RS: That leads directly to another question about description. You identify as a "dance maker," maybe not "choreographer." Is that an important distinction? How do you sort that out? SD: I use the phrase "dance-maker" a lot, but I also say that I'm a choreographer, danc- er, and writer. I like "dance-maker" because it feels active and activating. I feel like that's what my work does. I activate my communi- ties and collaborators to bring forward their stories and truths and bodies into the work. RS: To wrap up, and thank you so much for speaking with me, the last year has been ex- ceptionally challenging in this country for a host of reasons. We're in the midst of what could easily be described as a cultural crisis. Do you see yourself responding to that as a trans person and a maker? Has the last year brought what you've experienced in 17 years into greater focus? SD: The concept for BOYS IN TROUBLE was born several years ago, but the last year has deeply informed my work in community and our time in the studio. Friends and collabora- tors who are Black have talked with me about how their white, heterosexual, cisgender coun- terparts are suddenly becoming alarmed and aware of truths that they had long-known and lived in for years (starting with the white su- premacy this country was founded upon). For many people of color, nothing is different now than it was a year ago. If anything, it's gone from horrible to worse – but it’s not “new”. So yes, we’re in a “crisis” – but America’s always been in a crisis, because this coun- try was founded on crisis – namely: inva- sion, genocide, colonialism, slavery, intern- ment, segregation, forced sterilization. Today it continues with deportations, anti-Black- and-Brown-immigrant hatred, talk about the “wall” and Islamophobia. Even though BOYS IN TROUBLE was born a few years ago, there are so many things that happened in the last year that for me as a white trans guy were crystallized, and I'm bringing that into the work now. I'm thinking of the ways we talk about whiteness, the way we talk about expressions of trans masculinity. There are things that are scary for me to bring forward, particularly my anger and righteousness as a trans person. But I'm ready to go there, all while doing justice to the work and the audience. I can’t wait to share this new work with audiences.
DIMENSIONS DANCE THEATER CELEBRATES ITS TH ANNIVERSARY
As the oldest continuously operating African American dance company on the West Coast, Dimensions Dance Theater has been a leader in the movement to introduce African and Afri- can-derived dances in the United States, reconnecting genera- tions of Americans with the cultural arts of its ancestors, while paying no heed to the old-fashioned orthodoxy that once kept instruction in classical ballet and modern dance separate from jazz, Haitian and other styles. Its 45th Anniversary performances will include two world premieres: a dance representing voices of the homeless, choreographed by company member Latanya d. Tigner, and a dance inspired by the life and legacy of Harriet Tub- man, choreographed by former company member Andrea Vonny Lee. The evening will conclude with a remount of Tigner’s acclaimed second line dance parade, St. Ann and N. Rampart. Dimensions Co-Founder and Artistic Director Deborah Vaughan commissioned Tigner to create a substantial new work to mark the company’s anniversary. Tigner, who has danced with the company since 1986, and who currently leads Dimensions Extensions, a pre-professional youth ensemble, is developing a 25-minute work about homelessness. The second new work on the program belongs to Lee, who danced with Dimensions from 1994 to 2009, and who in the years since has traveled numerous times to West Africa and Cuba working to bridge the African diaspora. This is Lee’s first commission for Dimensions Dance Theater.
Dimensions Dance Theater / photo by Edward Miller
Ain’t No Turning Back is a work paying homage to the life and legacy of Harriet Tubman. “At a time when the country is de- bating her image on the $20 bill,” continued Lee, “we need to remember what Tubman accomplished and what she sacrificed. The struggle for freedom and full equality in this country – for women, immigrants, workers and people of color – is not over.” KICK HIGH, TURN FAST: Celebrating 45 Years of Dance , Fri-Sat, Apr 13-14, Malonga Casquelourd Center for the Arts, Oakland. dimensionsdance.org
KORESH DANCE COMPANY IN SAN FRANCISCO
Philadelphia-based Koresh Dance Company was founded by Israeli cho- reographer Roni Koresh. In celebration of Israel’s 70th anniversary, the Jewish Community Center of San Francisco is presenting the company in performance and a workshop. Workshop (Open to All Levels): Adult Fitness/Hip-Hop A high-energy fitness/hip-hop workshop for adults of all skill levels, with instruction by one of Koresh’s principal dancers. Please arrive 15 to 20 minutes early and wear comfortable clothing in which you can easily move. Dance sneakers are recommended. Mon, Apr 16, 6pm, $20 (workshop), $40 (workshop & performance) Performance Known for their dynamic blend of contemporary and Israeli folk dance, the evening’s performance will include excerpts from some of Roni Koresh’s seminal pieces. Tue, Apr 17, 7pm, $30 (performance), $40 (workshop & performance) jccsf.org
ROULA SEIKALY is an independent curator and visual arts writer based in San Francisco.
Sean Dorsey Dance presents BOYS IN TROUBLE: Apr 19-21, Z Space, SF. seandorseydance.com
Koresh Dance Company / photo by Bicking Photography
in dance APR 2018
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