What has been the most rewarding part of this work? Can you share a story from your work in Russia that was particularly meaningful to you? The work that I do is oftentimes hard, but I feel a strong sense of purpose, especially when I hear about and see the impact of the program on the participants’ lives. One stu- dent shared that attending Telaboratoria classes made him feel grounded and brave enough to come out to his community as trans. Another expressed that throughout the program she learned that she could touch others and be touched in a non-sexual way and that discovery opened new ways of con- necting to people for her. There have been a lot of ‘first times’ for all of us in this pro- gram. Some people danced in front of others for the first time, made choreography for the first time, took on leadership roles for the first time, talked about their bodies in a posi- tive light for the first time, studied their anat- omy for the first time. It was my first time designing a one year program through series of trials and mistakes, trying to actively lis- ten to students’ needs, my own intuition and remain flexible and humble. The program applies the principles of both autonomy and collectivity in its methodology. The partici- pants are encouraged to practice their per- sonal boundaries, learn to listen to their own needs and the group needs. In fact, we spend a lot of time working on boundaries through a number of creative exercises and this prac- tice offers people more freedom in trusting themselves and others. That process has been a very healing and rewarding experience for me personally. Also, slowly, some really powerful things started to happen last year. People created friendships that they took outside of the dance studios. It has been wonderful to see people using our social media group page to invite each other to different events, share housing and job information, reach out for help. Classes opened space for celebration of multiple identities and expressions where everyone felt welcomed and safe. Telaborato- ria became more than just a dance program, it became a community that has been growing. What kind of obstacles has Telaboratoria had to face? There are quite a lot of structural, institu- tional and now, financial, obstacles that we face. Access and safety are the main ones on our list. So far it has been impossible to find dance spaces that would accommodate peo- ple in wheelchairs. We struggle to find stu- dios that would have gender neutral bath- rooms. We always need to undergo several safety checks when looking for dance spaces and admitting new participants. Unfortu- nately, we cannot offer the practice for people under 18-year-old because of the “anti-gay” law (which is awful because teen- agers really need a program of this kind) and have to check the applicants’ age when they sign up. There is very little international funding that is allocated to queer Russian-based ini- tiatives due to the worsening political rela- tions. We started crowdfunding (gofundme. com/dance-for-lgbtq-in-russia) and are look- ing for other ways of funding the program. What programs or activities do you have coming up? Classes begin mid-November (when I return to St. Petersburg from the Bay Area), although a few Telaboratoria participants have been organizing a regular Authentic
Movement practice which makes me really happy. Once I am back we will resume the classes and workshops in a regular format. I am excited to involve more dance educators as guest teachers of Telaboratoria. I have been working with a Finnish non- binary drag performer Jaana Pirskanen to bring them to Russia and co-organize a series of drag workshops for the queer and trans* communities of St. Petersburg. I have also been collaborating with a queer performance artist from St. Petersburg, Marina Shamova, to design and offer a series of Gender and Body workshops for Russian dance commu- nities this winter and spring. What’s a future goal or dream? In the end of last May, Natasha, the pro- gram’s administrator, and I designed an elaborate questionnaire for Telaboratoria’s participants. Among the questions there was a call for imagining the future of Telabora- toria in some other alternative reality where repressive economic and political systems of Russia were not in place. People loved that question and went on describing their visions of the program. Many dreamed of having our own dance studio or even a whole build- ing, Telaboratoria dance festival, regular multiple teachers, classes that would include trans* and queer teenagers and elders, an opportunity to go on a week-long nature retreat together, a way to collaborate and exchange with queer/trans* dance programs in other countries. Who knows, maybe we can turn some of these dreams into reality. Of course, my biggest goal is to find ways to make Telaboratoria financially sustain- able so the program can continue, grow and develop. I would like to make our classes more integrated and accessible, for instance, bring more queer and trans* folx with disabilities into classes. I want to continue and expand partnerships that we already have, such as working with some feminist organizations, political art organizations, and to make new ones, such as nonprofits that work with migrants and elders. What (or who) is inspiring you right now? I have been reading/watching Queer Dance , a multi-platformed project by Clare Croft and feeling very inspired. Cat Brooks who is running for Oakland Mayor right now and who co-founded Anti Police-Terror Project gives me hope. An emerging music artist from Kirgizstan, Zere Asylbek, who just released a brave music video statement about women’s liberties and rights recently blew my mind. I carry inspiration from my dance and performance mentors such as Olivia Corson, Hiroko Tamano, Sara Shelton Mann, Kathleen Hermesdorf, Joe Goode and many others. Those who inspire me are cou- rageous to challenge the system and imag- ine a more just world through the process of active doing, by using the tools and resources that are available to them. What’s a piece of advice you have been given that you still hold on to today? My habitual pattern is to rush to a next thing after completing something, to not take enough pauses to recuperate and reflect. Recently I have been trying to live by my wise friend’s advice about pausing and remembering to notice what I have already done and what others who came before me did and have time for celebration and appre- ciation. That practice seems to be more important for me as I mature.
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
Compagnie Käfig Pixel
“Delightful, cloying, surprising all at once.” — Herald Sun , Melbourne Pixel brilliantly merges elements of Brazilian urban dance with hip-hop, modern dance and circus arts, with an interactive environment of lights and lasers that confound and excite our perceptions.
Nov 16 & 17 ZELLERBACH HALL
Pavel Zuštiak and Palissimo Company Custodians of Beauty
In this richly multisensory work, choreographer Pavel Zuštiak and his brilliant Palissimo Company create an immersive visual experience that asks: Where do we find beauty today and does it need our defense?
“A vivid, often anguished imagination shines through in Zuštiak’s work” — The New Yorker
Dec 7–9 ZELLERBACH PLAYHOUSE
Big Dance Theater 17c Conceived and directed by Annie-B Parson Co-directed by Paul Lazar Choreographed by Annie-B Parson and the company
The award-winning Big Dance Theater craft an uncategorizable, galvanizing and prescient portrait of Samuel Pepys, the outlandish 17th century politician that is part celebration, part inquisition.
“Ambitious...engaging, well-plotted stagecraft.” — Broad Street Review
Learn more at telaboratoria.org or email telaboratoria@gmail.com
Dec 13–16 ZELLERBACH PLAYHOUSE
calperformances.org
Season Sponsor:
in dance NOV 2018
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