. and John H. Laporte Director. “The number of Latino residents in Baltimore has grown significantly in recent years—in fact, there has been a 77% increase in Baltimore’s Latino population between 2010 and 2020. As we have watched this community blossom, the Walters has dedicated curatorial resources to this collection area, reconsidered how we utilize our gallery spaces, and partnered with community stakeholders in order to present a distinguished and comprehensive installation of our collection of works from the Americas.”

The objects in Latin American Art / Arte Latinoamericano will be presented in a tandem geographical and thematic order and will explore themes related to the natural world and materials that come from the Americas. Visitors will encounter examples of ancient ceramics, earthenware, gold, paint, shells, silver, stone, textiles, and more from North, Central, and South America, as well as the Caribbean. Collection highlights featured in the exhibition include dozens of golden and jade ornaments from Colombia and Central America; a large-scale Mexica (Aztec) statue of Macuilxochitl, patron god of music, dance, and gamblers; a colonial-era painting of Saint Rose of Lima; two Maya ceramic burial urns made with the special Maya blue colorant; elaborately modeled Andean drinking vessels and ceramics ritually sprinkled with the red pigment cinnabar; and a stone zemí, or container for ancestral and deity essences. Interactive elements, such as video and audio contributions from community members and touch and scent stations featuring 3D-printed Maya glyphs and copal incense, will enhance the visitor experience.

Latin American Art / Arte Latinoamericano features recent acquisitions of contemporary Latin American works and presents them as counterparts to the museum’s historic collection. Several acquisitions by living artists were made specifically for the installation and include works by Jessy DeSantis, Melissa Foss, Eugenio Merino, Ana de Orbegoso, Uriarte Talavera, Pierre Valls, and Kukuli Velarde, as well as loans from other well-known artists. These works by contemporary artists convey key ideas such as migration, identity, and gender expression, and present visual and thematic resonances between art from the ancient Americas with contemporary works. The pieces will rotate regularly, facilitating an ongoing dialogue between past and present.

“At its core, Latin American Art / Arte Latinoamericano is about how people in the Americas across the centuries have understood the natural world to be imbued with a living spirit, which is inherent to the beautiful artworks they have created from sacred and precious materials. While Latin Americans are not a monolith, each Latin American culture shares the concept that a vital essence unites people, animals, plants, stones, minerals, the natural world, and the ancestors,” said Ellen Hoobler, William B. Ziff, Jr., Curator of Art of the Americas, who curated the exhibition alongside Patricia Lagarde, Wieler-Mellon Postdoctoral Curatorial Fellow, Art of the Americas. “This exhibition establishes the Walters as a destination to view art from the Americas and to dive deeply into the nuances of Latin American cultures, exploring the depths of our shared humanity. Latin American Art / Arte Latinoamericano also presents Spanish-language didactic materials—a first for the Walters—ensuring that gallery materials are accessible to a wider range of visitors.”

Latin American Art / Arte Latinoamericano continues the museum’s recent investment in permanent and temporary exhibitions created by and about established local minority communities that tap into areas of depth and excellence in the Walters’ historic collections. In December 2023, the Walters mounted Ethiopia at the Crossroads, the first major art exhibition in America to examine an array of Ethiopian cultural and artistic traditions from their origins to the present day, serving the large Ethiopian diaspora community in the Baltimore/Washington, D.C. area. In April 2023, the museum debuted Across Asia: Arts of Asia and the Islamic World, a long-term exhibition that necessitated the renovation of the fourth floor of the museum’s Centre Street building, serving the significant population of Marylanders who are of Asian descent. Advisory groups made up of community members and scholars with Ethiopian and Islamic backgrounds, respectively, were essential in realizing these exhibitions. Similarly, Latin American Art / Arte Latinoamericano established advisory and focus groups of local Latin American audiences that allowed the museum to strengthen visitor outcomes and center Indigenous perspectives.

For the exhibition, the North Court galleries in the Walters’ historic Palazzo building are currently undergoing a $1.2 million renovation that commenced in June 2024 and will tentatively conclude in October 2024. Renovations to the galleries, which sit in a high-traffic area adjacent to the museum’s iconic Sculpture Court, include constructing new walls and gallery openings, installing new case designs, refurbishing the original terrazzo flooring, adding new scrims, and painting the walls in new colors. The museum contracted the Institute for Human Centered Design to provide guidance on several elements: the floor plan design, placement of didactics and multimedia kiosks, mobility device accessibility, seating, and sensory interactives. For the capital project, the museum hired Lewis Contractors, who previously brought to life the institution’s visions for Hackerman House at 1 West Mount Vernon Place and Across Asia: Arts of Asia and the Islamic World.

Latin American Art / Arte Latinoamericano will be accompanied by the publication of The Spirit Within: Art and Life in the Americas. The collection catalog will be printed in a single volume in English and in Spanish and authored by Ellen Hoobler, William B. Ziff, Jr., Curator of Art of the Americas, and Patricia Lagarde, Wieler-Mellon Postdoctoral Curatorial Fellow, Art of the Americas.

The installation is curated by Ellen Hoobler, William B. Ziff, Jr., Curator of Art of the Americas, and Patricia Lagarde, Wieler-Mellon Postdoctoral Curatorial Fellow, Art of the Americas.

Major support for Latin American Art / Arte Latinoamericano is provided by The John G. Bourne Fund for The Exhibition of the Arts of the Ancient Americas.

This project is also generously supported by Matt Polk and Amy Gould, The Terra Foundation for American Art, contributors to the Gary Vikan Exhibition Endowment Fund, and The Walters Women’s Committee Legacy Endowment.

This exhibition has been made possible in part by a major grant from the Institute of Museum and Library Services (MA-255902-OMS-24). The views, findings, conclusions, or recommendations expressed in this installation do not necessarily represent those of the Institute of Museum and Library Services or other funders.

The National Building Museum Announces Walter Hood as the 2024 Vincent Scully Prize Recipient
Press Release :: September 4

Today the National Building Museum announced that Walter Hood, pre-eminent American landscape designer is the 26th recipient of the Museum’s annual Vincent Scully Prize. Established in 1999, the Scully Prize recognizes excellence in practice, scholarship, or criticism in architecture, historic preservation, and urban design. He joins esteemed past recipients, including Theaster Gates, Dolores Hayden, Mabel O. Wilson, and Elizabeth Meyer.

A public celebration to present the award to Hood will be held on Friday, October 4, 2024 from 6 to 9 pm at the National Building Museum. The evening includes an award presentation, laureate remarks and a public conversation with jury members, including 2012 laureate Paul Goldberger, followed by a reception.

Best known for his work in the public realm and urban environments, Walter Hood has a storied career as a designer, artist, academic administrator, and educator. He creates ecologically sustainable spaces that connect with urban communities and help empower marginalized communities. Hood is the creative director and founder of Hood Design Studio, a social art and design practice based in Oakland, California which he founded in 1992. The studio’s practice includes art and fabrication, design and landscape, and research urbanism. Responding to each place’s unique scale and context with an approach adaptive to the specifics of a space, Hood’s work seeks to uncover and strengthen layers of meaning present in all landscapes – ecological, cultural, contemporary and historic. Notable projects include the large-scale garden designs of the International African American Museum (IAAM) in Charleston, South Carolina, the Oakland Museum of California, the M. H. de Young Museum in San Francisco, and the recently opened Lift Ev’ry Voice and Sing Park in Jacksonville, Florida.

Hood currently serves as chair of UC Berkeley’s Department of Landscape Architecture & Environmental Planning (LAEP). Among his numerous accolades, Hood received the MacArthur ‘Genius’ Grant and the Dorothy and Lillian Gish Prize, both in 2019, the Architectural League’s President’s Medal in 2021 and the Wall Street Journal’s Innovator Award for Design in 2023.

“Walter Hood’s Illustrious career embodies the affirmative spirit of Vincent Scully’s perspective; that of melding art, history, landscape, and urbanism,” said Aileen Fuchs, president and executive director of the National Building Museum. “He has forged a path for landscapes architects with provocative designs that have helped instigate social change”

The Vincent Scully Prize recipient is selected by a jury, including members Esther da Costa Meyer, Nancy Levinson, Stephen Luoni, Toshiko Mori, and led by chair Paul Goldberger.

The Prize Jury remarks that, “Hood focuses particularly on urban public space, and unlike many of his peers in landscape design, he makes a point of working at both the scale of large, public projects such as the De Young Museum in San Francisco and the Broad Museum in Los Angeles, and the intimate scale of community-based neighborhood projects. His recent work at the International African American Museum in Charleston, South Carolina, has been particularly admired. We were mindful of Vincent Scully’s own history as a scholar who took pride in being an activist on social and political issues.”

Back to School [Audio]
by The Walters Art Museum
Aired September 4 on Free Admissions Podcast

Excerpt: This episode highlights Art and Process: Drawings, Paintings, and Sculptures from the 19th-Century Collection, featuring Jo Briggs, Jennie Walters Delano Curator of 18th- & 19th-Century Art. Then, we’ll discuss historic school supplies with Adriana Proser, Mr. and Mrs. Thomas Quincy Scott Senior Curator of Asian Art, and Christine Sciacca, Curator of European Art, 300-1400 CE. Lastly, we’ll talk to Charlie Wolfe, Assistant Manager of School and Teacher Programs, about the curiosity and excitement of kiddos in school tour groups.

Principal of the Baltimore School for the Arts Rosiland Cauthen [Audio]
by Rob Lee
Aired August 27 on The Truth in This Art

Excerpt: Roz Cauthen, Executive Director of the Baltimore School for the Arts, joins Rob Lee on “The Truth In This Art” podcast. They discuss Baltimore School for the Arts, Roz’s journey in art, and the importance of education as an artist. Roz, with a rich background in theater arts, shares her journey and dedication to nurturing young talent and promoting diversity in arts education. She reflects on her experiences at BSA, the school’s vibrant atmosphere, and its impact on students’ lives. The conversation highlights her commitment to equity, innovative programming, and promoting healing through the arts, emphasizing an inclusive and dynamic learning environment at the school. Roz emphasizes the importance of representation and creating opportunities for young artists, ensuring their voices are heard and celebrated.

2024/2025 Artist Commissioning Project Cohort Announcement
Newsletter :: August 30

Afro Charities is thrilled to announce our 2024/2025 Artist Commissioning Project cohort! Congratulations to Maryland-based artists Sanah Brown-Bowers, Jason Patterson and Glenda Richardson.

The artists were selected in consultation with our curatorial panel, composed of Dr. Lowery Stokes Sims, Dr. Schroeder Cherry, and Jessica Bell Brown.

Each artist will have 14 months to conduct original research in the AFRO News Archives, and to produce new artwork inspired by their findings. The artists will be provided with technical assistance and generous research, production and materials stipends to support their work. Their art will ultimately debut in a public exhibition to be announced at a later date (stay tuned!).

Sanah Brown-Bowers, a recent MICA graduate, creates intricate wooden shadow boxes that feature three-dimensional elements, lighting, and lifelike portraiture with a pop art twist. Her work captures the textures and stories of life, blending realism with a whimsical edge.

Jason Patterson uses soft pastel portraits, woodworking and the recreation of historical texts and documents to explore African American history, and to highlight the influence our past has on our current political and social conditions in the United States.

Glenda Richardson is a fiber artist and master quilter who specializes in portraiture and abstracted story quilts that are a mélange of fabrics, found objects, and treasured pieces directly significant to their subjects.

This project marks the third iteration of Afro Charities’ artist commissioning program. Past artists include Akea Brionne, Xaviera Simmons, Shan Wallace and Savannah Wood. This program is supported by the Andy Warhol Foundation for the Visual Arts and the Ruth Foundation for the Arts.

Center Stage to kick off 2024/25 season with ‘OH HAPPY DAY!’ world premiere
by Marcus Dieterle
Published August 30 in Baltimore Fishbowl

Excerpt: Kicking off their 2024/25 season, Baltimore Center Stage will present the world premiere of “OH HAPPY DAY!” from Sept. 19 through Oct. 13.

Written by and starring two-time Tony nominee Jordan E. Cooper, the play is a new take on the story of “Noah’s Ark.” But for the family at the center of this piece, a looming flood is the least of their troubles.

The play is set in Laurel, Mississippi, during a barbecue birthday party for family patriarch Lewis (played by James T. Alfred), where his estranged son Keyshawn (played by Cooper) makes a surprise appearance. Family secrets find their way to light and upend everything.

Pawpaws: Everything you need to know about Maryland’s ‘hillbilly mango’
by Lillian Reed
Published September 3 in The Baltimore Banner

If you’re suddenly coming across the word pawpaw at local eateries, breweries and autumn festivals, it might be time to acquaint yourself with the largest edible fruit native to our continent.

The sweet treat, which can be found around Maryland, has inspired a number of affectionate nicknames over the years, including the “hillbilly mango” and the “poor man’s banana.”

To previous generations, the pawpaw — a greenish-yellow fruit with a custard-like flesh — was an important staple of the North American diet. While public appetite for it seemed to wane for a time, the fruit has experienced something of a renaissance in recent years.

Pawpaws are thankfully abundant across the state, where they tend to ripen by mid-September, to the delight of local chefs, farmers and foragers.

Here’s what you need to know.

The American pawpaw, or Asimina triloba, is a deciduous tree that tends to grow in moist woods or along banks of streams in many parts of the United States. They can grow up to 35 feet in height and produce clusters of the fruit in autumn, according to the Maryland Department of Natural Resources.

The pawpaw will typically darken in color as it matures and eventually drop to the ground, where there are a number of critters who snack on it. It can take around four to eight years for its flowering tree to produce fruit.

Experts at the University of Maryland Extension say pawpaws usually grow about 2 to 6 inches in length and may resemble a small, irregular mango. Wild variations tend to weigh about half a pound, while those cultivated in agricultural settings can weigh more than a pound.

People have enjoyed eating the treat for centuries. Author Andrew Moore writes in his book “Pawpaw: In Search of America’s Forgotten Fruit” that it sustained Native Americans, European explorers, U.S. presidents and enslaved African Americans.

George Washington recorded in 1785 in his diary that he planted pawpaws on the grounds of Mount Vernon, his Virginia home. They’re also found on the property near the Slave Cabin Garden.

One of the reasons the pawpaw fell out of vogue has to do with how Americans obtain their food. Pawpaws have a particularly short shelf life, lasting just a few days, which makes it difficult for grocery stores to stock them.

In recent years, local cultivators and chefs have helped raise their profile in Maryland, according to Baltimore magazine. And foragers with large TikTok followings have documented their pawpaw cooking adventures for the masses.

Even as the fruit experiences a resurgence in popularity, finding it may take a little bit of legwork. You’re most likely to encounter it by way of foraging, farmers markets or eateries that specialize in locally sourced foods.

Believe it or not, pawpaw trees can be found in many of Baltimore City’s parks and green spaces, including Gwynns Falls-Leakin, Druid Hill and Patterson parks. Novice foragers can use the Falling Fruit urban harvest map to scope out more precise locations.

If foraging isn’t for you, another viable option is to swing by the Two Boots Farm stand at the Baltimore Farmers’ Market below the Jones Falls Expressway on Sundays. You can also find them at other farms around the region.

Long Creek Homestead in Frederick is hosting its ninth annual Pawpaw Fest on Sept. 21, where visitors can sample pawpaw ice cream and learn how to make jam with the tropical fruit.

Speaking of jam, Atwater’s also sells its own limited edition version, flavored with brown sugar, ginger and spices.

When you do get the chance to try a pawpaw for yourself, you can expect the ripened pulp to have a mild, sweet flavor with a slightly soft texture. Be sure to discard the skin and dark, shiny row of seeds found inside — they’re not edible.

Some people have allergic reactions to the pawpaw, so if you’ve never tasted one before, be sure to sample a small amount first.

However you choose to consume them, do it quickly. The fleeting season comes just once a year.

This story was republished with permission from The Baltimore Banner. Visit www.thebaltimorebanner.com for more.

The Baltimore Symphony Orchestra Announces 2024-25 Symphony in the City Line Up
Press Release :: September 3

The Baltimore Symphony Orchestra (BSO) proudly announces the return of its free, three-concert community series, Symphony in the City on Wednesday, September 18, at 7:30 pm at Morgan State University.

Held at the Gilliam Concert Hall in the Murphy Fine Arts Center, the first Symphony in the City concert of the season is led by BSO Music Director Jonathon Heyward and features selections from Beethoven’s Symphony No. 6, “Pastoral,” known for its vivid depiction of nature and rural scenes. In conversation with Beethoven’s timeless work, the concert will also showcase compositions by James Lee III, whose works are infused with vibrant narratives and deep cultural resonance.

“Beginning our season with a community concert at Morgan State University is deeply meaningful,” said BSO Music Director Jonathon Heyward. “This performance not only begins our musical journey for the year but also continues the BSO’s tradition of bringing music directly to the heart of Baltimore, honoring the Symphony’s roots as an orchestra founded by the city for its people.”

Symphony in the City is a series that intentionally aligns concerts and venues with community celebrations. The concert at Morgan State University not only marks the start of a new academic year, but also honors the University’s connection to the BSO’s new Composer in Residence, James Lee III, who serves as faculty member at Maryland’s largest historically Black university (HBCU). His BSO residency will feature two world premieres during the 2024-25 concert season and encompass an educational component with students from BSO OrchKids and the Baltimore School of the Arts, including compositions, mentorship, and workshop performances.

“The fact that the Morgan community, and the surrounding community at large, will have an opportunity to experience the Baltimore Symphony Orchestra, led by their new Music Director Jonathon Heyward, live on our campus, is simply amazing,” said Eric Conway, DMA, chair of the Fine and Performing Arts Department and director of the Choir at Morgan State University. “This moment is further elevated by having the work of a respected Morgan faculty member, Dr. James Lee III, on display for all to enjoy. We are fortunate and thankful to the BSO for selecting Morgan as the location for the season’s first Symphony in the City concert.”

Symphony in the City

Wednesday, September 18, 7:30 pm, Gilliam Concert Hall, Murphy Fine Arts Center, Morgan State University, 2201 Argonne Drive, Baltimore, MD 21218

Artist

Jonathon Heyward, conductor

Repertoire

BEETHOVEN Symphony No. 6, “Pastoral,” I. Awakening of cheerful feelings on arrival in the countryside

LEE III Amer’ican

BEETHOVEN Symphony No. 6, “Pastoral,” II. Scene by the brook

LEE III Captivating Personas, III. Bored Comfort

BEETHOVEN Symphony No. 6, “Pastoral,” IV. Thunderstorm

BEETHOVEN Symphony No. 6, “Pastoral,” V. Shepherd’s song: Cheerful and thankful feelings after the storm

The Symphony in the City series will continue with performances across Baltimore, including a tribute to Veterans on November 20 at War Memorial and a celebration of Black History Month on February 7 at the Reginald F. Lewis Museum.

A Robert Meyerhoff and Rheda Becker Community Concert event, the Symphony in the City series is generously supported by Presenting Sponsor BGE. Launched in 2019, this series reflects the BSO’s commitment to bringing world-class music to diverse audiences across Baltimore. Each concert is a unique celebration of community, culture, and the transformative power of music, designed to reach beyond the walls of the Joseph Meyerhoff Symphony Hall and into the heart of Baltimore’s neighborhoods.

Symphony in the City remains free to all. Reservations are appreciated but not required. Learn more by visiting https://www.bsomusic.org/symphony-in-the-city/.

About the Baltimore Symphony Orchestra

For more than a century, the Baltimore Symphony Orchestra (BSO) has been recognized as one of America’s leading orchestras and one of Maryland’s most significant cultural institutions. The orchestra is internationally renowned and locally admired for its innovation, performances, recordings, and educational outreach initiatives, including OrchKids and the Baltimore Symphony Youth Orchestras.

The BSO performs annually for more than 300,000 people throughout Maryland. Since 1982, the BSO has performed at Joseph Meyerhoff Symphony Hall in Baltimore, and since 2005, with the opening of The Music Center at Strathmore in North Bethesda, MD, the BSO has been the nation’s first orchestra to perform its full season of classical and pops concerts in two metropolitan areas.

In July 2022, the BSO made history by announcing that Jonathon Heyward would succeed Music Director Laureate and OrchKids Founder Marin Alsop as the Orchestra’s next Music Director. Maestro Heyward began his inaugural season in September 2023.
The Baltimore Symphony Orchestra is a proud member of the League of American Orchestras. More information about the BSO can be found at BSOmusic.org.

VisArts Announces New Board President and Welcomes New Board Members
Press Release :: September 4

VisArts is pleased to announce new Board appointments and the selection of Sonal J. Mehta Verma as President of the Board of Directors. With deep roots in the Montgomery County community, Verma brings a love for the arts and a commitment to VisArts’ mission of transforming lives through visual arts.

Verma, co-founder and partner at Verma Cortes LLC, a boutique immigration firm in Rockville, Maryland, has supported VisArts for more than a decade. Her involvement spans from sending her child to summer camps and hosting family and firm events in the Buchanan Room to attending the annual Rockville Arts Festival and supporting Visibility Art Lab, VisArts’ supported studio for neurodiverse adult artists. In addition, she has been a member of VisArts’ Board of Directors since 2020. Her lifelong passion for the performing and visual arts aligns with her belief in the transformative power of art.

Verma shared, “I’m honored to serve as Board President. VisArts is truly special – a world-class visual arts organization in our backyard. I’m excited to work alongside VisArts’ board members, staff, and community volunteers to expand our impact on the Washington, D.C. metro area’s cultural landscape.”

Joining Verma on the Board are Claire Louis and Anand Vaishnav. Louis, Director of the Thome Aging Well Program, brings extensive experience in human services and philanthropy. Her background includes leadership roles with Northern Virginia Family Service and Community Living and Resident Services, alongside active volunteer work with The Arc Montgomery County and Special Olympics Montgomery County.

Anand Vaishnav, a Principal and Senior Director at Education First, a national education policy consulting firm, adds a rich background in advocacy, strategy, and management. Previously, he was Chief of Staff for Boston Public Schools and an education reporter for the Boston Globe. In addition to launching EdReports.org, he has been a panelist for Aspen Institute, Urban Literacy Leadership Network and America Achieves Fellowship Convening.

“We’re thrilled to welcome Sonal as new Board President and Claire and Anand as Board members,” says Alice Nappy, Executive Director of VisArts. “Their diverse expertise and dedication to community service will enhance our efforts to broaden our reach and continue making a positive impact through the visual arts.”

The Best American Poetry of 2024 [Audio]
by Tom Hall and Teria Rogers
Aired September 3 on WYPR Midday

Excerpt: Tom’s guest is Mary Jo Salter, a Professor Emerita in the Writing Seminars at Johns Hopkins University. She has published nine volumes of poetry and has written essays, lyrics, and children’s books. This year, she’s been chosen as the guest editor of an anthology of verse called The Best American Poetry 2024.

Dance through life with Baltimore by Baltimore this weekend!
by Aliza Worthington
Published September 4 in Baltimore Fishbowl

Excerpt: Baltimoreans who find themselves simply walking through life can shake it up this weekend at Waterfront Partnership’s Baltimore by Baltimore festival, “Dancing Through Life” on Saturday.

This month’s waterfront music and maker festival is produced by CJay Philip, artistic director of Dance & Bmore, an ensemble that fuses live music, movement, and spoken word. More than 25 dance groups will perform at the largest gathering of Baltimore Dance companies in over a decade.

Saturday’s Baltimore by Baltimore festival will celebrate Baltimore dance, choreography, and intergenerational artistic community. The lineup includes the Full Circle Dance Company, Baltimore Salsa Dance Company, Keur Khaleyi, HKL Korean Dance Company, FazaFam Family Jam, Baltimore Folks Music Society with Square Dancing and more.

See also:

Baltimore Rhythm Festival returns for 10th year
by Aliza Worthington
Published September 4 in Baltimore Fishbowl