More from Dancers' Group Staff: What is Healthy?
Isadora Duncan Dance Awards Committee Announces Nominees and Honorees for 2017-2018 Performance Season
Hubbard Street Dance Chicago music dance theater Performances Cal U N I V E R S I T Y O F C A L I F O R N I A , B E R K E L E Y
2018/19
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S E A S O N
When approached about this opportunity to write about health as a dancer, my mind immediately started exploding with ideas. Where does one start? For me, the subject hit remarkably close to home. This past summer, my immediate health was challenged by a fall I took during a perfor- mance at the Sun Gallery in Hayward. I was presenting a solo work, Terra Femme, about embodying the Earth as a goddess who was being attacked by smog, pollution, nuclear bombs, and other man made weapons to the natural soil. During one of a series of spins, I fell down onto the wooden platform. Like any true performer, I continued through, as if the fall were a part of the choreography. The actual pain didn’t settle in until days later and even then i was used to my almost lifelong back issues so I wasn’t vigilant. It was only when I couldn’t sit up straight without having excruciating pain going down the length of my right leg that I finally went to a doctor. They said without a doubt that I was dealing with sciatic nerve pain. I had never felt anything like this in my life. Having been a fairly safe kid, I never broke any bones growing up so I had nothing to compare the experience to. This debilitating pain kept me up nights and made every day movement insufferable. Having initially no relief and fearful thoughts that I might become addicted to painkillers plagued my mind. It was in those moments I knew that I had to change. With the help of prescribed medicine, alternating heat and cold packs, natural salves, constant stretching, massage therapy, and an overhaul of diet, over the course of 5 months, I was eventually able to walk, sit and sleep with much less pain. This incident was definitely a wakeup call for me. I wasn’t listening to my body and it was calling out for help. As the new year approaches, creating new regimes for one’s body and mind may seem cliche but sometimes they are truly necessary. Going into the next 365 days, there’s an ever-present call to refresh your mind state, grow in character, set personal goals, and yes renew that gym membership. —Andréa Spearman, Program Assistant In recent years, I have ventured into more nontraditional, Eastern, Indigenous, brujeria- spiritual based healing modalities to address my health-based concerns. This shift has arisen as a result of a severe concussion I experienced in the spring of 2017. My time in the offices of Western doctors had not been particularly helpful, primarily because I felt like there was a lack of embodied understanding and that my full self was not being taken into consideration. Whenever I’ve seen Chinese Medicine specialists, I’ve been asked about my diet, personal life, emotional state, family, metabolism, etc. This is not to say that I don’t think that there are many Western medical advancements that continue to save lives time and time again; I simply wonder if there will ever come a moment when the respec- tive modalities\/ technologies will meet and converge. I remember calling my mother post-concussion who immediately suggested we pray; this happened after I had performed my own full moon ritual at a friend’s dance studio earlier that same day. I also reached out to Hannah Wasielewski, choreographer and craniosacral therapist, who was giving free craniosacral therapy sessions at the time, which helped tremendously in getting my body back into its’ deep healing rhythms and potential. The impact of the concussion generated an interesting tension because prior to the moment of injury, movement had always been my medicine/methodology for survival and healing. Because the concussion limited how much and how rigorously I could move, I then had to find another way to channel movement’s healing capacity in order to ground and stabilize the symptoms I was experiencing. When it comes to issues pertaining to mental and physical health, I have continued to turn to these alternative modalities. Discussions around the ways race / gender / class / citizenship / language intersect with being an artist and how these factors affect access to healthcare need to be had and examined more thoroughly. I wish I could attend to the tuning of my body on a more regular basis, but sometimes am not able to due to lack of funds. So how does one get what one needs when the system in place is inherently designed to keep specific people out and others in? This is an ongoing question that continues to haunt me. One proposition is to create one’s own system. Currently, my system includes being in close dialogue with herbalists and Chinese Energetic forms along with meditation and prayer. Thankfully, the Bay Area con- tinues to be a place where NOTAFLOF, trades, and exchanges exist both within and outside of the performing arts as one remedy in addressing the issue of accessibility to healthcare. —randy reyes, Program Assistant
Outstanding Achievement in Music/ Sound/Text Michelle Carter (libretto), Janet Kutulas (music/ lyrics), Erika Chong Shuch (direction), and Kitka Vocal Ensemble , Iron Shoes , choreographed by Erika Chong Shuch, Shotgun Players, Ashby Stage, Berkeley Sean Dorsey (text), Boys in Trouble , choreo- graphed by Sean Dorsey, Sean Dorsey Dance, Z Space, San Francisco Zakir Hussein and Sabir Khan , Sutra , choreo- graphed by Alonzo King, Alonzo King LINES Ballet, YBCA Theater, San Francisco Othello Jefferson (music direction), I, Too, Sing, America , choreographed by Christine Chung, Alex Nana-Sinkam, Nina Wu, Julie Ni, Daniel Cancel, Isa Musni, and Tanya Gonzalez Rivera, Bay Area Theater Company, Buriel Clay Theatre, San Francisco June Arellano (costume) and Wilfred Galila (media art), Incarcerated 6x9 , choreographed by Alleluia Panis, Alleluia Panis’ Diasporic Futur- ism Dance–Media Project, Bindlestiff Studio, San Francisco Byb Chanel Bibene (set/costume) and Del Medoff (lighting), Nkisi Nkondi: Sacred Kongo Sculpture , choreographed by Byb Chanel Bibene , Kiandanda Dance Theater, ODC Theater, San Francisco Christine Crook and Alice Ruiz (costumes), Kal Domici (Moonhead design), Haleigh Park Dulce (set/props), Ray Oppenheimer (lighting), Darl Andrew Packard (video content), and Wolfgang Lancelot Wachalovsky (projection design), In Event of Moon Disaster , created by Stephanie DeMott, Erin Mei-Ling Stuart, Isa Musni, Nayeli Rodriguez, Soren Santos , and Don Wood , Mug- wumpin, Z Below, San Francisco Sheldon B. Smith (set/video design), Six Degrees of Freedom, created by Sheldon B. Smith and Lisa Wymore , Smith-Wymore Disappearing Acts, ODC Theater, San Francisco Amara Tabor-Smith , House/Full of BlackWomen: episode 12: passing/through/the great middle, co-created by Amara Tabor-Smith and Ellen Sebastian Chang in collaboration with the per- formers, Live Arts in Resistance, EastSide Cultural Center, Oakland Outstanding Achievement in Restaging / Revival / Reconstruction Raphael Boumaila , restaging of Chaconne (1942), choreographed by José Limon, Oakland Ballet Company, Paramount Theatre, Oakland Jean-Pierre Frohlich and Isabelle Guerin , revival of Fancy Free (1944)/ The Cage (1951)/ Other Dances (1976), choreographed by Jerome Rob- bins, San Francisco Ballet, War Memorial Opera House, San Francisco Celia Fushille and Amy London , revival of Fly Me to the Moon (2004), choreographed by Michael Smuin, Smuin Ballet, Palace of Fine Arts Theatre, San Francisco Joanna Haigood , revival of The View from Here (2002), directed by Joanna Haigood, Zaccho Dance Theatre, Zaccho Studio, San Francisco Helgi Tomasson , revival of Sleeping Beauty (1990), choreographed by Helgi Tomasson after Marius Petipa, San Francisco Ballet, War Memo- rial Opera House, San Francisco Outstanding Achievement in Visual Design
Special Achievement Award for Outstanding Production Honoree Within These Walls , concept/production/ direction: Lenora Lee , Lenora Lee Dance, Angel Island Immigration Station, San Francisco, for telling the story of the immigrants that passed through Angel Island and remembering the 1882 Chinese Exclusion Act. Staged at the former immigration station on the island, the work reflects the strength and trauma of those his- torically detained at the station via site-specific dance, video projection, and original music. Special Achievement Award Honoree San Francisco Ballet , for Unbound: A Festival of New Works , War Memorial Opera House, San Francisco, for an unprecedented festival of con- temporary ballets by 12 globally-acclaimed cho- reographers. Along with films, behind-the-scenes interviews, rehearsal footage, and talks and lectures about the creative process, the festival brought contemporary ballet into the interna- tional spotlight by bringing dancers, critics, and dance aficionados together. AXIS Dance Company , for 30 years of innova- tive artistry, sustained community engagement, and steadfast local and international advocacy for dancers of all ages and abilities. AXIS led the charge to create inclusive movement spaces, and continues to provide opportunities for commu- nity empowerment in the Bay Area and beyond. Carnaval San Francisco , for celebrating the diverse Latin American and Caribbean roots of the Mission District and the Bay Area for over 40 years. Carnaval San Francisco has been an opportunity for many cultures to come together in one spirit and share their creative expression. Jodi Lomask , who through her company, Capacitor, has for 20 years combined dance and circus arts with science to create outstanding artistic and educational moments. Over the years she has worked closely with scientists in the fields of geology, oceanography, computer sci- ence, neuroscience, and more to create authen- tic experiences that extend the art of dance to a larger community, and that make science under- standable to the layperson. Sustained Achievement Award Honorees
THE ISADORA DUNCAN DANCE AWARDS, known locally as the Izzies, are awarded annually to acknowledge exceptional creative achievements in the performance and presentation of dance. This year the Isadora Duncan Dance Awards Committee will celebrate 33 years of honoring local dance artists by acknowledging their outstanding achievements in dance. Awards are given in nine categories to honor the dancers, choreogra- phers, designers, composers, dance companies, dance scholars and other individuals who have made important contributions to the San Francisco Bay Area’s thriving dance community. During each 12-month performance cycle, running September 1 – August 31, the volunteer Izzies Committee collectively views over 400 eligible perfor- mances. The final nominees and honorees are selected at an annual voting meeting held in September. The winners will be honored at an awards ceremony to be held in the spring of 2019 (details TBA at izzies-sf.org). This event will be free and open to the public. The following is a list of Nominees and Honorees by awards category.
Featuring works by Alejandro Cerrudo, William Forsythe, Nacho Duato, and Crystal Pite; plus new choreography by Emma Portner and Teddy Forance, with music by Dev Hynes, performed live by Third Coast Percussion.
“This is the kind of dancing one always hopes to see.” — Los Angeles Times
Jan 18–20 ZELLERBACH HALL
The 7 Fingers Reversible Montreal’s award-winning contemporary circus troupe presents its latest creation, a playful and poignant exploration of the role ancestors play in the shaping of modern identities. Through astonishing acrobatics, aerial stunts, and dynamic dance movement, the artists build an intergenerational bridge between past and present, then and now. “The collective virtuosity of this troupe is something to see —and, crucially, to feel.” — Boston Globe Akram Khan XENOS A Cal Performances Co-commission The legendary Akram Khan’s final solo creation before his planned retirement as a performer, XENOS explores the shell-shocked dreams of an Indian colonial soldier during the First World War. Combining classical Indian kathak and contemporary dance, Khan bravely explores the soldier’s alienation as he finds himself trapped between two cultures. “This is a work of defining greatness, and a fitting farewell to a stage career that has illuminated British dance.” — The Guardian , London Feb 22–24 ZELLERBACH HALL
Outstanding Achievement in Performance – Ensemble
Outstanding Achievement in Choreography
Isaiah Bindel and Erik Debono , Floating in Mid-Air, choreographed by Gregory Dawson , dawsondancesf, YBCA Theater, San Francisco Melecio Estrella, Ben Juodvalkis , and Andrew Ward , Manimal Suite, choreographed by Fog Beast , Fact/SF Summer Dance Festival, Joe Goode Annex, San Francisco Hien Huynh, Zoë Klein, Andrey Pfening, Jeremy Vik , and Xedex , Born, Never Asked, choreographed by Zoë Klein , Dance Mission Theater, San Francisco Miriam, Andy, and Frida Wolodarski Lundberg , The Dad Joke at the End of the World (part of Dance Lovers 7), choreographed by Miriam and Andy Wolodarski , CounterPulse Theater, San Francisco Xochitl Sosa and Caroline Wright , Unravel , cho- reographed by Xochitl Sosa and Caroline Wright with input from Sarah Poole, San Francisco Aerial Arts Festival, Cowell Theater, San Francisco Outstanding Achievement in Performance – Company Alleluia Panis’ Diasporic Futurism Dance– Media Project , Incarcerated 6x9 , choreographed by Alleluia Panis, Bindlestiff Studio, San Francisco Margaret Jenkins Dance Company , Skies Falling/Skies Calling , choreographed by Margaret Jenkins, Wilsey Center, Veterans Building, San Francisco OngDance Company , excerpts from Salt Doll (Dance of Flowers; Dance of Life), SF Ethnic Dance Festival, choreographed by Kyoungil Ong, War Memorial Opera House, San Francisco San Francisco Ballet , entire Unbound: A Festival of New Works , War Memorial Opera House, San Francisco Sean Dorsey Dance , Boys in Trouble , choreo- graphed by Sean Dorsey, Z Space, San Francisco
Christine Chung, Alex Nana-Sinkam, Nina Wu, Julie Ni, Daniel Cancel, Isa Musni , and Tanya Gonzalez Rivera , I, Too, Sing America , Bay Area Theater Company, Buriel Clay Theatre, San Francisco Christopher Wheeldon , Bound To, San Francisco Ballet, War Memorial Opera House, San Francisco David Dawson , Anima Animus , San Francisc Ballet, War Memorial Opera House, San Francisco Jyothi Lakkaraju, Ananda Narthana Ganapathi, SF Ethnic Dance Festival, War Memorial Opera House, San Francisco Keith Hennessy , Sink, Circo Zero , Joe Goode Annex, San Francisco Trey McIntyre , Your Flesh Shall Be A Great Poem , San Francisco Ballet, War Memorial Opera House, San Francisco Crystaldawn Bell , XO: eXquisite Orientation, choreographed by Randee Paufve, Paufve Dance, Joe Goode Annex, San Francisco Giordan Cruz , existence, choreographed by Dazaun Soleyn, dazaun.dance, Dance Mission Theater, San Francisco Mathilde Froustey , Sleeping Beauty, choreo- graphed by Helgi Tomasson after Marius Petipa, San Francisco Ballet, War Memorial Opera House, San Francisco Hien Huynh , Within These Walls , choreographed by Lenora Lee and dancers, Lenora Lee Dance, Angel Island Immigration Station, San Francisco Frankie Lee Peterson III , helmet of salvation , The Black Choreographers Dance Festival: 2018, Laney College Theater, Oakland Outstanding Achievement in Performance – Individual
community news
Upcoming Grant Deadline: Lighting Artists in Dance Applications due by Wed, Feb 27, 2019 Now in its 12th year, this grant program sup- ports emerging, mid-career and established Bay Area lighting designers working in part- nership with a local choreographer or dance company towards the presentation of a public performance. dancersgroup.org/lad Creative Work Fund Letter of Inquiry Letter of inquiries due: Friday, March 1 The Creative Work Fund invites artists and nonprofit organizations to create new art works through collaborations.
In October 2019, the Fund will award approxi- mately $620,000 in grants to nonprofit orga- nizations and collaborating visual or traditional artists. creativeworkfund.org Celebrating 50 years of Dance at UC Berkeley Five decades has passed since the founding of the Theater, Dance, and Performance Studies program at UC Berkeley. On February 21, the TDPS department will present the Berkeley Dance Project 2019 which will feature pieces by: Joe Goode; Rulan Tangen; Latanya Tigner; a current student choreographer selected from the Fall Choreography Showcase; and Cherie Hill, an alumna choreographer of the dance program. TDPS dance program co-founder and Professor Emerita Marni Wood will be in resi- dence, including being part of a discussion as part of the TDPS Speaker Series on February 21. tdps.berkeley.edu
Mar 2 & 3 ZELLERBACH HALL
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