Published by Dancers' Group, In Dance is discourse and dialogue to unify, strengthen, and amplify.
APR 2019
Rasika Kumar, part of When Eyes Speak: Indian Choreography Festival, Mar 21-24 photo by Studio Sree
Bay Area Dance Week photos: (top) Duniya Dance & Drum Co, part of Brava! for Women in the Arts' Baile en la Caile / photo by Rio Yanez; (bottom L-R) Smuin Ballet / photo by Chris Hardy; Showgirl Awakening / photo by Jeff Spirer; Alonzo King LINES Dance Center / photo courtesy of artist
I am writing from a cozy living room in Los Altos, Cali- fornia, visiting with my husband’s family. A fire is burning in the fireplace, the sky is dark with storm clouds, and it is raining again. It feels very-much like a winter day even though the days are slowly get longer and the trees are blossoming. They are welcome reminders: spring is coming! Spring is a time for lightness and life, a chance to be reminded of the resilience of nature. To breathe fresh air, literally and figuratively. For me, as a dance-goer, this means one thing: seeing dance outdoors! Getting outside of a theater loosens the expectations that have been formed over the centuries of concert dance, whose classic darkness, forward-facing attention, and a quiet audience offer a chance to get absorbed into a work. While it can seem like magic to lose yourself in a theatri- cal experience, seeing dance outdoors can flip that magic. Instead of removing dance from the context of environ- mental noises, sounds, and smells, outdoor dance offers an opportunity to experience that environment in a different frame of mind, altering perceptions of the everyday. For instance, when Dancers’ Group worked with Jo Kreiter to produce Niagara Falling (2012), an aerial per- formance on the side of a building on Market Street near the Tenderloin in San Francisco, a block I had seen count- less times was transformed by a new experience of it. I suddenly needed to look up to notice the intricacies of the architecture, the color of the buildings, the locals wander- ing by. On page 4, you can read an interview between Sima Belmar and Kreiter about her latest outdoor work, The Wait Room , delving into the experiences of women with incarcerated loved ones. Welcome by MICHELLE LYNCH REYNOLDS, PROGRAM DIRECTOR
While the themes and structure of outdoor performances are as varied as inside, they often allow for greater audi- ence flexibility. This flexibility – such as being able to arrive late, leave early, walk around, eat and drink – lower per- ceptual barriers to experiencing dance. As the parent of a squirmy toddler, a more open structure is vital to providing my daughter welcoming art experiences that can take place without judgement and at the pace of her attention span. Opportunities abound to see dance in and out-of-doors throughout the spring, summer, and fall, but this April brings a concentration, all during the 21st annual Bay Area Dance Week. The Festival, which runs April 26-May 5, is a dance-is-everywhere event, where Bay Area artists and organizations provide free events for all to enjoy. On the next page you can find a sampling of those activities – from classes to workshops to performances – including a num- ber of events outside. Some highlights include the Festi- val kick-off at Yerba Buena Gardens at noon on April 26, sjDANCEco’s Spring Dance Festival, Brava! Women for the Arts’ annual Baile en la Caile, and Movimiento de Arte y Cultura Latino Americana/MACLA’s Family Art Day. After years of extended drought, this winter’s rains brought California’s reservoirs back at or above historic averages. This Spring the grass will be green; the air will be fresh. Take off your galoshes, grab a picnic blanket, a snack, and some clothes to move in, and feel the energy that our region’s dance communities have to offer. May this Spring be a chance to see dance through a child’s eyes, to look up and notice what’s around us, and serve as a reminder, not only of the resilience of nature, but of our own resilience as well.
Lynea Diaz-Hagan, Apr 19-20, photo by Lynne Fried
Leela Dance Collective, Apr 18-21, photo by Brooke Duthie
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BAY AREA DANCE WEEK
Tamalpa Dances with Iu-Hui Chua TAMALPA INSTITUTE, SAT, APR 27, KENTFIELD This class will introduce participants to Anna Halprin’s unique approach to dance, focused on developing fundamental tools of kinesthetic awareness and innovative choices in scoring, movement, and improvisation. All levels welcome. FOR FIRST-TIMERS Events with beginners in mind. Intro to Blues Dance & Dance Party BAY AREA BLUES DANCE, WED, MAY 1, BERKELEY Beat the Blues is a weekly social dance event with introductory lessons and a DJed dance party. Learn the basics of how to move to blues music with a partner and a few fun moves for the social floor. Intro to Poi Spinning: A Foundation for Beginners FLOWTOYS, WED, MAY 1, EMERYVILLE Poi involves swinging and dancing with tethered weights through a variety of rhyth- mic and geometric patterns. This class will explore the basics of poi spinning, covering planes, direction, timing, and body mechan- ics, along with an introduction to beginner poi moves. American Tribal Style® Belly Dance with Sandi Ball SANDI BALL, WED, MAY 1, ALAMEDA Learn the basics, and more, of this unique belly dance language, including posture and body awareness, slow and fast movements, zils (finger cymbals), as well as introductions to lead-and- follow concepts and group for- mations for improvisation. Intro to International Folk Dance SARATOGA FOLK DANCERS, THU, MAY 2, SARATOGA There will be lots of fun, easy-to-follow dances for all ages. Dance to music from all over the world - from Japan to Bulgaria, from Brazil to Serbia, from Poland to Turkey. "Dances for Camera" – Screendance Shorts Presenting two collections of short screen- dance films in two programs of original cho- reographic works for camera, blending dance with image, music, and movement. Featuring work from the Bay Area and across the globe. Beginning Hip-Hop with Amanda Warhuus SHAWL-ANDERSON DANCE CENTER, THU, MAY 2, BERKELEY Class includes a wide range of styles primar- ily breaking, locking and popping which were created in the 1970s and made popular by dance crews in the United States. SAN FRANCISCO PUBLIC LIBRARY IN PARTNERSHIP WITH DANCE FILM SF, THU, MAY 2, SAN FRANCISCO
Open House: Family Dance Classes ALONZO KING LINES DANCE CENTER, SAT, MAY 4, SAN FRANCISCO Free sample classes, taught by members of our KIDS at LINES faculty for 3-10 year olds, their parents and caregivers. Watch your kids experience the revelatory joy of dance and jump in to share the experience yourself. Freestyle Community Dance SOUL SANCTUARY DANCE, SAT, APR 28, BERKELEY Dance to an irresistible eclectic blend of funk, blues, world music, positive hip hop, reggae, dance classics, soul, jazz, rock, elec- tronica, pop, and other music to free mind, body and soul. Soul Sanctuary Dance is a welcoming and inclusive event that supports free expression, community, physical and emotional health, and a spirit of generosity. What's Up!? Aerial Performance UPSWING AERIAL DANCE COMPANY, WED, MAY 1, BERKELEY A studio showing that explores the magic of dancing on the floor and into the air. We will be dancing on the wall, in the air and every- where in between. INTERNATIONAL EXCHANGE Tinku - Intro to Bolivian Folklore BOLIVIA CORAZÓN DE AMÉRICA, SAT, APR 27, SAN FRANCISCO This class will teach the basics of Bolivian folklorico to the style of La Cueca (Bolivia’s national dance) and Caporales - a dance that shows women’s femininity and males’ virility. Blossom Festival – International Dance Party FOLK DANCE FEDERATION OF CALIFORNIA, SUN, APR 28, SAN FRANCISCO Participate in a large program of dances from around the world. First hour to be instruction time for dancers of all ages and experience. Basic rhythms, steps and styl- ing will be reviewed and a mixed program including requests will follow. Flamenco Class YWCA BERKELEY/OAKLAND, MON, APR 29, BERKELEY Explore the foundations of this dynamic art form of multicultural Southern Spain known for its intricate rhythms, percussive footwork with an emphasis on a strong, grounded and expressive upper body. Rhythm, Drama, Beauty: Intro to India's Kathak CHHANDAM SCHOOL OF KATHAK, THU, MAY 2, BERKELEY Known for its powerful footwork, lightning pirouettes, delicate hand gestures, and dra- matic storytelling, Kathak gives a window into India's rich history, philosophy, and rhythmical mathematics. Congolese Dance Class FUA DIA CONGO AND GIRLS TO WOMEN, SAT, APR 27, EAST PALO ALTO Learn dances from the Congo for all ages and levels.
ONE OF THE NATION’S LARGEST, most inclu- sive celebrations of movement and dance, Bay Area Dance Week returns this April 26 - May 5, 2019. For the past 21 years the Bay Area Dance community has graciously and gener- ously invited the public to experience rich and vibrant activities, completely free of charge. This year’s festival kicks off with a glo- betrotting dance sequence and dance party, One Dance , led by Dancers’ Group and Rhythm & Motion at Yerba Buena Gardens on Friday, April 26 at noon. The event begins with a “silent disco adventure.” Participants will download or stream an audio track through the headphones of their smart- phones and follow along with fun movement instructions. No previous rehearsal neces- sary or dance experience required. After the “tour” ends and everyone's warmed up, the music starts for One Dance, a high energy dance sequence in Rhythm & Motion's trademark style of funky-licious movement. With hundreds of free events to choose from, there is something for everyone during Bay Area Dance Week. Here are a few festi- val highlights: OPENING WEEKEND Persist: A multigenerational aerial dance show AERIAL DANCE MARIN, SAT, APR 27, SAN RAFAEL An evening of aerial dance exploring per- sonal, political and ecological futures from the perspectives of teens, young adults and seasoned elders. Celebrate all bodies with an afternoon of free beginner-friendly classes with the most joyful and body-positive instructors on the block. An introduction to the joy of dance and new dance styles while having fun in a supportive, fat-positive environment. A Taste of Odissi Dance GURU SHRADHA, SUN, APR 28, PALO ALTO Experience Odissi dance, a reconstructed ancient Indian classical dance form which has a deep relationship with the temple sculptural art, bringing dance sculptures centuries old alive, in this student showcase. Odissi dance is characterized by a juxtaposi- tion of fluid upper body movements against strong footwork. Fan Fest: Company Class Observation SAN FRANCISCO BALLET, SAT, APR 27, SAN FRANCISCO Join San Francisco Ballet for an up-close look at the dancers' daily ritual – company class – on stage at the War Memorial Opera House. Burlesque from the Inside Out 101: trauma sensitive + creativity-led SHOWGIRL AWAKENING, FRI, APR 26, SAN FRANCISCO Has you inner showgirl been waiting to emerge? This two-hour workshop is led by dancer, mentor, and burlesque therapist Kel- lita Maloof. Day of Dance for Every Body BIG MOVES, SUN, APR 28, BERKELEY
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CONTENTS
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ON THIS PAGE / Bay Area Dance Week by Dancers' Group 4 / In Practice: Holding Wait with Jo Kreiter by Sima Belmar 5 / Resource Equity: Connecting Culturally Specific Dance Communities with Grants Funding by Anne Huang 6 / April Performance Calendar 9 / Increasing Access for Blind and Visually Impaired Audiences by Jess Curtis with Tiffany Taylor and Georgina Kleege 12 / Speak: Bellwether Dance Project by Amy Foley
FAMILY FUN Open Rehearsal
AXIS DANCE COMPANY, SAT, MAY 4, OAKLAND See excerpts of latest works by this pioneer- ing physically integrated dance company, at this event for all ages.
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(L-R): Dholrhythms / photo by Odell Hussey; BioDanza / photo by School of BioDanza Los Angeles; ODC / photo by Kyle Adler; Bulbfest / photo courtesy of Bulbfest ; Alonzo King LINES Dance Center / photo courtesy of LINES
Step into the World of Greek Dance GREEK FEET, MON, APR 29, SAN FRANCISCO Learn fundamental steps and distinctive rhythms of Greek dancing in this introduc- tory class. Discover the rich culture and spirit of Greek music and dancing. Afro-Haitian with Blanche Brown ODC, FRI, MAY 3, SAN FRANCISCO An introduction to the technique, culture, and spirituality of Haitian dance. You will learn the subtle movements of the Rada dances, the strength of the Nago dances, and the excitement of the Petro Dances, as well as the joy and abandon of Carnival and Banda dances. INSIDE THE DANCER’S STUDIO Glimpse into a creative process, watch a rehearsal, and hear about dance from a favorite artist! Ways Not to Drown – a physical theater workshop DEBORAH SLATER DANCE THEATER, SAT, APR 27, SAN FRANCISCO Introductory Physical Theater Workshop for artists of all disciplines. Are you looking for new ways to create source material? How do you locate source material? How do you transform it into your art form? How do you translate it for an audience? Deborah Slater will help address these questions, providing structure, guidance and support to learn new ways of creating work for audiences. Dance Dramaturgy Discussion with Sima Belmar SHAWL-ANDERSON DANCE CENTER, SUN, MAY 5, BERKELEY What is dance dramaturgy, and how can it deepen your next project? Local dance scholar Sima Belmar will share several exam- ples and pose questions to the group about your current project and how a dramaturg could support your vision. IS BACK! Smuin is renovating its first permanent home! Drop by for a hard hat tour of our studio space while it's still under construction. Moving Words - Salon Series MAHEA UCHIYAMA CENTER FOR INTERNA- TIONAL DANCE, SAT, APR 27, BERKELEY Experience poetry readings, dance improv, song, music and visual art in a cozy, intimate setting. Bring your words, melodies, instru- ments and movements and let's all enjoy an hour of bliss! Swing Dance Taster Class & Social Dance to Live Band THE BREAKAWAY – SWING DANCING IN OAKLAND, THU, APR 30, OAKLAND A night of swing dancing fun! Come for the one hour Taster Class and learn what you need to know to have fun on the social dance floor right away. Live music from Evelyn and her Vintage Ties. Tour Smuin's New Home! SMUIN CONTEMPORARY BALLET, MON, APR 29, SAN FRANCISCO
WELL-BEING Dance for PD ALONZO KING LINES DANCE CENTER, THU, MAY 2, SAN FRANCISCO
Congratulations! The recipients of the 2019 Dancers Choice Award and the Della Davidson Prize are honored as part of Bay Area Dance Week. DANCERS CHOICE AWARD: SANGAM ARTS
Join experienced Teaching Artists for creativ- ity, exploration, community and dance. It is an encouraging environment for individu- als with Parkinson's Disease and their loved ones. Classes are tailored for varying abilities and begin seated in chairs. Gospel Grooves GOSPEL GROOVES, THU, MAY 2, OAKLAND A group dance exercise focused on spiritual, physical and social wellness. Dance to vari- ety of gospel music. This class is for all levels. A deep yet joyful holistic personal growth practice. It opens the heart, frees the body and expands consciousness. Though the name implies dance, it's a powerful yet gen- tle personal growth modality with no steps to learn nor any right or wrong way to do it. Body Tales & Authentic Movement for Women LYSA CASTRO, FRI, APR 26, BERKELEY Experience the synergy and support of inner- guided movement, personal stories, and sup- portive witnessing. These somatic practices encourage and strengthen our innate capaci- ties for creative expression, embodied com- munication, and inherent kinship with the living Earth. The Gateway to Bring Present: Self-Breema Class THE BREEMA CENTER, THU, APR 30, OAKLAND The simple, natural movements of Self- Breema exercises support body, mind, and feelings to work together in the direction of increasing receptivity, balance, and openness to life. This class features instruction and practice of Self-Breema exercises. Pilates Props Class for Dancers ON THE MOVE PHYSICAL THERAPY AND PILATES, SAT, MAY 4, BELMONT A strong dancer is a healthy dancer and Pilates is an amazing way for dancers to stay strong. This class will use small props that are easy to use at home. On the Move Physi- cal Therapy is a clinic-studio dedicated to the injury prevention and rehabilitation of danc- ers and gymnasts. OPEN SPACES & OPEN PLACES Gather your friends and family and head out to these large-scale events. Baile en la Calle: The Mural Dances BRAVA! FOR WOMEN IN THE ARTS, SUN, MAY 5, SAN FRANCISCO This annual event takes over the streets and alleys of San Francisco’s Mission District to celebrate and preserve its living cultural heri- tage! The Bay Area’s most dynamic dance companies and performing artists interpret the District’s murals through music and dance, alongside detailed narration by Precita Eyes Muralists docents. Biodanza - The Dance of Life BIODANZA, THU, MAY 2, BERKELEY
Founded in 2013, Sangam Arts provides a platform for artists from diverse back- grounds to come together to collaborate on music and dance performances. Using a wide range of cultural and artistic expres- sions from Folklorico and Tap to Kathak and Hula, Sangam strives to help audiences recognize their common humanity, and celebrates the artistic community’s
Sangam Arts' Priya Das and Usha Srinivasan / photo courtesy of artists
vibrant diversity. Led by Usha Srinivasan and Priya Das, Mosaic Silicon Valley is Sangam’s flag- ship initiative focused on strengthening diverse communities through multicultural collabora- tive arts. In its 12th year, this award honors individuals and organizations that are creatively impacting dance. sangamarts.org
DELLA DAVIDSON PRIZE: SARAH BUSH Sarah Bush is an artist that creates her inimitable style of movement by combining her training in ballet, modern, hip hop, jazz, Afro-Caribbean, and contact improvisation. In 2007 she formed her company, Sarah Bush Dance Project to pro- mote innovative artistry, community interaction, and feminist ideals through the creation and presentation of multimedia dance. To date, SBDP has presented four critically acclaimed repertory shows in the Bay Area: Home , Rocked By Women , This Land and Spirit & Bones . The Della Davidson Prize honors the life and work of Bay Area dance luminary Della Davidson, who passed away in 2012. An annual prize is awarded to a choreographer/dance-maker producing work in the spirit of Ms. Davidson. sarahbushdance.org
Sarah Bush / photo by Marianna Janatova
Bulbfest 2019: Resilience LOVE THE BULB, SUN, MAY 5, ALBANY
Dance-a-Rama BERKELEY MOVING ARTS, SUN, MAY 5, BERKELEY Join 15 of the East Bay’s most exciting choreographers in an afternoon of informal performances. A different show every hour at Western Sky Studio in the vibrant Eighth Street Artists’ Center. Unleash Your Badass Diva Unleash yourself with struts, walks, twists, turns, hips, stomps, voice, shouts, and a com- munity of women! Drawing from diverse training in multiple dance styles, theater, meditation, yoga, and her experience as a professional speaker, Shawnrey creates as experience that utilizes movement as a powerful way to unleash your leadership. Bhangra Dance Class DHOLRHYTHMS DANCE COMPANY, SAT, MAY 4, BERKELEY Easy to learn movements that are broken down and accessible to all levels. Bhangra is a folk dance from Punjab, India and is truly one of the most joyful, exuberant, and conta- gious forms of movement. SHAWNREY NOTTO, SAT, MAY 4, SAN FRANCISCO
An outdoor dance and visual arts festival at the old shoreline construction debris landfill on San Francisco Bay, featuring more than 10 dance groups including contemporary, hip hop, tap, and ethnic styles, and more than a dozen artists creating outdoor sculptures, paintings, and interactive works. Family Art Day MACLA/MOVIMIENTO DE ARTE Y CULTURA LATINO AMERICANA, SAT, APR 27, SAN JOSE A free festival for families with hands-on visual art activities, bilingual gallery tours, multicultural dance and music performances, dance classes, and yoga. Spring Dance Festival SJDANCECO, SUN, APR 28, SAN JOSE Over sixty Bay Area dance organizations (from young children to professional com- panies and everything in between) present many styles of dance on the Eastridge festival stage during a non-stop 7-hour program. CLOSING WEEKEND Being Danced. An experiment in communal Play! BEING DANCED, SAT, MAY 4, EMERYVILLE An improvisational, play-based somatic movement class geared towards igniting the creative spark. Being Danced provides a safe place for your inner child to be seen, expressed, and explored.
More online at bayareadance.org
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by SIMA BELMAR IN PRACTICE: HOLDING WAIT WITH JO KREITER
ON A RAINY AFTERNOON in March, I met with Jo Kreiter, choreographer, artist-activist, and artistic director of Flyaway Productions, in a rehearsal space at Project Artaud, behind the Joe Goode Annex on Alabama Street in San Francisco. The cold, concrete space seemed ill-suited to dancers, but aerial artist Kreiter assured me, “It’s perfect for someone like me who’s not working on the ground.” This was good news since not only was the floor made of joint-crushing material, it was almost entirely taken up by an enormous set, designed by Kreiter’s long-time collaborator Sean Riley: a 20-foot in diameter black clock face with a 20-foot scaffold rising from the center and three high metal chairs bolted to its surface. This set will be the focal point and moving surface of Kreiter’s latest project The Wait Room , which premieres in an empty lot near the Federal Building in San Francisco, one of the few remaining in a city overrun with construction. The Wait Room , the first work in a tril- ogy of large-scale public art performances, addresses secondary incarceration, the emo- tional and economic toll that having loved ones in prison takes on women. Though Kre- iter has made many works that address social issues close to heart, this is her first work driven by an intimate connection. Jo Kreiter: This dance, The Wait Room , is the first in a trilogy of pieces that is part of a national wave of effort to end mass incar- ceration. So there is artist as activist intention behind its making. I think a lot of people don’t understand the phrase, ‘Gender justice means ending mass incarceration.’ Primarily incarcer- ated in this country are men, though the fast- est rising category of people being incarcerated is women, primarily black women. But I am focusing the piece on women with incarcer- ated loved ones because [hands me a copy of a 2018 publication by Essie Justice Group ] the prison system expects women to do its dirty work and to mop up. By that I mean, it costs to be in prison: you have to pay for shoes, toothpaste, phone calls, money on your books (your books is your account in prison) if you want to be able to buy anything. So it’s women on the outside who have to hold that. I asked one of the women that we [Kreiter and composer Pamela Z] interviewed whose son is incarcerated, “What does it mean to be a black woman engaged with the prison system?” She said, “I feel like I’ve been financially raped.” That’s part of gender justice. SB: So the process began with interviewing women with incarcerated loved ones. And you had your personal experience… JK: …I had my story and then I connected up with Essie Justice Group and they’re part- nering with us on the project. They facilitated our connection to a number of women that we interviewed whose stories are becoming the basis of the project. I’ve worked with oral histories often in the last twenty years, but the difference this time is that the story is also very much my own. SB: And did it take time to arrive at the will- ingness to make a piece about something so close to you? JK: Yeah, I didn’t envision that I would do this ever. I mean, even before my husband was incarcerated I was fully aware of the prison industrial complex and the growing num- bers, so it’s not like the issue came at me from nowhere. I saw Keith Hennessey’s piece that he did about prisons, it was in the early 90s I think, right when the prison industrial com- plex was really beginning to burgeon. He was so ahead of his time with that. So it’s not that I wasn’t aware of the issue but coming into an Sima Belmar: What would you like people to know about this piece?
awareness of how much it is a feminist issue is really what sent me over the edge into being willing to be public. And then I found out about Essie, and because they have a Healing to Advocacy Model, because they recognize the pain and trauma that prison brings to families as well as the reality that the best people to advo- cate for its end are the people impacted by it, made it easier for me because now there was this container. The other thing that made this possible is my husband came home. That stabilized my life a whole lot. Even though he’s on a long- term probation so he’s still incarcerated statis- tically, I was no longer a single parent raising a child and running a dance company. That opened up some emotional space to allow for the process. When I had a sit-down conversa- tion with Gina Clayton who founded Essie Justice Group, she said, “You have to be care- ful about how much you’re willing to say.” That’s been the hardest learning curve. JK: There are a few things that happen depending on who’s interviewing you. Ques- tions can be really invasive, questions can be based in a lot of ignorance, and then other questions are just fine questions but they push you into the emotional instability that is inherently a part of having a family mem- ber in prison. So those are the three things I’ve encountered in talking to funders, pre- senters, universities… SB: What did she mean by that?
Flyaway Productions / photos by RJ Muna
JK: Yeah, I’ve spent a lot of time thinking about how to reconcile accountability with the need to abolish mass incarceration. Espe- cially with the #MeToo movement, there’s a deep desire for accountability for long-term misogyny acted out in rape and sexual abuse. That’s the subject of the third piece in the tril- ogy—restorative justice and really looking at this crux between accountability for vio- lence against women and the realization that criminalization doesn’t actually curb violence. The second piece convenes Black and Jewish voices to do two things, to explore our shared history of race and capture, and to ask how can Jewish voices amplify the call for an end to mass incarceration.
time but there are options on top of that. You get what’s called “good time,” and then there are other options that affect time. And every stage of option was filled with trauma. SB: I’m really interested in this chairs con- versation, the side-by-side seating. Did you get any information about the rationale for that choice? JK: There’s no plan. I think you can fit more people that way. That might have been the architect’s rationale. I don’t know. JK: It depended on who was on duty. The corrections officers are inconsistent in how they enforce the rules and what kind of atti- tude they have. There were times when I could stand up or my son could come sit on the floor. There were times when that wasn’t allowed. There’s a little more flexibility with children because they’re just so squirmy. And at times not. SB: Did you have conversations with your husband about the way incarceration affected the choreography of his body, and if so, is that coming into the work? JK: This project is not about my husband in any way, shape or form. It’s about proximity. It’s about being asked to be in collusion with a system that’s simultaneously bringing you down and that’s a very uncomfortable place. JK: I designed a series of questions for the interviews and they have become the frame of the piece, negotiated by some logistical issues around what has to follow what in terms of the set design. The set has a pathway where it starts in stillness and gets activated and ani- mated with motion and physics, so there’s a certain physics logic that we had to go with that determined some of the ordering of the questions. But the questions really deter- mined the arc of the piece. And more than the questions, the answers determined the arc of the piece. Like there were things that I didn’t realize I was going to make into a section until I heard the answers. One of those things is about the criminalization of the black body. All the black women that I interviewed spoke about that in terms of their own lived experience in proximity to prison. And I would say that when you go to prison as a visitor, they treat you like you’re in prison. I have had my own experience of being subject to harsh and dehumanizing control in the six hours that I was there. For example, you have to keep two feet on the ground when you sit in the chair. Things like that add up for the SB: Could you turn in your seat? Could you put your arms around each other? SB: So what’s the practice in the room with the dancers?
SB: …journalists? Did any journalists ask invasive or ignorant questions?
SB: Tell me more about this set.
JK: No. Well, one of them asked something that I just deflected and said, That’s not some- thing I’m going to answer for you.
JK: We’re trying to conjure a room, the wait room. Chairs were the primary symbol for me of the quagmire that prison is because when
I went to visit my husband in the second prison he was in, you had to sit side by side and there were three of us. You couldn’t move. You couldn’t stand up. So it was very hard to talk to each other. SB: So it wasn’t across a table or through plexi- glass with telephones the way you see in movies. JK: No. It was just really uncomfortable. I’d get yelled at for folding my legs up and doing what dancers do when we sit. All the dancers were like, “I would never make it! I never sit in a chair nor- mally.” So chairs were the focus but so is instabil-
SB: I can feel the desire in myself, in an embodied way, wanting to go down the path of the personal…
ity. And so the set that you see—it’s actually at rest at the moment, it’s charging—has a motor in it, so it rises and tilts and coins.
JK: …voyeurism.
SB: Coins?
SB: Yeah, like a nearly tabloid, sensation- alist version that says, yes, this is a larger social issue, but I want to know your story.
JK: You know, like when you spin a coin and it does this [ gestures the wobble when a spin- ning coin begins to lose its momentum ]. So we got the metaphor of instability inside the engineering and design. SB: The word coining evokes keening for, like a ritual term of mourning. And the clock face? JK: Waiting. The brutality of waiting. Some- times it is interminable. Some of the women we interviewed have loved ones dealing with a life sentence. I don’t know what that’s like. My husband served a relatively short time but it was always up in the air. There’s a plea deal, so there’s a range. And then the judge sets a
JK: Yep.
SB: And certainly journalists love those kinds of heart-wrenching stories. And at the same time, I’m thinking about what sorts of folks, maybe even in your own experience, are resis- tant to the project because they focus on indi- vidual crimes rather than the system. It brings me back to the 1988 Bush-Duka- kis debate when Dukakis was asked whether he would still oppose the death penalty if his wife were raped and murdered.
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RESOURCE EQUITY: Connecting Culturally Specific Dance Communities with Grants Funding
by ANNE HUANG
Introduction There’s a large, diverse, and vibrant multicul- tural dance community in the San Francisco Bay Area. As a long-time capacity building specialist and resource equity advocate, I’ve worked extensively with Bay Area cultural artists and culturally specific arts organiza- tions. They include Charya Burt, Kyoungil Ong, Naomi Diouf, Oakland Asian Cul- tural Center, CubaCaribe, Bisemi, Halau ‘o Keikiali’i, Cunamacue, and many others. I connect artists and arts organizations with resources such as grants funding, space, and professional development opportunities. I advocate for resource equity by working with funders to create equitable funding guide- lines, speaking on panels such as Grantmakers in the Arts and Dance/USA, and connecting funders with culturally specific communities. Funders, artists, arts organizations, and arts advocates have long grappled with these questions – What does it take to support the large, diverse, culturally specific dance com- munities in the Bay Area? What are the key factors to help these dance communities thrive? I will share common challenges of cul- turally specific dance communities, and solu- tions to address these challenges. This article will not address the needs of all culturally specific dance communities, but focus on my work with cultural artists and culturally spe- cific arts organizations rooted in traditional cultures, often in immigrant communities. Landscape and history of culturally specific dance communities The passage of the 1965 Immigration and Nationality Act brought large waves of diverse immigrants into the United States. Many immigrant artists settled in the Bay Area from regions as diverse as Cambodia, Liberia, India, Iran, and Senegal. During the 1970s, culturally specific dance was practiced widely, but was largely limited to classes and performances in church basements, living rooms, and commu- nity centers, taught on the side by individuals who had migrated to the area seeking a better life for themselves and their families. In the past four decades, the Bay Area’s culturally specific dance community has grown from a grassroots collective of cultural artists to the largest multicultural ethnic dance community in the United States. We now see a community of established, professional culturally specific dance companies, directed by nationally recog- nized teachers. The first generation of dancers have become our elders and culture bearers. Despite this dramatic artistic growth, many cultural artists and cultural arts organizations have tremendous difficulty accessing financial and other resources, and have fragile organiza- tional infrastructure. Many cultural arts orga- nizations support high-caliber artists, yet have either no paid staff, or lack the professional staffing infrastructure to adequately support the artists. While the root causes of these chal- lenges are complex, creating culturally relevant strategies to secure grants funding and devel- oping professional administrative staff can go a long way towards building organizational sustainability of culturally specific arts organi- zations and career viability of cultural artists. What does it take for culturally specific dance communities to secure grants funding? 1. Develop professional grant writers dedicated to culturally specific dance communities The number one question I receive from artists is – “Can you recommend a grant writer?” My grant writing colleagues and I are inundated with grant writing requests that we do not have the capacity to sup- port. Many cultural artists cannot offer the hourly fee of seasoned grant writers. The seasoned grant writers often do not have room to accept new clients. Most importantly, the cultural artists and arts
organizations rarely find the seasoned grant writer who have the cultural com- petency to craft compelling grant applica- tions that fully articulate the depth and nuance of the culturally specific dance organization’s work. To increase culturally specific dance communities’ ability to access grants fund- ing, we need to create a professional devel- opment program to train grant writers from culturally specific dance communi- ties to support their own dance commu- nities. These grant writers can be artists who would like to prepare their own grant applications, dance community stakehold- ers who would like to do grant writing part-time, or emerging arts administrators who would like to work as full-time devel- opment professionals. What does this grant writer training program look like? Since grant application deadlines are usu- ally once a year, the ideal training program is a year-long training program with a small cohort of culturally specific grant writ- ers. The program will include small-group workshops, followed by sustained, inten- sive hands-on grants coaching by seasoned grants coaches, such as myself and Kevin Seaman. The program participant will learn about grants research, grant writing, creating compelling work samples, funder engagement, creating organizing systems for grants related materials, and refining the skill to work with cultural artists to craft compelling grant application language. Often artists and arts organizations con- tact me because they would like to access grants funding and find the grants seeking process mysterious and confusing. To be successful in grants seeking, artists/arts orga- nizations need to possess the following skills: a. Grants readiness – ability to assessing your own grants readiness, and draft a list of grants that are the best match for you b. Grants calendar – an annual calendar with all of your grants application and report deadlines, upcoming action items, and dates for funder engagement com- munication. This manages the countless grant deadlines in a chronological fashion c. Grants narrative – ability to tell your story in a cohesive fashion and edit your text quickly, as word count varies from one grant application to another d. Work samples – ability to prepare com- pelling work samples that complement your narrative e. Budget – ability to prepare clear budget notes that address potential panelists’ doubts f. Funder engagement – funder engage- ment is a year-round process; this involves inviting funders to events, call- ing funders to discuss proposed proj- ects, getting panel comments, and letting funders know about your major accom- plishments and announcements g. Ideally, ability to score your own appli- cation according to the scoring criteria I propose a grant writer training program that helps the participants master these skills. This professional development program can create a career pathway for stakeholders in culturally specific dance communities, and bring crucial financial resources to support these communi- ties. More importantly, this program will foster a community of development pro- fessionals from culturally specific dance communities, who are deeply dedicated to supporting these communities. 2. One-on-one technical assistance to support grant applications One-on-one technical assistance provides highly effective support to the applicant during the grant application process. Once cultural artists/arts organizations decide
which grants to target, they often feel baffled by the guidelines and application questions. The folk and traditional artists, in particular, struggle with the Artist State- ment, as they practice art forms shared by cultural collectives and cultural traditions that are passed down from one generation to another. This technical assistance can be provided by these entities: a. Funders – San Francisco Arts Com- mission, California Arts Council, and Dance/USA, Alliance for California Tra- ditional Arts, Walter and Elise Haas Fund, and City of Oakland Cultural Funding Program have been great at providing technical assistance to appli- cants. This support can include 15-45 minute one-on-one technical assistance sessions that applicants can sign-up for online, or contacting program officers to schedule the individual sessions. The applicants have the opportunity to ask funders individualized questions about their projects and receive guidance that’s customized for that applicant. I have found this type of opportunity extremely useful in helping me articulate my proj- ect in a compelling fashion. As a coach for Dance/USA Fellowships to Artists Program, artists have given me very pos- itive feedback about the effectiveness of this one-on-one technical assistance. b. Artist service providers – This tech- nical assistance can also be provided by an artist service program, such as World Arts West’s Artist Support Ser- vice Program and Bisemi Foundation’s Cultural Artist Incubator Program. World Arts West’s Artist Support Ser- vice Program provides hands-on grants
coaching for culturally specific dance companies seeking fiscal sponsorship. I help the applicant with grant narra- tive, work samples, and budget notes, as well as overall grants strategies for the proposed project. I have been an art- ist development coach for Bisemi, both in 45 minute coaching sessions dur- ing Bisemi’s Professional Development Workshops, as well as sustained one-on- one coaching where I meet with the cul- tural artist over a period of 4-6 months. This type of support allows the grants coach to help the artist/arts organization target specific grants, think about mul- tiple sources of funding for one project, and how to leverage one grant towards another grant, and efficient usage of narrative and support materials for multiple grant applications. c. Individual coaches – Artists and arts organizations can hire individual grants coaches to strengthen existing staff’s skill in grant writing and other grants related skills. 3. What can funders do to support grant- seeking from culturally specific dance communities? a. Post past successful grant applications on funder’s website Crafting the grant narrative from scratch often feels daunting for cultural artists and cultural arts organizations. Sample applications can be especially helpful for the emerging grant writer. Here are two examples - 1. Cal Humanities - calhum.org/fund ing-opportunities/humanities-for-all 2. NEA - arts.gov/foia/reading-room
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calendar APR 2019 VISIT THE ONLINE COMMUNITY CALENDAR, to find additional events and to submit a performance. dancersgroup.org
Bellwether Dance Project ODC Theater, SF World premieres Let Slip the Witches and First Love, in 3 Parts ; 2016’s Thighs and Wages , and a world premiere solo choreographed for Foley by Robert Moses. Thu-Sat, Apr 4-6, 8pm, $30. Discount available to DG Members. odc.dance/witches
Edge Residency 2019 CounterPulse, SF
Join CounterPulse for two new works with Stephanie Hewett and Kim Ip/Krimm’s Dance Party embodying queer futurity, sexual awakening, and power. Thursdays are pay what you can. Thu-Sat, Apr 4-6 & 11-13, 8pm, $20-35. counterpulse.org
Rotunda Dance Series: Sangam Arts with Simorgh
Dance Collective City Hall Rotunda, SF
Celebrate the 2019 Dancer’s Choice Award winner, Sangam Arts, which has selected Simorgh Dance Collective to perform tradi- tional and folkloric dances of the Silk Road. Fri, Apr 5, 12pm, FREE. dancersgroup.org/rotunda
MoveSpeakSpin Dancenter, Capitola
Dances on a current perfect storm of political themes: continuing wars, gender oppression, and environmental collapse. Fri, Apr 5, 8pm, $10. movespeakspin.org mBody Dance Company Lesher Center for the Arts, Walnut Creek TIME FRAMES uses modern dance to portray different ways we perceive Time through our lives. Fri, Apr 5, 7:15pm; Sat, Apr 6, 2:15 & 7:15pm, $25, Discount available for DG Mem- bers. mbodydanceco.com the CONCEPT series: 25 Green Room at SF War Memorial and Performing Arts Center RAWdance will be joined by guest artists Bran- nigan Dance Works, Byb Chanel Bibene, Chlo & Co Dance, Jennifer Perfilio | Movement Works, and PUSH Dance Co. Fri, Apr 5, 8pm; Sat, Apr 6, 3 & 7pm, $10-20 Suggested Donation. rawdance.org
SMUIN Ballet, Apr 26-May 5 / Photo by Chris Hardy
David Herrera Performance Company Z Space, SF RESURRECTION OF EVERYDAY PEOPLE is a healing exploration of life-altering loss and the empathy and strength one can develop through that experience. Fri-Sat & Thu-Sat, Apr 5-6 & 11-13, 8pm, $12-50. dhperformance.org SIX SECOND RULE , a collection of new works by six Bay Area choreographers. The artists investigate topics such as mapping the body, frustration in academic settings, translating joy, capturing the world through the eyes of a child, and making the human heartbeat audible. Featuring: Hayley Bowman, Alyssa Mitchel, PULP, ayanadancearts, and Emma Lanier and Kylie Woodward-Sollesnes. Sat, Apr 6, 8pm; Sun, Apr 7, 4 & 7pm, $15. odc.dance ODC’s Pilot 71 ODC Dance Commons, SF
Mark Foehringer Dance Project|SF Fort Mason Center for the Arts Cowell Theater, SF
Alice in Wonderland , inspired by Lewis Carroll’s timeless story ideal for the young child’s atten- tion span. Sat-Sun, Apr 6-7 & 13-14, 11am & 2pm, $22.50-42.50. mfdpsf.org Los Lupeños Juvenil School of Arts and Culture at the Mexican Heritage Plaza, San Jose Jóvenes y nuestras fiestas is a matinee dance concert featuring youth ensemble Los Lupeños Juvenil. Sun, Apr 7, 2pm, $12-15. loslupenos.org Alvin Ailey American Dance Theater Zellerbach Hall, Berkeley The company’s program spans the full range of African-American experience, from Jawole Willa Jo Zollar’s Shelter , which explores the plight of the homeless, to artistic director Robert Battle’s joyful jazz tribute, Ella . Tue-Fri, Apr 9-12, 8pm; Sat, Apr 13, 2 & 8pm; Sun, Apr 14, 3pm, $38-150. calperformances.org
Alyssandra Katherine Dance Project, Apr 11-13 / Photo by Kofi Kumi
Rosie Kay Dance SF War Memorial Opera House, SF SF Performances presents the debut of the British company, Rosie Kay Dance in Five Sol- diers which is a timely look at how the human body is used in war. The piece was inspired by input from serving and former soldiers and will include post-performance discussions with Rosie Kay. Thu-Fri, Apr 11-12, 7:30pm; Sat, Apr 13, 2pm & 7:30pm, $65. sfperformances.org
SCU Presents, Apr 13-14 / Photo by Stan Olszewski
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Alyssandra Katherine Dance Project ODC Theater, SF
Featuring an ensemble of five performers and film projection design by Clare Schweitzer, UNRAVELED explores the all too common experience of dependency, addiction and isolation. Thu-Sat, Apr 11-13, 8pm, $20-40. Discount available to DG Members. odc.dance
MoveSpeakSpin Montalvo Art Center, Saratoga
Dances on peace, justice, culture, and conflict in Palestine, Israel, and the Middle East, cho- reographed by Karl Schaffer, at the Montalvo Arts Center, Fri, Apr 12, 9:30 & 11:30am, $7. montalvoarts.org Margaret Jenkins Dance Company Paul Dresher Ensemble Studio, Oakland Shadows and Embers is an evening of vignettes featuring new work, a new collaboration with Rinde Eckert, and a new duet between Rinde and Margaret Jenkins as they continue to explore Shorebirds Atlantic (1988). Fri-Sat, Apr 12-13, 7pm; Sun, Apr 14, 3pm, $12-50. mjdc.org Alonzo King LINES Ballet YBCA Theater, SF Join Alonzo King LINES Ballet for a season of experimentation as Alonzo King partners with Emmy Award-winning Vietnamese musician and composer, Vân-Ánh Vanessa Võ. Fri, Apr 12 & 19, 7:30pm; Sat, Apr 13, 7pm; Sun, Apr 14 & 21, 5pm; Wed-Thu Apr 17-18, 7:30pm; Sat, Apr 20, 2pm; $35-100 linesballet.org
Open Stage at CounterPulse, Apr 17 / Photo by Robbie Sweeny
Amelia Nommensen Vetiver, Oakland
Upwelling is an ocean-inspired dance perfor- mance with new work by Amelia Nommensen in collaboration with dancers Chelsea Boyd Brown, Audrey Johnson, and Wednesday Manners. Join them for a dive into the mysteries of the ocean and the interconnected web of an ecosystem. Fri-Sat, Apr 19-20, 8pm, $15-20 (NOTAFLOF). Discount available to DG Members. nommensendance.com
Lynea Diaz-Hagan SAFEhouse Arts, SF
Rosie Kay Dance, Apr 11-13 / Photo by Brian Slater
No Body’s Body in the U.S.A. is a vocal-move- ment-theater piece exploring the body politics of size, sound, and safety in American culture. Presented by SAFEhouse’s Resident Artist Work- shop. Fri-Sat, Apr 19-20, 8pm, $15-20. safehousearts.org
Post:Ballet Z Space, SF
Bahiya Movement SAFEhouse Arts, SF
Lavender Country returns to the stage, high- lighting singer/songwriter Patrick Haggerty and his Lavender Country band, and featuring cho- reography by Vanessa Thiessen and direction by Robert Dekkers. This one-act performance is a moving celebration of love, self-expression, and communal interdependence. Thu-Sat, Apr 25-27, 8pm, $30-50. postballet.org Alive & Well Productions ODC Theater, SF From Ash , a dance theater performance de- rived from California Book Award Winner Tongo Eisen-Martin’s 2015 poetry collection Some- one’s Dead Already. Equal parts dark dream- scape and hopeful choreo-poem, From Ash is about repeated renewal after destruction. Thu-Sat, Apr 25-27, 8pm, $18-22. odc.dance Bay Area Dance Week Choose from hundreds of workshops, perfor- mances, classes, open rehearsals, and more. The Festival kicks off on Fri, Apr 26 at noon at Yerba Buena Gardens, with Rhythm & Motions' One Dance. Fri, Apr 26-Sun, May 5, see website for all events and to sign up. FREE. bayareadance.org Anna Rebecca Harris and Lindsey Greer Sikes SAFEhouse Arts, SF In Anna Rebecca Harris’ new work, dancers perform in front of a digital backdrop. Lindsey Greer Sikes gives us a performative protest against the cage which traps the HumAnimal from celebrating themselves as they are in (pretty shiny cage // CONSU(Me) . Presented by SAFEhouse’s Resident Artist Workshop. Fri-Sat, Apr 26-27, 8pm, $15-20. safehousearts.org SMUIN Ballet Yerba Buena Center for the Arts, SF SMUIN presents a world premiere by Amy Seiwert, set to the a cappella soundtrack of Oakland’s own Kitka Women’s Vocal Ensemble. Also on the bill is The Best of Smuin , featuring the return of Michael Smuin’s favorites. Fri-Sat, Apr 26-27 & May 3-4, 7:30pm; Sat-Sun, April 27- 28 & May 4-5, 2pm; Thu, May 2, 7:30pm, $25-81. smuinballet.org
SAFEhouse’s RAW presents the culmination of Bahiya Movement’s Believe In Self (BIS) Mentorship Program in a showcase titled STAND for Justice . This 6 week intensive residency cultivates the artistic growth of artists ages 16-22. Sat, Apr 27, 12pm, $15-20 (NOTAFLOF). safehousearts.org Abhinaya Dance Company of San Jose Oakland Asian Cultural Center, Oakland I Have a Dream is a performance telling the stories of Rosa Parks and Martin Luther King, Jr with Indian Classical Dance. Sat, Apr 27, 4pm, see website for ticketing info. abhinaya.org Shawl-Anderson Dance Center Spring Salon Shawl-Anderson Dance Center, Berkeley Featuring work by pateldanceworks, Hay- ley Bowman, Garth Grimball, Amy Kingwill, Rebecca Morris and The Phenomenal Anoma- lies. Sat, Apr 27, 6 & 8pm, $15. shawl-anderson.org
Flyaway Productions 1125 Market St, SF
The Wait Room , created in partnership with Essie Justice Group, is a performance instal- lation that exposes the physical, psychic, and emotional burden of incarceration for women with imprisoned loved ones. Via a large, rolling set designed by Sean Riley to evoke a prison visiting room, the project invokes the balanc- ing act women have to maintain when stripped of emotional and economic support from their partners and family. Fri, Apr 19, 8pm; Sat, Apr 19, 2 & 8pm; Wed-Fri, Apr 24-26, 8pm; Sat, Apr 27, 2 & 8pm, FREE. flyawayproductions.com
Laura Renaud-Wilson Shawl-Anderson Dance Center, Berkeley
An evening of dance and theater produced and curated by long-time Bay Area choreographer and teaching artist, Laura Renaud-Wilson. With new work by: Angela Demmel, Kimiko Guthrie, Dawn Holtan, Randee Paufve, Laura Renaud- Wilson, and Chingchi Yu. Sat, Apr 13, 8pm; Sun,
Apr 14, 5pm, $15-25. shawl-anderson.org
SCU Presents Santa Clara University Louis B. Mayer Theatre
Dance emphasis majors are mentored in the process of creating original, evening-length recitals. A diverse performance highlighting a variety of genres. Sat-Sun, Apr 13-14, 2pm; Sat, Apr 13, 8pm, $7. scupresents.org
Open Stage CounterPulse, SF
The Feedback Joe Goode Annex, SF
An evening of body-based, poetic expres- sion—courtesy of CounterPulse’s weird and radical community. Wed, Apr 17, 6pm, FREE. counterpulse.org
Presented by the Joe Goode Performance Group, The Feedback shows the work in progress of five artists, with the opportunity for audience response. Sat, Apr 27, 7pm, $10-25. joegoode.org
James Graham Dance Theater Joe Goode Annex, SF
Alive and Well Productions, Apr 25-27 / Photo by Cat Canson
A new dancetheatre work exploring mental health and American pop culture. JGDT also presents Daria Kaufman (Portugal) April 18 & 20 and The Anata Project April 19. Thu-Sat, Apr 18-21, 8pm, $18-38. jamesgrahamdancetheatre.com
Leela Dance Collective Z Space, SF
CONTINUUM is a four-day festival of North Indian classical music and dance. Thu-Fri, Apr 18-19, 7:30 pm; Sat, Apr 20, 2 pm & 7:30; Sun, Apr 21, 2pm & 6, $24-152. theleelainstitute.org
Laura Renaud-Wilson, Apr 13-14 / Photo by Stephanie Leathers
Los Lupeños Juvenil, Apr 7 / Photo by Leah Stohs
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