Published by Dancers' Group, In Dance is discourse and dialogue to unify, strengthen, and amplify.
in dance FALL 2023 DISCOURSE + DIALOGUE TO UNIFY, STRENGTHEN + AMPLIFY
P.14 The Cypher, The Circle & The Drums
P.42 A QUEERspace For All
P.36 Taking Up Space
CONTENTS
MEMBERSHIP Dancers’ Group – publisher of In Dance – provides resources to artists, the dance community, and audiences through programs and services that are as collaborative and innovative as the creative process. Dancers’ Group’s membership program is a fee-free model. We value connecting (with you) and sharing (what you’re doing). If you’re interested in connecting, JOIN as a Community Member. Visit dancersgroup.org for more information and resources.
WELCOME by ROWENA RICHIE, Guest Editor
THE BAY AREA IS DEFINED BY ITS BRIDGES: the Richmond-San Rafael Bridge, the Carqui- nez Bridge, the San Mateo Bridge, the Golden Gate Bridge and the Bay Bridge. This issue of In Dance is all about bridges and bridging, too. The way dance and our local dance community span divides of various kinds to connect and enrich.
JOIN dancersgroup.org SUBMIT
Members of the Dancers’ Group staff share what they’ve been up to, linking us to new ter- ritories. Andréa writes about getting inspired and energized at the Women of Color in the Arts forum in Atlanta. Danielle examines the frontiers of motherhood—that it’s quite an adjustment in extraordinary and ordinary ways. Alex and Kat take us into the world of combating anti-fatness. We’re also featuring some contributions by recent CA$H grantees writing about their funded activities. They, too, often write about bridges of different kinds. Their projects and practices span generations, pedagogies, traditions. Another theme runs through this issue: the practice of being. Conni McKenzie brings the refuge of nature indoors through her immersive exhibi- tion Flow . Dia Dear leads us through a Sick Dance practice, a practice that involves not “doing” anything. Audrey Johnson explores being in attunement with the land during her artist residency in Georgia. The ideas in Audrey’s essay transported me back to the time I danced on a literal bridge, shown in this photo, from the fall of 2007. I was at an artist residency and spent most of my time taking walks and frolicking in the fields. I produced little in the way of tangible creative outputs but was filled with awe. One of the residency’s donors made it clear they were disappointed that I didn’t have a finished product. Today, I’m grateful to Audrey and others pav- ing the way for work that challenges our notions of productivity and supports awe and wonder. Placing my attention on bridging and being, the word Baying springs to mind. As in the act of grounding our bridging and being in the Bay. Baying is responsive, inclusive, creative. Street dancers, fat dancers, older dancers, disabled dancers—the Bay is finding its way. What a gift that we live among marvels of construction and culture— pathways to connect us. It was my pleasure to cross over with the writers of this issue. I trust you’ll have a similarly expansive experience.
Performances to the Community Calendar Dancers’ Group promotes performance listings in our online performance calendar and our emails to over 1,700 members. Resources and Opportunities Dancers’ Group sends its members a variety of emails that include recent community
34/ Weaving the Generations Together Through “Quilted Ancestors” by Dazaun Soleyn 36/ Taking Up Space by Kat Koenemann and Alex Tiscareno 42/ A QUEERspace for All by Afia Thompson 44/ Maternal Movement by Danielle Vigil 48/ Bridging the Gap Between Freestyle and Choreography by Tarik Rollerson 52/ Let’s Sick Dance by Dia Dear 56/ Views from the Porch by Audrey Johnson 60/ In Community Highlights and resources, activities and celebrations for our community – find more on dancersgroup.org
07 / Putting Down Roots and Raising Voices by Andréa Spearman 10 / Creating Joy so that We May Remember Kim Requesto, interviewed by Rowena Richie 14/ The Cypher, The Circle & The Drums by Karla Flores 18/ Preparing the Clouds by Shinichi Iova-Koga 22/ Flow by Conni McKenzie 26/ Why the Hella Hyphy Ball is more than just a Ball by Tremaine Wheaton 30/ Taking Up Room on the [Concert Dance] Floor by Melissa Hudson Bell
Dancers’ Group gratefully acknowledges the support of the Bernard Osher Foundation, California Arts Council, Fleishhacker Foundation, Grants for the Arts, JB Berland Foundation, Kenneth Rainin Foundation, Koret Foundation, National Endowment for the Arts, Phyllis C. Wattis Foundation, San Francisco Arts Commission, Wallace Alexander Gerbode Foundation, Walter & Elise Haas Fund, William & Flora Hewlett Foundation, Zellerbach Family Foundation and generous individuals.
notices, artistic opportunities, grant deadlines, local news, and more.
DANCERS’ GROUP Artist Administrator Wayne Hazzard Artist Resource Manager Andréa Spearman Community Resource Manager Shellie Jew Administrative Assistants
Danielle Vigil Alex Tiscareno
General Manager Kat Koenemann Bookkeeper Michele Simon Design Sharon Anderson
Cover photo by Bay Chaconas
DANCERS’ GROUP JOIN
LEARN ABOUT
• Free events • Featured artists and news • Discounts • Jobs • Grants
dancers group
dancersgroup.org BECOME A MEMBER!
PHOTO BY PAK HAN
2
2
FALL 2023 in dance 3
in dance FALL 2023
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
PERFORMANCES BY Nava Dance Theatre Blind Tiger Society Jean Isaacs Kinetech Arts Jennifer Perfilio Movement Works Loco Bloco Kim Epifano/Epiphany Dance Theater 20th Anniversary
FREE Dance Tours From Downtown SF to Exploratorium to Fisherman’s Wharf START POINT One Bush Plaza ONE BUSH ST. SF END POINT Fisherman’s Wharf FISHERMAN’S & SEAMAN’S MEMORIAL CHAPEL
SATURDAY-SUNDAY October 21-22, 2023 START TIMES & INFO E PIPHANY D ANCE.ORG
DANCERS: Nadhi Thekkek, Erin Coyne, Jessica DeFranco, Roel Seeber, Bianca Cabrera PHOTO: Amani Photography DESIGN: Kevin Clarke
4
in dance FALL 2023 4
FALL 2023 in dance 5
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
PUTTING DOWN ROOTS & RAISING VOICES by ANDRÉA SPEARMAN Black Women Leaders at the Dance/USA Conference
The second in a trilogy of dances addressing the devastating effects of mass incarceration. Choreographer & Director: Jo Kreiter Lead Writer: Rahsaan Thomas Dancers: Bianca Cabrera, Clarissa Dyas, Laura Elaine Ellis, Maddy Lawder, Megan Lowe, Sandiya Sexton, Helen Wicks Composers: Jewlia Eisenberg, Shahzad Ismaily Set: Sean Riley Lighting: Jack Beuttler Costumes : Jamielyn Duggan
October 14 – 17, 2021 Thurs, Oct 14 at 7 pm & 8:30 pm Fri, Oct 15 at 7 pm & 8:30 pm Sat, Oct 16 at 5 pm, 7 pm & 8:30 pm Sun, Oct 17 at 7 pm Flyaway Productions presents with MoAD and Empowerment Avenue IF I GIVE YOU MY SORROWS
Black people have this unspoken greeting out in public : the nod. It’s an all-ages greeting that can convey many things, from, “Hey, I see you,” to, “Let’s head out. The environment seems unsafe.”
CounterPulse 80 Turk Street, SF
WHEN
October 6 – 15, 2023
FREE for reservations, visit counterpulse.org/event/mercy in collaboration with the dancers Performers Laura Elaine Ellis, Sonsherée Giles, MaryStarr Hope, Jhia Jackson, and Megan Lowe Composers Pamela Z and Carla Kihlstedt Set Design Sean Riley Rigging Design Dave Freitag Lighting Jack Beuttler Costumes Jamielyn Duggan Artistic Direction Jo Kreiter Choreography Jo Kreiter
For Black women the nod can lift into a smile and a spoken compli- ment: “Okay hair!”, “Yes yellow dress!” “You betta walk sis!” Black women are even more affirming to each other as we move through the professional circles of our lives. That is what I experienced at this year’s Dance/USA conference in Atlanta, Georgia.
THIS YEAR’S CONFERENCE was very, very Black. From Dance/USA’s fear- less leader Kellee Edusei to 4 out of 5 of the extraordinary honorees (Virginia Johnson, Judy Tyrus, Nena Gilreath, Waverly T. Lucas, II) to the performances throughout the week. There were innately Black moments. At the opening reception loud rumblings of African drums
WHERE Space 124 at Project Artaud
401 Alabama Street San Francisco
TKTS
www.FlyawayProductions.com
EDITOR’S NOTE: Andréa Spearman is the Dancers’ Group Artist Resource Manager and represented Dancers’ Group at the Dance/USA conference in June.
photo RJ Muna of Megan Lowe
6
6
FALL 2023 in dance 7
in dance FALL 2023
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
filled the room. An older Black woman danced across the stage and encouraged us to grab instruments and join in. There were performances by Ballethnic Dance Company (ballet), Tap Rebels, and CiCi Kelley (hip hop/street dance). As I watched these perfor- mances and heard words of gratitude and honorees’ acco- lades, it dawned on me how many Black women were in the room: in the audience, pre- senting on stage, being lifted up among their colleagues. For decades of hard work. Would I be one of them one day? I’ve been a dance artist since I was a child. Dance moved from hobby to profession—from my praise dance beginnings, to my cur- rent roles as teacher, choreog- rapher, artist resource manager, podcast producer and more. As I’ve learned about the business side of dance, I’ve found more women to be impressed by. Black women founding and leading com- panies. Making waves in the community. I picture my name in lights one day, just like them.
The crowns that the OGs labored for placed squarely on our heads. AS BLACK WOMEN, our crown is essential to our self image. I looked around the room and saw a diversity of crowns: braids, locs, curls, perms, twist-outs, sew-ins, Afros, presses and waves. Hair as dynamic as our goals. A question was asked by WOCA director, Kaisha S. Johnson: “What are your dreams and what do you need to make them a reality?” Dreams ranged from hiring a photographer, to creating a youth program, to expanding a physical space, to creating podcasting networks. Some dreamers had their needs met right there in the room. Others exchanged busi- ness cards and promises to connect for resources. It was a moment of connection and community. Minds coming together to conceive and build an arts community that can rise to its fullest potential. As I was leaving the confer- ence, filled with pride at such an awesome display of culture and leadership, I won- dered again to myself, “Will
WHEN I HEARD Women of Color in the Arts (WOCA) would be holding a forum within the Dance/USA conference, I knew this was my chance to meet other Black women working in white-centered spaces, looking to put down roots and raise voices. WOCA dedicates itself to trans- formational change in the arts sec- tor. During the forum we lifted up one another’s work, reflected on the Dance/USA conference experience, unpacked the experience of being a woman of color in a predominately white industry. The room was 99% Black women. It felt like a homecoming. There was a moment when a rap battle broke
out and almost everyone started beatboxing, laughing or hyping up the women on each side of the room. This room held the types of women I’d seen throughout my entire life: The OGs—the groundbreakers who took those first steps into ballet when society was telling them nobody wanted to see them. The Troublemakers—women who brought our heritage to the stage front and center and didn’t take no for an answer. The Next Wave—my peers, women who are showing our creativity onstage and at the heads of tables. And bringing our sisters with us.
I be one of these dynamic wonder women that lead the way and make a change in our community?” I’m definitely on my way there. Bay Area native ANDRÉA SPEARMAN is an administrator, choreographer, performer, teacher, and student of modern-based movement with over 20 years of experience. Her company A. Spearman & Co . is a con- temporary fusion dance company where artists are trained in ballet, jazz, hip hop, modern, cultural dance, photography, live vocals, poetry, acting, directing, producing and more. Currently Andréa produces and hosts, The Black Landscape podcas t, a series of conversations that spotlight Black people doing significant work in the SF Bay Area.
8
8
FALL 2023 in dance 9
in dance FALL 2023
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
JOY so that we may remember KIM REQUESTO INTERVIEWED BY ROWENA RICHIE
I ALWAYS THOUGHT OF THE TABLE AS A SYMBOL OF A PLACE WHERE PEOPLE ARE GIVEN EQUAL OPPORTUNITIES TO BE RESPECTFULLY
Creating
HEARD AND HAVE THEIR
OPINIONS VALUED – A CATALYST FOR CHANGE.
EDITOR’S NOTE: Kim Requesto is a Spring 2023 CA$H grant- ee. This article highlights her funded activities and vision.
My photos interact with marginalized and Indigenous communities in the Philippines. Many of those communi- ties are in Mindanao, which is considered an unsafe place because of how it has been portrayed in the media. Being able to share snippets of Mindanao, and different commu- nities that have welcomed me with open arms, is import- ant in combating this narrative and the prejudice that many people have felt.
ROWENA RICHIE: You use photography to, “Visually share the realities of Philippine citizens.” Why do you want to share the realities? KIM REQUESTO: When I think of sharing my work with an audience, I hope that everyone, regardless of their race, class, gender, sexuality, and ability, can learn, understand, and find connection. There are so many similarities and parallels to our lives, sometimes it takes art in order for us to see and feel it.
ROWENA: What ethical issues do you face with your photography and dance practices?
KIM: Western photography often objectifies Indigenous persons through the lens. It has been important for me to get consent and be cognizant of the language I use sur- rounding the act of photography. To consider my relation- ship and connection to the communities as a visitor, but also as a photographer. I always try to travel with a Polaroid camera to cre- ate two photos of a moment: 1 for them, 1 for me. We’ve seen many times in anthropological photographical history, Indigenous people rarely get to see and hold physical photos of themselves. Additionally, not everyone
ROWENA: What stories do you want your photographs to tell?
KIM: I want them to remind us that Philippine culture and Filipinos are more than just the trope of lumpia, boxing and mainstream personalities. To remember the power we hold—our identities before colonization, imperialism and western influence.
10
in dance FALL 2023 10
FALL 2023 in dance 11
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
KIM: Create more funding opportunities for artists to continue to be able to share and create their work! More opportunities to collaborate with other artists to showcase what we can and have been doing.
KIM: The power in our own narratives and our voice. Even in the subtle act of wanting to remember so that those you love remember, too. ROWENA: How do you imagine your legacy inspiring future descendants? KIM: I hope it inspires folks to archive our personal histo- ries, create more Filipinx diasporic work, and keep to the tradition of passing down our families’ legacies. ROWENA: You describe yourself as a “Philippine born, Mission District-raised Cultural Worker.” As a cultural worker how do you balance empowering marginalized communities of Filipinos with raising awareness outside of the Filipinx community? KIM: When it comes to cultural work, it’s important to remember that our work intersects with so many different cultures and communities. Dance and photography that uplifts marginalized communities of Filipinos has given cultural entry points to audience members. By sharing my art and speaking on it, I uplift those Indigenous communi- ties while educating others.
you’re sharing her stories. Why? What’s the connection to Pasalamat Sa Mga Ina ?
has the privilege to access technology to be able to see uploaded photos. I’ve visited one family since 2015. On my last visit we were able to compare all the photos from the previous years. Connecting over photos is a big part of why I fell in love with photography. With dance, I involve my mentors and culture bearers. I share movements that have any hint of a cultural practice in them with my mentors so they can collaborate with me. My director in Parangal Dance Company, Eric Solano, has had such an influence and impact on my practice. Going on research trips with him and being able to observe how he interacts with the different communities has taught me that cultural dance is community work. ROWENA: Your CA$H-awarded project, Pasalamat Sa Mga Ina , translates to “Thanks to the Mothers.” What’s the significance of mothers in a patriarchal world? KIM: Both American and Philippine cultures tend to lean heavy towards patriarchy. However, before colonization in the Philippines, women were regarded highly, even held positions of power. They were regarded as equals. It’s time to reclaim that. To remember the power we hold in the histories of our matriarchal lineage.
KIM: In her memoir, my great lola writes: “ I would like to start writing today interesting events that my beloved ones may enjoy reading about, especially when I am already gone. ” I want to share this drive of hers to create joy for others. This joy is ours to inherit through shared memory. Pasalamat Sa Mga Ina stems from this desire of wanting those we love to be happy. It uplifts and honors this—the act and intention of creating joy so that we may remember. ROWENA: What can younger generations learn from your great lola’s memoir?
ROWENA: Anything else you want to add?
KIM: Parangal Dance Company is having our 15th Anniversary show, Paglinang , soon. I’ve been teach- ing senior citizens Philippine Folk Dance for the past few weeks as part of a SOMA Pilipinas program called Restorative Theater Arts for Seniors (RETAS) and they’ll be performing!
Paglinang Parangal and SOMA Pilipinas Saturday, October 7, 2023 2 PM and 7 PM Blue Shield of California Theater at YBCA, San Francisco
KIM REQUESTO is a Philippine born, Mission District-raised Cultural Worker and Interdisciplinary Artist based in San Francisco, California. With an artistic foundation in Philippine folk dance that spans over 18 years, Requesto has dedicated herself to cultural expression and advo - cacy through movement, photography, and community outreach. Requesto is currently with Parangal Dance as part of their Artistic Team.
ROWENA: How can we in the broader Bay Area dance community help you?
ROWENA: Your great lola (grandmother) Juana’s memoir dates back to the 1920s. Nearly 100 years later,
12
in dance FALL 2023 12
FALL 2023 in dance 13
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
EDITOR’S NOTE : Karla Flores is a Spring 2023 CA$H grantee. This article highlights her funded activities and vision. A froRooted is something new. And at the same time, has existed long before the name was even created. It is holding up hip hop culture, and trac- ing its roots back to the drum. The first code. It is recognizing the births and histo- ries of these freestyle dances, and ask- ing, “What more is there? Outside of the Black and Brown communities that catapulted house, waacking, breakin, rock dance, turfin and vogue into bat- tles and onto world stages?” The circle, the cypher (or cipher), existed long before these freestyle art forms began. This is not to gener- alize, more to emphasize that Afro- Rooted has been done several times over and over. The “cypher” existed in traditional dances from indigenous communities telling stories through movement. Honoring ancestors and connecting to Earth. Lilian Maxmillian Nabaggala and me, Karla “Karlita” Flores, two women active in choreographic work, battles, performance and community orga- nizing, met officially back in 2015 through the State Department cultural network, Next Level—an international hip hop diplomacy initiative. Meeting in Kampala, Uganda, we connected through our love of the dance style waacking. We learned each others’ teachings from freestyle and traditional movements. Some of these sessions would take place on hostel rooftops in Kampala. AfroRooted is the continued “con- versation” between dances from the African diaspora and the freestyle dances of today. It officially launched in 2019, forging a new community of Bay Area folks from the competitive street dance world and the traditional African dance world.
by KARLA FLORES
14
in dance FALL 2023 14
FALL 2023 in dance 15
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
To keep updated on AfroRooted Volume 3, follow @afrorooted
and celebratory multi-ethnic, multi-generational festival. As Dance/USA Fellow and guest judge Muisi-kongo Malonga said in 2019, “Drum is the first code and these dances, these movements, have been done before.” The third installment of AfroRooted is set for spring 2024 in Oakland, California. It will follow a similar for- mat as before, with a community “battle” exploring the question of where our freestyle dances evolved from? What happens when we strip down genres to the foun- dational drum patterns? How can we connect what was done to what is still practiced today, to how these freestyle
forms continue to evolve? The cypher, where we tell our stories…the connections and exchanges we do in “bat- tles” and “cyphering,” it’s all interconnected. And more importantly, how the drum is the first code. KARLA “KARLITA” FLORES is a dancer, community leader, and DJ based in Oakland, California. Breakin was her first entry into the dance world and since then she has explored other styles such as rock dance, waacking and salsa. She’s traveled internationally as a dance mentor with All The Way Foundation, and as a hip hop cultural diplomat with Next Level. Through her creativity, she always centers her roots from Nicaragua and the Bay Area.
THE CYPHER, WHERE WE TELL OUR STORIES...THE CONNECTIONS AND EXCHANGES WE DO IN "BATTLES" AND "CYPHERING," IT'S ALL INTERCONNECTED.
In 2020, AfroRooted evolved further, forming part- nerships with Afrobeats Oakland, Elements and Dimen- sions Dance Theater. The festival was held at the historic Malonga Casquelourd Center for the Arts, a major cul- tural arts center and home to many African diasporic dance companies and master teachers such as Diamouna Coura
West African Dance Company, SambaFunk! and Fua Dia Congo. The format was set as a 2 v. 2 open styles battle format danced to Afrohouse, afrobeats and other genres from Africa. The cyphers happened in between the battles and the event wrapped up with live African drumming. During those two years, AfroRooted became a healing
16
in dance FALL 2023 16
FALL 2023 in dance 17
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
PHOTOS BY ROBBIE SWEENY
EDITOR’S NOTE: inkBoat, founded by Shinichi Iova-Koga, is a CA$H Dance Spring 2023 grantee. This article outlines their funded activities and vision.
The impetus for Clouds from a Crumbling Giant was my father, moving into a sudden decline. I witnessed him crumbling. I watched the strong and capable man I grew up with rapidly change. His vigor diminished dramatically; his clarity of mind slowly faded away. What I observed came into conflict with my long-held ideas of him. I had trouble accepting who I saw him becoming. Some weeks ago, he died. Now I’m left with his patterns, his influences… and somehow this study of my father has turned into self-study. Perhaps that was always the case, and I’ve only just realized it. As with the creation of most inkBoat works, the personal experience extends into the process, no matter what the theme might be. In this case, the product/process/personal intertwine into some symbiotic fusion where life and art prove difficult to separate.
18
in dance FALL 2023 18
19
FALL 2023 in dance
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
My role within the project involves a balancing act between my ego, obeying the logic of the moment, listening and providing structure.
Clouds involves multi-generational, racially diverse, cross-disciplinary communities. They each bring per- spective to the table, and fold a vibrant and essential layer into the growing life of the work. As director and performer, I sit in the center… literally and functionally. In that position I am guided by many forces: my father, the stories and experi- ences of the other elders we’ve inter- viewed for the project, the artistry of the musicians and performers, and the circulation practices shared by David Wei of Wudang West Cultural Center. Being at the locus of all this
man is me. Or everybody. My father said, “Don’t make me an old man!” Acceptance doesn’t come easily. In this inquiry, I’m practicing for death… which I hope meets me far, far down the road. Until that time, I believe this process and practice will enrich my life. I hope it will bring value to others. SHINICHI IOVA-KOGA serves as the Artistic Di- rector of the dance theater company inkBoat. He studies, practices and teaches Daoist Internal Arts (such as Dao Yin and Qi Gong). He is the editor of the book 95 Rituals , a tribute to Anna Halprin, and a contributing writer to The Routledge Com- panion to Butoh Performance . He is featured in the book Butoh America . More at inkboat.com
works in progress at UC Davis, TanzFest in Luzern, Switzerland, the San Francisco International Arts Fes- tival, and the Seattle International Dance Festival. We’re building up the strata of perspectives. One collabora- tor, musician Jon Raskin, had this to say about one of our scores: The sticks are pushing Shinichi into shapes and patterns, and he grabs them and pulls them in a call-and- response type of interaction. The musicians only respond to the par- ticular dancers they are assigned to. What’s fascinating is that it appears
that Shinichi’s movement is being determined by the dancers and musi- cians, but in actuality Shinichi is conducting the movement between himself and the dancers with the sticks, in dialogue with the musi- cians. It is a conducted improvisa- tion where everyone has agency. This push and pull operates both as part of the stage work, and within the inner workings of the collaboration, the process. The heart receives and gives. On stage, I embody a crumbling, elderly person. Jon asks me: “Is your old man… your old man?” My old
aesthetic… or a mess. My role within the project involves a balancing act between my ego, obeying the logic of the moment, listening and providing structure. Even a cloud has structure. We’re a year and a half into a very long development and research pro- cess that began in 2022 and will continue through 2025 and likely beyond. To date, we’ve performed
means receiving lots of information. And sending something back. And trusting the outcome. Letting go. The idea of “letting go” lives within the artistic process of Clouds . I invite collaborators or conditions to change the artistic work. The challenge resides in the balance of chaos and structure. Too far one way or the other results in either an over-controlled, sterile
20
in dance FALL 2023 20
FALL 2023 in dance 21
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
FLOW
Embracing Nature’s Wisdom Through Art by CONNI MCKENZIE | photo by BAY CHACONAS
22
22 in dance FALL 2023
23
FALL 2023 in dance
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
EDITOR’S NOTE: Conni McKenzie is a Spring 2023 CA$H grantee. This article highlights her funded activities and vision. I magine you are walking along a long winding path, stretching for miles, over hills and through for- ests. As you finally settle into a comfortable spot, you pause to take a deep, refreshing breath of air. In that moment you realize something pro- found—you can breathe deeply, and you have nowhere else to be. You can tackle challenges, but you can also find solace in rest. Right here, right now, you’re fully present in this moment, and this moment is just for you. These are a few lessons I’ve learned from my encounters with nature. Flow originated from two pri- mary motivations. First and fore- most, it was born out of my yearn- ing to establish deeper alignment in my daily life. Second, I desired to converge my dance and digital prac- tice into something that concretely expressed what mattered to me. Outside of dance practice, I thor- oughly enjoy outdoor travel and have documented my experiences through photography and video. Over the course of several years I have devel- oped an archive of thousands of pho- tos, videos and stories from around the world. But 99% of what I have captured has never been shared with anyone. Flow aims to reveal a por- tion of these archives, coupled with accompanying narratives and an inte- grated sound design.
Flow is an immersive expe- rience that offers a med- itative journey uniquely designed by and with Black people in mind—an uncom- mon occurrence in the art world. While Flow can offer something to everyone,it’s important to recognize that conventional narratives about nature frequently omit the experiences of Black individuals. It’s essential to remember that all people can benefit from connecting with nature, and this project emphasizes that perspective. Flow also aims to bridge the gap between nature and those who may seldom expe- rience it. The broader context of access to nature in North America, particularly in rela- tion to our colonial history and resulting disparities, underpins the project’s aspi- ration: to immerse individu- als, especially those with lim- ited access or transportation challenges, in the therapeutic embrace of nature. Flow will unfold within a three-room exhibit, delv- ing into digital immersion through the mediums of pho- tography, video and sound. Visitors will have the oppor- tunity to settle in comfort- ably while contemplating
thought-provoking prompts displayed throughout the exhibit. Additionally, on five evenings I will be joined by three talented performers for a unique premiere of Flow , integrating dance performances and engaging dialogues that encourage audiences to consider how they can invite more flow into their lives. I invite people to come to the exhi- bition to discover something new about themselves. In the midst of urban life, our exhibit offers a unique opportunity to compress the pro- found effects of extended time in
Nature serves as a powerful reminder of our capacity for stillness and vitality, as well as the inherent impermanence of existence.
nature into a brief yet impactful experience. As the Artistic Director, my goal is to create a space where everyone can find their own meaning. I appreciate the diversity of attendees and their varied perspectives, as they bring richness and depth to the pro- ject’s overall impact. Nature serves as a powerful reminder of our capacity for stillness and vitality, as well as the inherent impermanence of existence. Water, in particular, emerges as a symbol that links us to our inner workings
and the intricate chaos of life itself. Through the Flow exhibition and performances, my aim is to intro- duce individuals to these concepts and, for those who already pos- sess a connection, further deepen their understanding of the interplay between our inner flow and the flow of nature.
CONNI MCKENZIE is a versatile dancer from the New York metropolitan area. Her award-winning film, “Set Me Free,” was featured in the 2021 San Francisco Dance Film Festival, and she has directed several other shorts that have been showcased internationally. Conni is currently a resident artist with New Performance Traditions as part of the Dresher Ensemble Artist Residency (D.E.A.R.) and with BoxoPROJECTS. @lady_dancelot
Flow Exhibition & Performance October 4th-15th, 2023 Paul Dresher Studio 2201 Poplar Street Oakland, California 94607 Tickets for Flow can be purchased here.
Follow the project at flowexhibition. connimckenzie.com.
24
in dance FALL 2023 24
25
FALL 2023 in dance
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
EDITOR’S NOTE : Oakland to All is a Spring 2023 CA$H grantee. This article highlights their funded activities and vision. WH EHLYLTAH E HI SY PMHOYR EB AT LHLA N JUST A BALL by TREMAINE WHEATON O AKLAND TO ALL began in June 2021 as a meeting of the minds. Three ball- room participants wanted to create a safe space for queer youth during the pan- demic—at a time when ball- room had begun to wane in the Bay Area. We came together and hosted free, renegade vogue sessions out- side at Lake Merritt Pergola. Through the work of Shea 007, Ashlee Basquiat, and myself, and our regular collab- oration with venues Public Works and Fluid510, Oakland to All is becoming more than just a safe space for ball- room participants to express their authentic selves. It’s becoming a hub for ballroom experience. Ballroom is a whole culture. It can’t be summarized just by dance, though expressing one’s self through music and vogue is intrinsic to ballroom. At balls even those who don’t “walk” vogue categories—who don’t compete— vogue on the sidelines, vogue at home with friends, vogue
at clubs outside of balls. Those who are a part of the cul- ture have that ingrained in them. We express ourselves through movement significantly more than our words. Even in non-dancing categories like Runway or Face, movement is key. In addition to hosting balls and parties we hold classes for ballroom participants to learn to vogue or to walk Run- way. Oakland to All also always tries to give back to the community. We regularly book ballroom participants for paid gigs as they vibe up, like performing on the main stage at San Francisco and Oakland Prides and participating in the annual Gilead Pride event. Furthermore, we offer some free events, like our annual Hella Hyphy Ball held during Oakland Pride weekend at the Lake Merritt Amphitheater. We always wanted to throw a ball that celebrates the Bay Area as a whole: its culture, its landmarks, the people. One of the most significant cultural movements for the Bay Area was the Hyphy movement. The Hyphy Era is a moment in time from the late ‘90s to the mid 2000s where the Bay Area was having a sort of Hip Hop renaissance. It bred a new sound, new dance moves like “going dumb,” and opened the world up to artists like E-40 and Mac Dre. Hyphy energy still per- meates through Bay Area natives like us, from the slang we use, to the way we dance, and was a key influence in
26
in dance FALL 2023 26
FALL 2023 in dance 27
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
many of us coming of age. Even now, Bay Area music, dances, culture still radiate Hyphy influence. So, when we decided to move forward with the idea, Hella Hyphy was an obvious choice for our ball’s name. This was a chance to “put on” for the Bay Area, and by that I mean celebrate where we’re from. This year was our second go-round hosting the Hella Hyphy Ball (September 9th, 2023), made possible by a few sponsors, including the CA$H Dance grant. Part ballroom experience, part educational tool, we also utilize the ball to educate about Bay Area historic moments and people. Our category sheet—which is a flier that ballroom promoters release ahead of a ball so that participants know how to prepare for the respective categories—reads much more like a booklet of fun Bay Area facts than a vogue category sheet. Both years we’ve kicked off the event with Bay Area trivia and guest Bay Area rappers: Keak da Sneak last year, who is the person who actually coined the term Hyphy, and Stunnaman and DJ Westcoast this year. Both shows featured some of the best turf dancers from the Bay. (Turf- ing being a Bay Area dance style that takes its influence from Tutting, bone breaking and gliding). We continue this pre-show tradition because we always want to book and promote artists from the community, and ensure that peo- ple from out of town get to see the Bay the way we do.
The Hella Hyphy Ball has also bridged the gap between the hip hop and the queer community, and created a space where everyone can share freely. Currently, everything publicized about the Bay Area is bad: robberies, shootings, smash-and-grabs. Safe com- munal spaces, like the Hella Hyphy Ball, are forgotten. Bay Area excellence is forgotten. This year Kamala Harris inspired one of our vogue categories. Though she may be polarizing to some, she is the FIRST EVER Black and Asian American female Vice President of the United States. And she’s from Oakland. That is HISTORIC, as are many social movements that have occurred here, like the creation of the Black Panther Party. We’ve created vogue categories inspired by Bay Area sports teams, Lake Mer- ritt, Oscar Grant, Keyshia Cole, Too Short, Marshawn Lynch, the Thizzle Dance and more. We always want to celebrate Bay Area culture with the Hella Hyphy Ball. OAKLAND TO ALL is a collaborative that seeks to foster an inclusive space for the ballroom community of the Bay Area and its surroundings. The ballroom scene is primarily comprised of Black and Latino LGBTQ+ individuals—communities that continue to be underserved. Our col- laborative creates an inclusive atmosphere for LGBTQ+ Black and Brown folks and their allies to express themselves in a fun, safe and creative way. Access to resources and links to care are established through our partner- ship with local LGBTQ+ community based organizations. @oaklandtoall
28
in dance FALL 2023 28
FALL 2023 in dance 29
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
PHOTOS BY MY-LINH LE Taking Up Room on the [Concert Dance] Floor BY MELISSA HUDSON BELL |
main components of the Hyphy movement that emerged in the early 2000s. Many locals may be famil- iar with Turfing from rapper E-40’s music videos, or a 2008 viral video “RIP Rich D” featuring the Turf Feinz dancing in the rain at the corner of Macarthur and 90th. It is an expressive form often characterized by a dancer’s bounce and playful style, seen by some as stylistically representing the Bay’s embrace of individuality, buoyant energy and general vibe. These are attributes, Le notes, that haven’t always been fully legible to national audiences. This seems to have made claiming spaces and places of belonging especially import- ant to Le, who herself feels the tension of her insider/outsider status in relation to Turfing. While she doesn’t identify as a Turfer, she is passionate about the preservation and visibil- ity of the style, and is staging the upcoming piece as a theatricalized response to forces she sees negatively changing the ecology of the street dance scene in the past few years (ahem, Red Bull). The dancers she has selected to perform can be seen on socials performing in the places Bay Area folks have come to expect to see the homegrown style of Turfing happening - in the dancers’ own homes, on BART station trains and platforms, on city sidewalks with traffic flowing by. Many of the dancers have also performed in the competition circuit, which pits Turfers and other street dancers against one another in (mostly) friendly com- petition. By signing on with Le, however, these dancers are taking on Mud Water’s explicit project of theatricalizing Turfing for the con- cert dance stage. When I propose that this theatricalization of the form may also be changing the ecology of the street dance scene, and subsequently ques- tion if she and the dancers receive pushback from the community for performing in the
“It’s a live performance in the form of a mockumentary that takes place in 2032,” begins My-Linh Le, creative director of Mud Water Theatre. “At this time, the turfing community is having to find a way to preserve their dance form, and their culture, and the way they do this is by teaching an AI called Dance GPT everything that they can.” At my prompting, Le is describ- ing her company’s upcoming full- length theatrical dance piece, which will premiere at Dance Mis- sion Theater Nov 17, 18 and 19, 2023. The answer launches us into conversation about belong- ing, and about strategies for cul- tivating and sustaining a sense of belonging in a rapidly changing world. This is not surprising, I suppose, considering who Mud Water is. Le identifies primarily as a popper and is a member of the legendary popping crew Playboyz Inc. The company is comprised entirely of Turf dancers from across the Bay. Turfing, as readers may know, grew out of 1960s boo- galoo culture and is one of the
30
30 in dance FALL 2023
31
FALL 2023 in dance
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
circuit, which pits Turfers and other street dancers against one another in (mostly) friendly competition. By signing on with Le, however, these dancers are taking on Mud Water’s explicit project of theatricalizing Turfing for the concert dance stage. When I propose that this theatricalization of the form may also be changing the ecology of the street dance scene, and subsequently question if she and the dancers receive pushback from the community for performing in the the- ater, Le is quick to assert the act as something in line with the ethos of the form. “Turfing is highly adaptable. We are constantly creating in whatever space we’re given.” Le explains that she views Turfing’s taking up of space on the concert dance floor not so much a shift in what Turfing is, but rather an exemplification of how Turfing can assert its belonging in different performance spaces. “I personally don’t think of the theater as a space that Turfing has to adapt itself to, it’s more like I’m trying to adapt the theater to turfing.” The ways in which the company intends to do this in its upcoming performances are still in process. Will the audience judge a battle? Will there be a dance battle with audience members invited to compete? While the methods are TBD, the message is unabashedly, ‘Turfing belongs here.’ Mud Water Theatre x Dance Mission Theater present Mud Water IV Fri-Sun, Nov 17-19 MELISSA HUDSON BELL is a founder of Who Knows Best Productions, based in Oakland, CA, and the Executive Vice President of WKB Indus- tries. She is a choreographer, teacher, performer and scholar. Hudson Bell earned her MFA in Experimental Choreography and her PhD in Critical Dance Studies from UC Riverside. She has taught at UC Berkeley, Univer- sity of San Francisco and Santa Clara University, where she was an art- ist-in-residence. She has written for various publications including the San Francisco Chronicle and In Dance .
“IT’S A LIVE PERFORMANCE in the form of a mockumen- tary that takes place in 2032,” begins My-Linh Le, creative director of Mud Water Theatre. “At this time, the turfing community is having to find a way to preserve their dance form, and their culture, and the way they do this is by teaching an AI called Dance GPT everything that they can.” At my prompting, Le is describing her company’s upcoming full-length theatrical dance piece, which will premiere at Dance Mission Theater Nov 17, 18 and 19, 2023. The answer launches us into conversation about belonging, and about strategies for cultivating and sus- taining a sense of belonging in a rapidly changing world. This is not surprising, I suppose, considering who Mud Water is. Le identifies primarily as a popper and is
a member of the legendary popping crew Playboyz Inc. The company is comprised entirely of Turf dancers from across the Bay. Turfing, as readers may know, grew out of 1960s boogaloo culture and is one of the main com- ponents of the Hyphy movement that emerged in the early 2000s. Many locals may be familiar with Turfing from rapper E-40’s music videos, or a 2008 viral video “RIP Rich D” featuring the Turf Feinz dancing in the rain at the corner of Macarthur and 90th. It is an expressive form often characterized by a dancer’s bounce and playful style, seen by some as stylistically representing the Bay’s embrace of individuality, buoyant energy and general vibe. These are attributes, Le notes, that haven’t always been fully legible to national audiences.
This seems to have made claiming spaces and places of belonging especially important to Le, who herself feels the tension of her insider/outsider status in relation to Turf- ing. While she doesn’t identify as a Turfer, she is passion- ate about the preservation and visibility of the style, and is staging the upcoming piece as a theatricalized response to forces she sees negatively changing the ecology of the street dance scene in the past few years (ahem, Red Bull). The dancers she has selected to perform can be seen on socials performing in the places Bay Area folks have come to expect to see the homegrown style of Turfing happening – in the dancers’ own homes, on BART station trains and platforms, on city sidewalks with traffic flowing by. Many of the dancers have also performed in the competition
32
in dance FALL 2023 32
FALL 2023 in dance 33
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
Weaving the Generations Together Through
by DAZAUN SOLEYN
Wisdom Keepers explores the parallels and interplays between a craftswoman and a warrior. One parallel between a crafts- woman and a warrior informing our creative process is the intention of protecting, preserving and build- ing a community and culture; one that both holds sacred the teachings of our ancestors, and makes those teachings fluid and relevant to our day to day lives. Through discourse and imagination we explore how a healthy relationship with an ances- tral presence can be reciprocal and ongoing. In some ways these modes of questioning point to an aspect of the soul that is the creative collabo- ration between Liv and myself. THROUGHOUT 2023 , Liv and I built work and co-facilitated communal processes with members of the Dance Generators, a group of dancers that range in age from 18 to 91 years old. These creative rituals held the sim- ple, yet extremely potent intention of working together to build bridges in a world divided by cultures, ances- try, systematic oppression, biases and generational differences. We have found that these communal spaces Wisdom Keepers explores the parallels and interplays between a craftswoman and a warrior
to the creative process that is currently being co-led by Liv, Dance Generators Director and me, Artistic Direc- tor of dazaun.dance and Dance Generators Guest Artist. The upright, intri- cately woven sculptures were created by textile and visual artist Adia Millett. Adia has woven four large-scale quilts outlined with 12-inch feathers which are draped over 6-foot tall mannequins. The drap- ing of the fabric brings these multi-patterned quilts to life creating ghost-like figures in the space. These quilted ancestors represent both
release deep-rooted emotions and gen- erational trauma held within the body. Moving forward, Liv and I are both clear that the next step for us is to extend the invitation to these intergener- ational, intentional spaces to members of our community beyond the Dance Generators network. Through the funding of the CA$H grant we are beginning to investigate what that expansion looks like. We are in the early stages of a new project that will feature three Black and three white artists. In addition to Liv and myself we are
didn’t have access to creative aging spaces like Dance Generators, and she didn’t have the resources to fully express that part of herself. I imagine that the work, spaces, partnerships— the resources that Liv and I will gen- erate through our collaboration— will give elders like my grandmother opportunities to live out their wildest creative dreams. Even though my grandmother is an ancestor in the spiritual realm, I will continue to give her spirit the space to be as creative as she wishes. This intergenerational collaboration is a practice of multidimensional healing for me. I am excited to continue to brainstorm, improvise, play, experiment with physical mate- rial and share space with Liv. To discover ways to do our bridge work with a sense of reverence, responsibility and respect for our ever-changing communities. With an intention to create art that aims to illuminate the human soul, DAZAUN SOLEYN (he/she/they), has presented work in the Bay Area since 2013. He received a BFA in Modern Dance Performance and Choreography from the University of South Florida and continued his dance education at the Alonzo King LINES Ballet Training Program. Recently, Dazaun graduated from California College of the Arts with a Masters in Architecture (MArch). Dazaun is a professor at the University of San Francisco, a Gyrotonic Instructor, Reiki Master and Apprentice Herbalist. His mediums include dance, architecture, sculpture and interactive installations. dazaunsoleyn.org
working with composers Jor- don Dapney and Max Judel- son, and the remaining two artists will be older adults. This work will experiment with communal processes
and methods that bridge gen- erational, cultural and racial divides while examining and interrupting the whiteness that anchors creative aging opportuni- ties in the Bay Area. When I think of the lack of cre- ative aging opportunities for Black Folks I think of my grandmother/ ancestor Louise Langston. I can close my eyes and be transported back to her apartment in Flat- bush, Brooklyn, NY where I hear her telling me sto- ries of how she dreamed of becoming a fashion designer. She could envision designs and she knew she had a creative gift within her. However, she
EDITOR’S NOTE: Dance Generators is a Spring 2023 CA$H grantee. This article high- lights their funded activities and vision. I n just under a week I will be dancing with the ancestors— four standing, quilted sculp- tures called “Quilted Ances- tors.” I will be joined by dancers Liv Schaffer, Sebas- tian Le and Natalya Shoaf, with understudies Mary Jane Agnew and Zoë Quon. “[We are] sharing physical knowl- edge…human to spirit, us to ances- tors and ancestors to us,” Natalya remarked. Her observation speaks
the four elements—earth, wind, fire and air—and viewers’ ancestors as etheric beings. They are part of Mil- lett’s larger exhibition at the Institute of Contemporary Art San Jose, Wisdom Keepers . For the opening of Wisdom Keep- ers we will engage in a variety of part- nerships: human + human; human + quilted ancestor; human + quilted ancestor + human. Gestures and phrases are built in relation to the sculptures and grounded in the rhyth- mic syncopation and groove of house dance, and in reverence to the four symbolic ancestors.
34
in dance FALL 2023 34
FALL 2023 in dance 35
In Dance | May 2014 | dancersgroup.org
unify strengthen amplify unify strengthen amplify
44 Gough Street, Suite 201 San Francisco, CA 94103 www.dancersgroup.org
Page i Page ii-1 Page 2-3 Page 4-5 Page 6-7 Page 8-9 Page 10-11 Page 12-13 Page 14-15 Page 16-17 Page 18-19 Page 20-21 Page 22-23 Page 24-25 Page 26-27 Page 28-29 Page 30-31 Page 32-33 Page 34-35 Page 36-37 Page 38-39 Page 40-41 Page 42-43 Page 44-45 Page 46-47 Page 48-49 Page 50-51 Page 52-53 Page 54-55 Page 56-57 Page 58-59 Page 60-61 Page 62-63 Page 64Made with FlippingBook - Online Brochure Maker