Published by Dancers' Group, In Dance is discourse and dialogue to unify, strengthen, and amplify.
DEC 2018
Kinetech Arts, Dec 2 photo by Robbie Sweeny
I’m breathing deeper, smiling more and sleeping. This is largely due to the results of the mid-term elections in November, which provided major wins locally and nation- ally—good news that was needed and deserved. And part and parcel to this good news is that in next year’s session of Congress, there will be over 100 women in the House for the first time in history. And: Sharice Davids and Deb Haaland will be the first Native American women to serve in Con- gress; Rashida Tlaib and Ilhan Omar will be the first Muslim women to serve; Ayanna Pressley and Jahana Hayes will be the first black women to represent Massachusetts and Con- necticut in Congress. In San Francisco a significant Proposition that would impact arts funding was decided on. Prop E, with the tag line “arts for everyone,” passed with a whopping 74.28% of the vote. When in place, this new legislation will dedicate 1.5 percent of the base hotel tax — a 14 percent tax levied on hotel stays in San Francisco — to support arts and culture programs. The city estimates this will add more than $15 million in arts funding (through Grants for the Arts and the San Francisco Arts Commission) over the next two years. Even with progess being made—I’ll dub them windfalls of hopefulness—there remains the ongoing important work towards racial equity, inclusivity and my personal objective of identifying and securing more permanent arts space in the SF Bay Area. To accomplish each we will need to remain resilient while continuing to pinpoint opportunities for change. Dynamic resilience is now a daily refrain that keeps me moving forward while breathing deeply. “Within the current dominant U.S. culture, the most com- mon way we understand Power is through oppressive power or, power-over.” Aiano Nakagawa, a new writer for In Dance , draws attention to the fact that as an early childhood Welcome by Wayne Hazzard, Executive Director
educator she provides opportunities for students to explore and understand their power through movement without being dominant over another person. The article goes on to illuminate a variety of topics that mirror larger social con- cerns around touch and choice that Nakagawa sees as vital to dance education. Oakland-based Cunamacué, led by artistic director Car- men Román, will finish out the 2018 Rotunda Dance Series season on Friday, December 7. Local educator and poet Yac- caira Salvatierra brings to life Román’s vision in an article that discusses how Cunamacué reflects Afro-Peruvian culture and contemporary expression. The company’s name fully embraces this blending of past and present—“ Macué is rep- resentative of the ancestors; it is a stream in Mozambique, one of the places from which Africans were uprooted and taken to Perú. Cuna is the Spanish word for crib, represent- ing future generations.” Rounding out the December issue are articles that bring light to ways in which we think about our moving bodies— at all ages. In a SPEAK piece written by Greacian Goeke and Kaethe Weingarten they discuss how their “collabora- tion continues to evolve as we mine the complex intersec- tions of life, death and dance within the vibrant natural life of the cemetery.” Heather Desaulniers is in conversation with Robert Dekkers about his dual roles as the Artistic Direc- tor of Post:Ballet and Berkeley Ballet Theater and how both entities create space for people to come together. Family, food, history and colonized bodies tangle beautifully in Jus- tin Ebrahemi’s questioning of perceptions of body and that of artists asking parallel questions like “how does a Texas- born, Iranian-American Muslim femme deign to decolonize her body?” Practice resilience and nourish yourself so that you can nourish others.
Smuin Ballet, Nov 30-Dec 24 photo by Keith Sutter
Academy of Classical Ballet-CA, Dec 8-9 photo by SOSIKphoto
CARMEN ROMÁN AND SON DE LOS DIABLOS
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by Yaccaira Salvatierra
Cunamacué / photo by Jamie Lyons
invited to dance in a Peruvian dance troupe by a family-friend who was starting their own Afro-Peruvian dance company. Desperately feeling a need to connect with her Peruvian roots, she joined the company and answered that inaudible call. It is here she began partici- pating in Afro-Peruvian dances. Yo no sabía qué decir, mi boca/ no sabía/ nombrar,/ mis ojos eran ciegos,/ y algo gol- peaba en mi alma,/ fiebre o alas perdidas,/ y me fui haciendo solo,/ descifrando/ aquella quemadura,/ y escribí la primera línea vaga,/ vaga, sin cuerpo, pura/ tontería,/ pura sabi- duría/ del que no sabe nada,/ y vi de pronto/ el cielo/ desgranado/ y abierto,/ planetas,/ plantaciones palpitantes,/ la sombra perfo- rada,/ acribillada/ por flechas, fuego y flores,/ la noche arrolladora, el universo.// In the beginning of this stanza, Neruda contrasts not being able to write to having a burst of vision and knowing – he finds the sky, the universe, a change that allows him to see everything with his eyes, inner dis- covery and excitement. Carmen, in many ways embodies this, too: after having been introduced to Afro-Peruvian dance as a teen, she continued through high school and col- lege, first for a sense of belonging, but then more intentionally for the dancing itself. While in college, Carmen studied Account- ing and, after graduating, she worked as an accountant for a few years, but began to feel her inner giant asking more of her, which is when a shift in her life occurred. In 2008, she quit her job as an accountant and applied for another degree in Dance at San Francisco State University. Soon after, she went onto graduate school at Mill’s College studying Dance with an emphasis in Cho- reography. She says, however, that the con- temporary language of her choreography began from when she taught children in the Village Dancers Program at San Francisco State University. She wanted to know how she could help young students understand and feel part of Afro-Peruvian dance, so she integrated contemporary movements mak- ing it easier for young students to connect. In 2010, she applied for a Fulbright scholar- ship and, even though that year she did not become a recipient (she would apply again in 2014 and become a recipient of a scholarship
of her face. In her arms, like a warm loaf of bread, is a newborn baby quietly nursing. I sit next to her, and I am in awe of her not only because of her newborn daughter but because ever since I have known Carmen, her focus, work ethic and love emanates in almost every- thing she does, and here she is focused and in love. I have known Carmen for over 13 years, and this is the first time we talk specifically about her work and dancing: interviewer and interviewee. I have come into this interview with questions I thought I already knew the answers to, but am surprised to have learned so much. She tells me that when she was 11 years old, she emigrated from Perú to the United States to join her father in Santa Clara, California leaving her siblings and mother behind. Years later, her younger sister and brother would join them. Those first few years in the United States she felt an extreme sense of displacement which to this day comes and goes. All that was familiar to her – the lan- guage, the food, the culture (even though she was living with her Peruvian father) – abruptly changed like being thrown into an abyss of the unfamiliar and unwanted. Consequently, like in Pablo Neruda’s poem, dancing came to her unexpectantly, knocking at her door, asking of her that which she yet did not know existed: a sleeping giant housed in her body wanting to breath in this world. And, when she was 14 years old, she was
Y FUE a esa edad... Llegó la poesía/ a bus- carme. No sé, no sé de dónde/ salió, de invierno o río./ No sé cómo ni cuándo,/ no, no eran voces, no eran/ palabras, ni silen- cio,/ pero desde una calle me llamaba,/ desde las ramas de la noche,/ de pronto entre los otros,/ entre fuegos violentosos/ regresando solo,/ allí estaba sin rostro/ y me tocaba.// When I think of Carmen Román as a dancer and choreographer, I am reminded of the poem by Pablo Neruda “La poesía” where Neruda personifies poetry in search for the speaker pushing him to write verses. The speaker isn’t sure from where their inspiration comes from, if from solitude or nature, but it is clear that this inaudible calling is pres- ent and urgent. More so, it is a calling that can come at any time for those who create whether it comes at birth or one that devel- ops over time. For as long as I have known Carmen, her calling to create has been strong, steadfast, inspiring. Not too long ago, I had the honor to sit down with her and talk about being a choreographer: how she came to danc- ing, the work she is dedicated to, and working with the community and her future plans. Carmen is propped up at the head of the bed, sitting with her legs stretched out in front of her like two sturdy logs, her hair is dishev- eled into long dark waves, which most likely was brushed by her hand to the right side
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CONTENTS
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On this Page / Carmen Román and Son del los diablos by Yaccaira Salvatierra 3 / Exploring Power and
Agency in Early Childhood Dance by Aiano Nakagawa
4 / Speak: Movement Practices with Elders by Greacian Goeke and Kaethe Weingarten 6 / December Performance Calendar 9 / New View: Carma Zisman 10 / The Nawkhatt in My Mother's Living Room by Justin Ebrahemi 12 / In Conversation with Robert Dekkers by Heather Desaulniers
Cunamacué / photo by Jamie Lyons
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Exploring Power and Agency in Early Childhood Dance
by Aiano Nakagawa
» Continued from pg 2
Within the current dominant U.S. cul- ture, the most common way we understand Power is through oppressive power or, power-over. In turn, we internalize Power as something we attain when we have power over other people. The power-over structure is the root of all patriarchal (hierarchical) structures, including white-supremacy, able- ism, adultism, ageism, classism, cisnormativ- ity, heterosexism, sexism, etc. A step towards dismantling these power-over systems is to cultivate Power-with, also known as inner Power, Power-to, and Empowerment. 3 Developmentally, four-year-olds are all about exploring power 4 - I see them punch- ing, kicking, slashing, and running as fast as they can through space. Instead of prohib- iting dancers from using these movements - which are actions that can be used in vio- lent and oppressive ways - I encourage them to use their full Power, but never towards another body. This allows the dancers to still explore Power, but not at the expense of another person’s autonomy, safety, or well- being. Encouraging children to explore their powerful movements also allows them to realize that they don’t need to exercise domi- nant power-over another person to be Pow- erful, but rather that they are already Power- ful on their own. There is also immense Power in knowing one’s boundaries and having the agency to make one’s own decisions. As dance educa- tors, we can support children in claiming their agency through activities like freeze dance. Three-year-olds, in particular, are just coming into their individual bodies, expe- riencing it as separate from their primary caregivers. Freeze dance with body part articulation can aid children in being able to identify their body parts as they build confi- dence through knowing they have the power to control their body. 5 In every class, I practice a tactile activity, not only to support learning where our bod- ies start and end in space but to give every- one a chance to learn about our body’s pref- erences. Without fail, in every class, there is one child who jokingly yelps “Ow! Ow! Ow!” as they pat up and down their body. I use these moments to remind the whole group that we are the ones in charge of our bodies, and if we are doing something that hurts our bodies, we have the power to stop and/or shift our actions. I end this activity by opening the space for children to share what kind of tactile touch they enjoyed most. By doing this, I hope to encourage children’s ability to be aware of and name their body’s preferences. I also hope to hold space for the spectrum that exists between the child who needs a harder, heavier tactile experience to feel grounded and the child who needs lighter, gentler touch because they are extremely sensitive. In this process, young dancers become attuned to their own needs/preferences and to the varying needs/preferences that exist amongst their peers - needs/preferences that are all valid and worthy of being honored. When children are aware of their bound- aries, they are more able to speak up when they have been crossed. However, even if we recognize our boundaries being crossed and we speak up, we have seen time and time again that the dominant culture does not teach us to understand that no means no.
In the current political backdrop of the United States and the slew of problems we’re facing, the role of the early dance educa- tor has never been more vital to ensuring a just, equitable, and sustainable future. In our efforts to confront issues such as rapid cli- mate change, mass incarceration, the school to prison pipeline, the rise of Neo-Fascism, racism, xenophobia, gentrification, the houseless crisis, capitalism, etc., we need as many creative problem solvers as we can get. As an early childhood dance educator, I understand my work as a direct action towards building a world in which all peo- ple can be seen, honored, and live freely. As children already see the world in their own unique way, I believe creative dance in ECE can support children in sustaining and deepening their creative and critical think- ing skills. For example, when I ask young dancers to make a sharp shape, I want to see as many varying sharp shapes as there are dancers in the room and then I encourage them to find another way, and another way, and another way... so they’re able to explore all of the possibilities. Dance, like many things, can be used either as a tool of oppression or liberation. Growing up, most of my dance experiences consisted of me trying to fit my big, Brown body into a mold constructed by Eurocentric and white-supremacist aesthetics of beauty. Although I had been dancing my whole life, it wasn’t until college, in my first improvisa- tion class, that I began to feel and connect with my body. Through this experience of feeling and connecting, I began to heal from a long-term eating disorder and to access my Power from within. I began to shift from using dance as a tool of self-oppression to one of self-liberation. And along this jour- ney, I continued to imagine what life might be like if we didn’t have to unlearn oppres- sive cultural norms and could instead live in our Power throughout childhood and ado- lescence. As 80% of the brain is formed by the age of three 1 , the messages we receive in those first three years literally shape how our brains understand the world for the rest of our lives. This is why so much of anti-oppression work with adults consists of unlearning toxic cultural norms deeply ingrained in our brains. Now, I invite you to imagine what the world could look like if we did address ideas of power and social equity in early child- hood, when children’s brains are learning at such a rapid rate. I think that as a society, we underestimate the innate intelligence and capacity children have to learn about social justice issues. They have a natural sense of justice and want things to be “fair.” 2 I don’t think it’s appropriate to bog them down with every terrible thing happening in the world, but I believe it is possible to culti- vate developmentally appropriate ways for children to explore these topics and to me, dance is one of those ways. Dance, like many things, can be used either as a tool of oppression or liberation.
Encouraging children to explore their powerful movements also allows them to realize that they don’t need to exercise dominant power-over another person to be Powerful, but rather
to Perú), the experience was pivotal in help- ing her decide to create her own dance com- pany called Cunamacué, an Afro-Peruvian dance company fusing historical Afro-Peru- vian dances with contemporary themes and dance languages. This December, Carmen and her dance company will be performing Son de los diablos in three pieces: Ofrenda , a duet; a suite called La ruta de Cachafaz by Pierr Padilla Vásquez, an Afro-Peruvian artist; and Símbolos . Ofrenda will be the open- ing piece for Son de los diablos . Ofrenda means “offering” in Spanish and this piece is an offering to the ancestors, a personal offering of gratitude. The suite is based on the historical events in which the dance was created. Essentially, it shows the process of religious syncretism towards the enslaved Afro-descendants and how they resisted to express their ancestral memory through their dance and music. Overall, Carmen says she wanted to explore Son de los dia- blos because of its origins and history for Afro-Peruvians in the face of Catholicism. She explains that the use of masks, with accentuated African features, were used in Catholic processions demonizing Afro- descendants; however, in Perú, as well as for Carmen and Cunamacué, the masks reclaim African heritage and pride breaking free from Catholic hegemony. In addition, when she began to perform Son de los diablos , it was a deliberate offer- ing to the ancestors, but as the dance proj- ects progressed, others blossomed: dance workshops in Oakland; a symposium about Afro-Peruvian dance emphasizing Son de los diablos ; a documentary, which was played in the Fruitvale district; and an outdoor per- formance of Son de los diablos held in the Fruitvale, as well. Currently, Carmen’s dance company – Cunamacué, has partnered with Pierr Padilla Vásquez and percussionist Pedro Rosales to bring Afro-Peruvian dance and culture to children in schools. She says she looks forward to sharing this dance with others. She wants to continue using outdoor spaces for free performances and for acces- sibility to communities. Of the upcoming performance at San Francisco City Hall’s Rotunda, she is grateful for the opportunity to have Cunamacué perform and share Son de los diablos once more. Y yo, mínimo ser,/ ebrio del gran vacío/ constelado, /a semejanza, a imagen /del mis- terio, /me sentí parte pura /del abismo, /rodé con las estrellas, /mi corazón se desató en el viento. Lastly, I ask her about other projects she is working on. She mentions a few that will take place in the middle of 2019, but then she pauses, looks at her daughter, and as if blow- ing her heart into the wind, she says, “Aitana.” Yaccaira Salvatierra is a poet, translator, educator and youths’ art instructor. Her poems have appeared in Huizache , Kweli , Puerto del Sol , and Rattle among others. Her honors include the Dorrit Sibley Award for achievement in Poetry, the 2015 recipient of the Puerto del Sol Poetry Prize, the Lucille Clifton Memorial Scholarship as a fellow at the Community of Writers Workshop at Squaw Valley, a scholarship recipient for the Napa Valley Writers’ Conference, and a fellow at VONA. She has been nominated a Pushcart Prize and a Best of the Net. She lives in San José, California.
that they are already Powerful on their own.
As a society, we are at the beginning of our journey in practicing consent and addressing harmful power dynamics. Build- ing kinesthetic empathy through dance can help move the dominant culture towards one where when a boundary is crossed, the person crossing the boundary can intuitively sense they’ve crossed a line, step back, and address it. As dancers, we know the deep connection that is built with the people we sweat, move, and create with. I believe that through creative dance in ECE we can cul- tivate experiences of kinesthetic empathy, encourage creative problem-solving, exercise critical thinking, and explore Power - all of which are all critical components to actualiz- ing this future world. 1. The Urban Child Institute, “Baby’s Brain Begins Now: Conception to Age 3,” http://www.urban- childinstitute.org/why-0-3/baby-and-brain 2. Alison Gopnik, “Four Year Olds Don’t Act Like Trump,” New York Times (May 2017), https://www. nytimes.com/2017/05/20/opinion/sunday/4-year- olds-children-trump-gopnik.html?mcubz=0 3. Nieto, Leticia. "Part One: Reading Social Interac- tions." Beyond Inclusion, Beyond Empowerment: A Developmental Strategy to Liberate Everyon e, 13. Cuetzpalin Publishing, 2010. 4. Reedy, Patricia. Body, Mind & Spirit in Action: A Teachers Gude to Creative Dance , 72. Berkeley, CA: Luna Dance Institute, 2015. 5. Reedy, Patricia. Body, Mind & Spirit in Action: A Teachers Gude to Creative Dance , 71. Berkeley, CA: Luna Dance Institute, 2015. Aiano Nakagawa is an Oakland based queer, mixed, big bodied dance artist of color working towards liberation through education, healing, and community-based creative practices. As an M.A. candidate in the Women, Gender, Spirituality, and Social Justice department at CIIS, Aiano works to develop a deep and practical understanding of inter- sectional and decolonial justice to inform her work/ practice in all areas of life. As a full-time faculty member at Luna Dance Institute, Aiano works with dancers from infancy to adulthood, with a specialty in family dance and ECE. In addition to her work as a dance educator, Aiano is the founder and creative director of Art for Ourselves (artforourselves.org), a community-based online publication dedicated to centering the stories and voices of the QTBIPOC creative communities.
Rotunda Dance Series presents Cunamacué: Dec 7, City Hall Rotunda, SF. dancersgroup.org/rotunda
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To Witness and Re-member: Movement Practices with Elders by Greacian Goeke and Kaethe Weingarten
speak
As dancers over 65 , we have been leading free movement and dance explorations in Oakland’s Mountain View Cemetery for the past four years as part of our project Walk- ing in Witness to Life and Loss . Our col- laboration continues to evolve as we mine the complex intersections of life, death and dance within the vibrant natural life of the cemetery. Here we reflect on how we first came to work together and the surprising places it has taken us. Kaethe: When I moved to Berkeley in 2013 from Boston, where I had lived since gradu- ating college in 1969, I knew I wanted to dance again. I had last danced in college in a Graham-inspired program, and then pur- sued a career as a psychologist and academic at Harvard Medical School. I hadn’t danced in over forty-five years! Where in this new home could I find meaningful dance oppor- tunities for women over sixty? After many disappointing leads, a phone call to Luna Dance in Berkeley led me to Greacian and her IMPROMPTU NO TUTU elder dance ensemble in the East Bay. Greacian: I also danced in college but focused primarily on literature and writ- ing and then visual art in graduate school. I returned to dance with new purpose in 1986 when my father died by suicide. This gut-level shock abruptly shifted my primary expression from photography to perfor- mance art. Moving as a performer, rather than observing passively, was essential for me to make sense of this loss. I completed an MFA at California College of Arts and Crafts (now CCA) in 1990 as the first gradu- ate in Interdisciplinary Performance Art. Since there was no dance offered at CCA I took classes in the community, most memo- rably on trapeze with Terry Sendgraff. I also studied theater and dance improvisation inspired by the participatory work of Anna Halprin and Liz Lerman. Later I received an Orff Schulwerk certification in movement and music for all ages. I became a teaching artist and have worked throughout the Bay Area in venues ranging from the San Francisco Conser- vatory of Music to the city dump (Recol- ogy’s artist residency). I am committed to strengthening community and build- ing hope through art. In 2008, I founded IMPROMPTU NO TUTU, the elder ensem- ble that Kaethe joined, to show the world what movement from the experience of a long life can be. Kaethe: I took classes with Greacian and participated in IMPROMPTU NO TUTU events for a year. She then invited me to cre- ate a duet with her for a performance with Dance Generators, the intergenerational company based at University of San Fran- cisco. We met regularly to rehearse at Moun- tain View Cemetery in Oakland, conve- niently located for both of us. Greacian: I have been practicing T’ai Chi in and around the cemetery for years. It’s quiet, obviously, but not as much as you might think. I’m at home in unusual sites and Kaethe shared my fascination with the physical and social space of this large urban oasis. Kaethe: While developing the duet we both realized that our previous work—for me, in communities in the aftermath of violence, and for Greacian, offering artistic means for elders to stay connected to life through imagination and community—had led us to
photo by Greacian Goeke
witnessing. This was a term I often use in a poetic sense and had experienced via Authentic Movement, but she meant it in a very specific way from her clinical and com- munity work. Kaethe: As a trauma specialist I have spent most of my professional life working with witnessing. I have published many articles and a book, Common Shock, Witnessing Violence Every Day: How We Are Harmed, How We Can Heal (Dutton, 2003). While most people are familiar with the terms “vic- tim” and “perpetrator,” few are aware that by far the majority of violence and violation we experience comes through the witness position. This is not the same as “bystander,” which implies that the person standing by is unaffected. Witnessing is a two-sided coin: one side is harmful to the witness, but the other side can be healing. As a clinician I had worked with a form of witnessing practice originated by the anthropologist Barbara Myerhoff with a Jewish community in Venice, Cali- fornia (documented on film and in the book Number Our Days ). She developed a story- telling technique that allowed these elderly displaced persons to “re-member” their lives. “Re-membering,” more than simple recollec- tion, is a communal engagement in witness- ing and reflection that offers opportunities for reviving and re-embodying what has been lost or diminished. Greacian: We transformed Myerhoff’s spo- ken language process into a nonverbal move- ment and dance score in which each dancer moves to commemorate a person or idea she wishes to “re-member,” with the group silently witnessing. Then the group reflects the movements they saw, with the dancer observing. Next, the original mover can incorporate new insights into her movement remembrance while the group joins in.
Kaethe Weingarten (left) and Greacian Goeke (right) / photo by Liz Wiener
Kaethe: The cemetery is essentially our silent third collaborator. While dancing there we have a visceral experience of being alive, in motion, and looking at our ultimate, inevi- table end. We are moving in this beautiful container of death. Greacian: In early 2016 we began designing monthly movement labs for dancers from IMPROMPTU NO TUTU and others from the community. They continue at no charge in the present. Each month a different group gathers to impro- vise in the cemetery using concepts and scores we have evolved from our own move- ment research on site. We call our project Walking in Witness to ground us in a basic movement form that unites many visitors to the cemetery. For our first Memorial Day lab, Kaethe had suggested we work with the theme of witnessing, since she realized that each previous lab had been an experience of
develop many shared values and practices. I first saw how similar Greacian’s pedagogy was to mine by taking her dance classes. Her way of both structuring and participating in the classes was the movement equivalent of how I teach psychology. We both have enor- mous respect for people’s creative poten- tial and relish the process of creating open- ended opportunities for exploration. Greacian: After our duet performance in 2015, which memorialized what would have been our parents’ 100th birthdays, we felt we had just touched the first layer of creative exploration together. The cemetery had deep- ened the themes in our duet and we commit- ted to meeting there weekly to improvise and see what else would emerge.
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Working with Myerhoff’s ideas in this form deepened my belief in the necessity of moving together in community. The body’s natural language is such an overlooked resource for reflecting on experiences, espe- cially when words are at a loss. We will con- tinue to bring this important process to older adult groups coping with transition and loss, which are so prevalent in later life. Kaethe: This past September we worked with an intergenerational audience when we participated as one of five artist projects chosen for the Oakland Museum’s Around the Block: A Day of Neighborhood Stories . We created an interactive performance and installation for a plaza at Laney College titled HOME IS WHERE . Greacian: We wanted to highlight the vital issue of housing in Oakland – to acknowl- edge the stress of living under the threat of displacement and loss of a safe home, par- ticularly for elders. And to provide a creative way to reflect on it. Kaethe: We also wanted to seed the idea that experiences of home are rooted in more than the physical space – they are built from relationships, shared time, and memories of feeling at home.
we would choose to dance in a cemetery. But it is precisely here, in this beautiful place, looking directly at mortality, where we feel most alive. We hope those who see us mov- ing feel something similar.
at the downtown Center for Elders Independence, where I have taught a movement and music class for many years, to ask the question: “ home is where…? ” Kaethe: We transformed the responses into haiku- like gestures as the basis for an easily learned move- ment chorus. On the day of the event we worked with our visitors’ thoughts about home in the same way, cre-
Special thanks to Ingeborg Weinmann for work on an early draft.
Upcoming Witnessing Movement Labs : Dec 9 & Jan 27, 2-4pm, Mountain View Cemetery, Oakland. For details: ggoeke@mac.com or kaethew@gmail. com. facebook.com/Walking-in-Wit- ness-204557733231890 Kaethe Weingarten, Ph.D , is a clinical, peace and community psychologist. She was on the faculty of Harvard Medical School for thirty-six years. She has written or edited seven books and published over 100 articles and essays. Learn more about The Witnessing Project at witnessingproject.org Greacian Goeke is the Orff Schulwerk Move- ment and Music Specialist at Mills College Children’s Preschool. She is among the early adapters of the Orff approach for the creative well-being of older adults, as embodied in her ensemble, Impromptu No Tutu. She received the Community-Engaged Practice Award from California College of the Arts for this work. Learn more about Impromptu No Tutu at facebook.com/GreacianGoekeImpromptuNoTutu
photo by Liz Wiener
ating “instant dances” knitted together with the movement chorus. Later visitors could leave additional thoughts on postcards that decorated the trees in the plaza. Greacian: We definitely sparked a deep con- versation that allowed diverse people and age groups to interact. I think this project is the start of something that will thread through our work in other forms and venues. We’ll bring this theme into future movement labs in the cemetery as well. We recognize we are working in a time of great national upheaval affecting everyone. People need a place for safe freedom of expression and we offer that. Kaethe: Besides our annual Memorial Day “re-membering,” we observe occasions such as the solstice, new year, and significant local
and cultural events. Our weekly explorations and now this recent project have given rise to many percolating ideas about what we will do next. Greacian: We’ve been so busy talking about our work, I want to make sure to say how grateful I am for our collaboration—twin rivers of rigorous creative inquiry and exhil- arating freedom of movement! This is one of the main things keeping me hopeful in this political moment. Kaethe: Yes, our creative dialogue keeps us focused on what matters most. And I think there are more visitors to the cemetery these days. It seems that others also find it a place to ground in what matters most. Of course, there are probably some who wonder why
Greacian: To incorporate voices of long-time Oakland residents, I met with participants
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
S E A S O N
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
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.
GERALD CASEL DANCE / photos by Robbie Sweeny
Feb 22–24 ZELLERBACH HALL
Akram Khan XENOS A Cal Performances Co-commission Meaning “stranger” or “foreigner,” XENOS explores the shell-shocked dreams of an Indian colonial soldier during the First World War. Combining classical Indian kathak and contemporary dance, Khan grapples with personal mythology, otherness, and the lucid reality of a world set aflame. “This is a work of defining greatness.” — The Guardian , London
“This is the kind of dancing one always hopes to see.” — Los Angeles Times
Jan 18–20 ZELLERBACH HALL
Mar 2 & 3 ZELLERBACH HALL
calperformances.org/tickets
Season Sponsor:
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calendar DEC 2018 visit the online community calendar, to find additional events and to submit a performance. dancersgroup.org
Catherine Galasso and Dave Cerf ODC Theater, SF
Of Iron and Diamonds V3: Alone Together flips the orientation of the proscenium, plac- ing the audience on the stage and the per- formers in the seats. Other-worldly dreams- capes give way to volcanic dance numbers, ranging from the audacious to the familiar, combining Galasso’s signature cinematic ap- proach with a score by composer Dave Cerf. Thu-Sat, Dec 6-8, 8pm, $30. odc.dance SFSU School of Theatre and Dance McKenna Theater, San Francisco State University Pulse brings into focus such concepts as women’s struggles, human nature, cultural pride, and transformation, and explores how any of them can bring both strife and celebra- tion. Thu-Sat, Dec 6-8, 7:30pm; Sun, Dec 9, 2pm, $20. theatredance.sfsu.edu
Performing Diaspora CounterPulse, SF
Scott Wells and Dancers, Dec 7-9 / Photo by David Papas
Presenting works that connect the historical othering of Asian bodies and current xeno- phobic regimes while honoring the legacy of local master, film icon, and hero, Bruce Lee. Thu-Fri, Dec 6-7 & 13-14, 8pm; Sat, Dec 8 & 15, 2pm, $25-30. counterpulse.org
ODC/Dance YBCA Theater, SF
Peninsula Ballet Theatre Peninsula Ballet Theatre, San Mateo Nutcracker Sweet is a shortened version of the classic holiday ballet, for families with tod- dlers, preschoolers, and anyone who is excited to see the “greatest hits!” of Nutcracker . Sat- Sun, Dec 1-2, 8-9, 15-16, 11:30am & 4:30pm; Sun & Sat, Dec 9 & 15, 2:30pm, $25-30. peninsulaballet.org
ODC’s Pilot Program ODC Dance Commons Studio B, SF Merging , world premieres by six Bay Area fe- male choreographers. From definitive concepts such as the meaning of intelligence and the British India Partition, to abstract works inves- tigating dreams, strength, and nature. Sat, Dec 1, 8pm; Sun, Dec 2, 4 & 7pm, $15. odc.dance
Told through music, dance, and a power- ful narrative, The Velveteen Rabbit is ODC’s annual holiday show celebrating the unique relationship between a little boy and his stuffed rabbit, and the enduring power of love. Sat, Nov 24-Sun, Dec 9, see website for details. odc.dance
Cuba in the Mix MACLA, San Jose
We Have Iré , a new multidisciplinary theater work-in-progress by award-winning poet, performance artist, and playwright Paul S. Flores. An evening jam session of Afro-Latino Music, Dance and Poetry. Featuring Ramón Ramos Alayo, DJ Leydis, and Yosvany Terry. Fri, Dec 7, 8pm, FREE. maclaarte.org
SMUIN Ballet Sunset Center, Carmel
San Francisco Youth Ballet Academy Mercy High School, SF
Dance Hack 2018 CounterPulse, SF
Mountain View Center for the Performing Arts, Mountain View Yerba Buena Center for the Arts, SF Smuin kicks off the holidays with The Christ- mas Ballet , the Bay Area tradition featuring two acts with classical ballet and contemporary numbers. This medley incorporates a variety of popular dance styles including ballet, tap, jazz, and swing. Fri, Nov 30-Mon, Dec 24, see website for details. smuinballet.org RAW presents Europa Baker-Brathwaite and Eme- lia Martinez Brumbaugh SAFEhouse Arts, SF Europa Baker-Brathwaite's tick is a multidis- ciplinary performance piece exploring time, chronic illness and mental health as it pertains to the black queer body. Also presenting new work by Emelia Martinez Brumbaugh. Sponsored by RAW (resident artist workshop), a residency program of SAFEhouse for the Performing Arts. Fri-Sat, Nov 30-Dec 1, 8pm, $15-20. safehousearts.org
An annual San Francisco-based event that brings together performers and developers to inspire one another and experiment with emerging technologies. The event culminates with a performance at CounterPulse. Sun, Dec 2, 7pm, $20. dancehack.org
SFYBT celebrates its 18th annual performance of The Nutcracker . This full length, family- friendly version features Bay Area guest artists and the talents from the San Francisco Youth Ballet Academy. Sat-Sun, Dec 1-2, 1pm & 5pm, $24-26. sanfranciscoyouthballet.org
Rotunda Dance Series: Cunamacué City Hall Rotunda, SF
Cunamacué in collaboration with Pierr Padilla, presents work inspired by Son de los Diablos , an Afro Peruvian street masquerade dance that dates back to times of colonization as part of the Spanish attempt to Christianize Africans. This dance is one of the first mani- festations of cultural resistance of African descendants in Peru. Fri, Dec 7, 12pm, FREE. dancersgroup.org/rotunda Scott Wells and Dancers Dance Mission Theater, SF After decades of men’s dances ("Wells is determined to examine the male psyche. His electrifying, athletic choreography…helps shatter stereotypes" SF Weekly ), SW&D is commissioning three women choreographers to make work about consent in Consent Forms . Fri-Sat, Dec 7-8, 8pm; Sun, Dec 9, 7pm, $20-28. dancemission.com
Performing DIaspora, Dec 6-15 / Photo by Matthew Bodaly
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Pavel Zuštiak and Palissimo Company Zellerbach Playhouse, Berkeley Custodians of Beauty uses abstraction and gesture to explore the human body as sculp- ture, emotional trigger, and political symbol. Fri-Sat, Dec 7-8, 8pm; Sun, Dec 9, 3pm, $42, prices subject to change. calperformances.org
RAW Presents petaldanceworks and OOMPH Dance Theater SAFEhouse Arts, SF
all the things we'll never be , created by patel- danceworks’ Bhumi B. Patel. femmes refusal , a reimagining of the Rite of Spring by OOMPH's Artistic Director, Zackary Forcum. Fri-Sun, Dec
7-9, 8pm, $10-20. safehousearts.org
Academy of Classical Ballet-CA
Campbell Heritage Plaza, Campbell A Winter Wonderland brings something new to the theater that celebrates the season of winter, as well as the holiday spirit. Sat, Dec 8, 7pm-9; Sun, Dec 9, 2pm-4, $20-25. aocballet.com
SFSU School of Theatre and Dance, Dec 6-9 / Photo by Sreang Hok
directed by Dawn Frank Holtan. Also present- ing new work by eMotion Arts. Fri-Sat, Dec
Mark Foehringer Dance Project|SF
14-15, 8pm, $15-20. safehousearts.org
Cowell Theater, Fort Mason Center, SF Nutcracker Sweets is a 50-minute version of the classic, designed for families with young children. Sat-Sun, Dec 8-9, 11am & 1pm; Sat- Sun, Dec 15-16 & 22-23, 11am, 1pm & 4pm, $20.50-$42.50. nutcrackersweets.org
SADC December Salon Shawl-Anderson Dance Center, Berkeley An evening of new and excerpted work by Jessi Barber, Bellwether Dance, KJ Dahlaw, Roxanne Gray, Kristin Damrow & Company, Michael D. Lee, and Chingchi Yu. Sat, Dec 15, 6 & 8pm, $15. shawl-anderson.org Beyond Isadora Shawl-Anderson Dance Center, Berkeley Beyond Isadora , the 47 minute documentary film records dance groups in the early years of the Bay Area. Sun, Dec 16, 3pm, $10-$50 PROPs and scores Temescal Art Center, Oakland Together and separately, Post company, Peter Redgrave, and Jane Selna will present an evening of dances. Peter Redgrave, on tour from Baltimore, MD, will be premiering his PROP series. Thu, Dec 20, 8pm, $10-15. peterredgraveperforms.com suggested donation. shawl-anderson.org
Open City Dance Oakland City Church, Destined 2 Dance Studios, San Leandro, & San Ramon Presbyterian Church
Through dance, music, and poetry Emmanuel: The King is Here presents the Christmas story with creativity and reverence. Dec 9-16, see website for details, FREE. opencitydance.com SF Ballet War Memorial Opera House, SF On Christmas Eve 1944, an audience experi- enced the American premiere of Nutcracker . An instant hit, the ballet launched a national holiday tradition. Wed-Sat, Dec 12- 29, see website for details. sfballet.org
Jessi Barber, part of SADC December Salon, Dec 15 / Photo by Mia Cioffi Henry
Salon Performance The Finnish Hall, Berkeley
Big Dance Theater Zellerbach Playhouse, Berkeley
Debbie Taylor, Randy Reyes, Meg Anderson, and Cathie Caraker will present fragments of works in progress to get your feedback. Performances are followed by discussions in small groups with the artists. Fri, Dec 14, 8pm, FREE , donations welcomed. facebook.com Ultimate Alliance Dance Company City College of San Francisco Wellness Center Performance Theater, SF A night of inspirational dance collaborations. Fri-Sat, Dec 14-15, 7pm, $10-$25. facebook.com A night of vision through the aerial arts and dance. Cast includes Angela Chu, Anna Tong, David Nguyen, Janet Cee, Jen Crane, Joey Tigrone, Kirstin Brown, Madamn Burnz / La Dragonesa, Sammy Wong, Stephanie Chen, Vix Nolan. Fri-Sat, Dec 14-15, 8pm, $30-300. hazetheater.com RAW presents STEAMROLLER Dance Company/Dawn Holtan/ eMotion Arts SAFEhouse Arts, SF STEAMROLLER Dance Company will present Apocalypse Now? (working title), which exam- ines the intersection of millennial anxiety around climate change and spirituality. After the Lullabies will be an interdisciplinary piece Haze Theater SOMArts, SF
17c weaves music, dance, video, and text in an exploration of the moral murkiness of Samuel Pepys, juxtaposing his own writings with the radical feminism of his contemporary, Margaret Cavendish. Thu-Fri, Dec 13-14, 8pm; Sat, Dec 15, 2 & 8pm; Sun, Dec 16, 3pm, $54, prices subject to change. calperformances.org
Big Dance Theater, Dec 13-16 / Photo by Johanna Austin
Haze Theater, Dec 14-15 / Photo by Marco Mendez
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community news
California Arts Council Grant Programs Applications are open for 15 of the agency’s grant programs, with funding available for youth programs, creative projects, and operating support. Grants are intended to strengthen the capacity of organizations providing arts engagement to all of California’s residents, including students, veterans, communities of color, low-income and rural communities, system-engaged youth, individuals with disabilities, formerly incarcerated individuals, and more. Support from state government for the arts in California has grown steadily since 2013. Additional state funds allow the agency to better address the cultural and creative needs of California’s large and diverse population. An estimated $21.3 million is slated to be awarded to this year’s grant recipients—$5 million more than in the prior fiscal year. Project Support Artists in Communities: Up to $18,000 in support for artistic residencies in community settings. Arts and Public Media: Up to $18,000 in support for nonprofit media projects building public awareness for the arts. Creative California Communities : Up to $150,000 for two years of support for creative placemaking projects.
Local Impact: Up to $18,000 in sup- port for arts projects in California’s historically marginalized communities. Reentry Through the Arts : Up to $50,000 in support for arts projects for formerly incarcerated individuals. Research in the Arts: Up to $50,000 for two years of support for original research on the value and impact of the arts. Veterans in the Arts: Up to $18,000 in support for art projects to enrich the lives of our veterans and their families. Arts and Accessibility: Up to $2,000 in support for enhanced opportunities for arts participation by people with disabilities. Youth Support Artists in Schools: Up to $18,000 in support for teaching artist residencies during the school day. Arts Education Exposure: Up to $18,000 in support for student field trips and assemblies. Arts Integration Training: $2,500 for arts integration training for educators facilitated by teaching artists JUMP StArts: Up to $50,000 in sup- port for arts education projects for youth involved in the juvenile justice system.
Youth Arts Action: Up to $18,000 in support for arts projects for youth outside of school time. Operational Support Organizational Development: Up to $5,000 in support for consulting projects for arts organizations. Professional Development: Up to $1,000 in support for professional development and training for arts organization staff. arts.ca.gov Upcoming In Dance Deadlines: Winter/Spring 2019 Promote Bay Area dance per- formances in In Dance to reach a targeted audience of dancers, choreographers, arts educators, arts administrators and general dance enthusiasts. Through monthly distribution in San Francisco and East Bay, In Dance reaches over 4,000 readers a month. Deadline to submit events for the print calendar and/or ad artwork: For January/February 2019 issue: Mon, Dec 3 For March 2019 issue: Fri, Feb 1 For April 2019 issue: Fri, Mar 1 For May 2019 issue (early deadline): Mon, Mar 18
To reserve an ad, email dg@dancersgroup.org or 415-920-9181.
Now in its 12th year, this program engages and supports the develop- ment of emerging, mid-career and established Bay Area lighting design- ers working in partnership with a local choreographer or dance company towards the presentation of a public performance. A total of $12,000 in grants will be distributed through an open call for proposals. The awarded projects and amount of funding for each project will be determined from all eligible proposals by a panel comprised of Bay Area designers, choreographers and administrators. dancersgroup.org/lad Bay Area Dance Week 2019 Friday, April 26-Sunday, May 5 Every year, hundreds of artists, teachers, schools and organizations host free events during Bay Area Dance Week! Find new students and new audiences – last year, 21,000+ people partici- pated in the 400+ free events Event registration opens in January. bayareadance.org
Pricing details at dancersgroup.org/advertising
San Francisco Grants for the Arts’ General Operating Support Deadline to Apply: Fri, Feb 8, 2019 Grants for the Arts is launching a new online platform applications and grant management. Starting this year, the Cultural Data Funder Report will no longer be required. If you have any questions or concerns about these changes, please feel free to contact GFTA staff at 415.554.6710 or gfta@sfgov.org. sfgfta.org
Lighting Artists in Dance Deadline Wed, Feb 27, 2019
Through the Lighting Artists in Dance [LAD] grant program, Dancers’ Group is pleased to support lighting design- ers working in the field of dance.
Submit performance details at dancersgroup.org/submitanevent
ODC Theater Presents Catherine Galasso in
collaboration with Dave Cerf OF IRON & DIAMONDS V3: ALONE TOGETHER December 6 - 8, 8PM ODC Theater, 3153 17th St. odc.dance/V3
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