Photo credit (L to R): Maryam Rostami by Robbie Sweeney, boychild by Matthew Stone, and Lisa Evans by Sonjai Megette

                                        Photo credit (L to R): Maryam Rostami by Robbie Sweeney, boychild by Matthew Stone, and Lisa Evans by Sonjai Megette



November 3-12, 2017

Artists, activists and thinkers in conversation and performance inspired by the question:
What does it mean to have a radical body? 

“In the beginning, the Bridge Project had a focus on women choreographers. But it has expanded to focus on gender more broadly, a category that has become increasingly contested. As in 2016, the 2017 Bridge Project challenges the historically exclusionary scope of postmodernism to include artmaking and critical thinking from a range of perspectives. Participants come from multiple disciplines to respond to the prompt: What does it mean to have a radical body?”  --Director Hope Mohr


                                                                              Monique Jenkinson holds Judith Butler's head in their premiere of  Ordinary Practices of the Radical Body . 

                                                                             Monique Jenkinson holds Judith Butler's head in their premiere of Ordinary Practices of the Radical Body


Friday, November 3 (8 PM)
Judith Butler and Monique Jenkinson in conversation
At CounterPulse

Saturday, November 4 (8 PM)
Jack Halberstam and boychild premiere dance of darkness: a performance, a conversation, a rehearsal for the future 
At CounterPulse

Friday, November 10 (8 PM)
Peacock Rebellion 
At CounterPulse

Friday, November 10 (6:30-7:30 PM)
PRE-SHOW AUDIENCE SALON: What does it mean to have a radical body?
Discussion of audience reader and performances from weekend one. Moderated by Hope Mohr, with special guests TBA. 

Saturday, November 11 (8 PM) 
Maryam Rostami premieres Untitled 1396
At CounterPulse

Sunday, November 12
Julie Tolentino
At the Joe Goode Annex, 401 Alabama Street (at 17th Street)


-an un-named lived experience*

& being with another seems to go by very fast. so much information. so much to tend to think about and the how of time talking thru how we resist, breakaway then give away. sensing bringing forward slinking back. why and what? stutter gasp. wait. what i wanted to say (because some fumbly dimming) and what that is: to be interested in. drop narrative like how there can be a split in the because. so description does not have a together & becomes again. the title perspectives. thin lines might be imagining the experts - leaning, convening and reverie and skins and what’s missing and all those rising - break - to see the small axis as axes. rushing to get it right. hard corps proposition stained and streaming. herbal opaque judge and unrecognizable currents and cruelty with utopia’s little edges. the separate conversations radiate dark root bodies & instead an aural portal, a vibe. or two or three or four or five or seven of us with each other’s other/s. All together. All a part of this.

*from eve kosofsky-sedgwick

4-7 PM Performance  
7-8 PM Public Talk
8 PM Reception
Exploratory performances by Julie Tolentino, Amara Tabor Smith, Larry Arrington, Xandra Ibarra, and Maurya Kerr, developed as part of Tolentino's year-long Community Engagement Residency.  Followed by a group discussion with the artists, joined by Tolentino's colleagues, Debra Levine (New York University’s Tisch School of the Arts and The Hemispheric Institute for Politics and Performance) and Scot Nakagawa with ChangeLab.

This event was supported in part by the California Arts Council, a state agency. 

Sunday, November 12 (8 PM)
Bridge Project Reception

                                                                                                                                                               Lisa Evans in the premiere of  How I Got to Femme

                                                                                                                                                              Lisa Evans in the premiere of How I Got to Femme

Press Release

The 2017 Bridge Project is co-produced by CounterPulse, sponsored by the Joe Goode Annex, and supported by the NEA, the California Arts Council Artists Activating Communities grant, San Francisco Grants for the Arts, the Kenneth Rainin Foundation, and the Sakana Foundation, and generous individual donors. 

                                                                                                                                                                            Maryam Rostami in the premiere of  1396

                                                                                                                                                                           Maryam Rostami in the premiere of 1396



"The Bridge Project reimagines and even celebrates conversation as a form that brings us body to body."
-- Maxe Crandall and Selby Schwartz, Critical Correspondence/Movement Research, December 14, 2017

"Ordinary Practices of the Radical Body...will go down in my personal history as the greatest lec-dem of all time. Picture it: two queer icons alone together on the dance floor, step-touching their way through theories of gender, embodied identity, and precarity. Their dancing demonstrated that the philosopher has a body and the dancer has a mind—in other words, everyone is a bodymind—and the toll dancing and scholarly labor takes on the body was made visible by their talk about it." Sima Belmar, Body Nerds, In Dance, January 1, 2018

"For several years Hope Mohr's Bridge Project has connected history and the present moment, art and intellectual probing."
-- "His/Her/Their Moves", Dance Magazine, November, 2017

"The space they occupied transcended the theater stage to become the larger political sphere..."
--Marie Tollon, "A Gender Theorist and a Drag Performer Walk into a Theater",  ODC Dance Stories, November 15, 2017

"This year’s festival in particular is meant to unite artists, activists, and academics around the issue of gender equality — inviting performers to explore what it means to have a radical body through their respective mediums. And, with a program that features academics and performance groups, this year’s bridge Project makes that goal a reality. "
-- Eda Yu, "An Academic and a Drag Performer Dialogue Through Dance", KQED Arts, November 9, 2017

"By sparking encounters like th[e] one between the acclaimed San Francisco–based dancer, faux queen and performance maker [Monique Jenkinson] and the world-renowned philosopher, activist and gender theory trailblazer [Judith Butler]....[The Bridge Project] has been a boon to the local arts scene for seven years now." --Rob Avila, 48 Hills

"Hope Mohr is perennially inquisitive. The intellectual curiosity evident in her choreography extends to the intriguing, post-modern dance experiments she orchestrates each year under the imprint of the Bridge Project."
-- Carla Escoda, "Fall Dance Season Will Bring Political Fury to Bay Area Stages"KQED Arts, August 22, 2017

Emily Wilson Interviews Judith Butler, The Right to Be Who You Are, Truthdig, March 21, 2018

"Hope Mohr Dance and Bridge Project create absolutely vital and much-needed discourse for Dance and Performance in the Bay Area and beyond. To have my artistic work included as an integral part of that discourse has been and will continue to be deeply valuable to me."  --Monique Jenkinson, featured artist


dance of darkness: a performance, a conversation, a rehearsal for the future, boychild/Jack Halberstam, November 4, 2017