ICPP/ODC Conversation during NPN in San Francisco
Performance Ecologies in Curatorial Practice
Hosted by ODC Theater and the Institute for Curatorial Practice in Performance
Friday, December 15, 6:30-7:30pm, ODC Theater
FREE // No Reservation Required
A conversation with Hope Mohr (Artistic Director, Hope Mohr Dance and curator/producer of The Bridge Project) in dialogue with Julie Potter (Director, ODC Theater) and Sarah Curran (Director, Wesleyan University's Center for the Arts).
Join us for happy hour noshes in the Mission and a discussion about curatorial practices and projects which entail partnership, shapeshifting among roles in performance making, and a focus on ecologies.
We'll look to The Bridge Project, which approaches curating as a form of community organizing and recently completed the Radical Movements festival, as well as public engagement and presenting collaborations at ODC Theater as points of departure to explore generating and amplifying cultural and cross disciplinary experiences.
*Please enter at the Shotwell Street entrance to the ODC Theater building (3153 17th St.) and proceed to the 2nd floor conference room.
In collaboration with painter Ranu Mukherjee, HMD will perform as part of the For Sight Foundation's Sanctuary exhibit on Fri January 26th. Tickets and information at https://www.for-site.org/project/sanctuary/
"The notion of sanctuary—both physical and psychological—has been fundamental in shaping a sense of selfhood and social identity throughout human history. But in an era of increasing global migration and rising nationalism, the right to safe haven is under threat, and the necessity for compassion is greater than ever. For its latest presentation of art about place, FOR-SITE invited 36 artists from 21 different countries to design contemporary rugs reflecting on sanctuary, offering visitors a multiplicity of perspectives on the basic human need for refuge, protection, and sacred ground."
-For Site Foundation
Photo of "We Are Multi-Dimensional Beings" by painter Ranu Mukherjee. Courtesy of the artist.
HMD will perform an excerpt of Precarious in New York City as part of the of the Pentacle Showcase.
Sunday, January 14th, 2018
New York City Center, Studio 4
130 W 56th Street New York, NY 10019
Free and open to the public.
No reservations required.
See highlights from Precarious HERE.
Photo by Margo Moritz.
The 2018 Bridge Project, in association with ODC Theater, presents Netta Yerushalmy's Paramodernities, a multidisciplinary series of lecture-performances or dance-experiments, generated through deconstructions of landmark modern choreographies.
These deconstructions are performed alongside contributions by scholars and writers who situate these iconic works and artists within the larger project of Modernism. Exploring foundational tenants of modern discourse, such as sovereignty, race, feminism, and nihilism, Paramodernities includes public discussions as inseparable parts of each installment.
February 23 and 24th, Yerushalmy will present installments devoted to Vaslav Nijinsky, Alvin Ailey, and Merce Cunningham at ODC Theater.
On February 25, Yerushalmy will teach a special public workshop at ODC Theater from 12-5 PM:
Deconstructing Dance History: A Studio Practice
SUNDAY FEBRUARY 25, 12-5 PM
TO REGISTER email email@example.com
Sliding scale: $75-$125
This workshop is about meeting ourselves a new, through re-embodying what I refer to as the "geological" layers that comprise our trained moving bodies.
In the first half of the workshop we'll spend time studying and dancing movements that we in some sense know, that we take for granted, or that we deem "old school" and naive. Like trying on a period-costume and allowing it to change our behavior, we'll reverently (if temporarily) commit ourselves to the physicality, meaning, and ideologies that these movements hold.
The second half of the workshop will be about manipulating that information with a variety of irreverent methods. These deconstructive methods aim at generating new perspectives for workshop-participants about our individual and shared past-present-future moving bodies.
ABOUT NETTA YERUSHALMY
Based in New York City since 2000, Netta was awarded fellowships from the Guggenheim Foundation, Jerome Robbins Bogliasco Foundation, New York Foundation for the Arts, and Six Points. She is a participant in the Extended Life program (LMCC), a NYSCA AIR at Movement Research, and a recent resident at Baryshnikov Arts Center, Jacob’s Pillow, and Harkness Dance Center. Netta’s work was presented by American Dance Festival, Joyce Theater, New York Live Arts, Jacob's Pillow Dance Festival, La Mama, Danspace Project, Harkness Dance Festival, + many others; In Israel by Curtain-Up, Jerusalem International Dance Week, International-Exposure; In Germany by HAU Hebbel am Ufer (Berlin), Institute for Cultural Inquiry (Berlin), and International Solo-Dance-Theater Festival (Stuttgart). Commissions for repertory companies: Ririe Woodbury (SLC, '15), Zenon (Minneapolis, '12,'14), Same Planet Different World (Chicago, '13), Philadelphia International Festival of the Arts ('11).
Netta was a DiP resident (Gibney), an AIR at Watermill Center, Djerassi, ICI Berlin, BAC, and Tribeca Performing Arts Center.
Netta worked with students at the Juilliard School, Rutgers University, Alvin Ailey, Tisch School of the Arts, University of Austin, University of Utah, James Madison University, Kelim Choreographic Center (Israel), University of the Arts (Philadelphia). Netta danced with Doug Varone and Dancers ’07-'12. She also performed with Nancy Bannon, MarMark Jarecki, Metropolitan Opera Ballet. She currently dances with Joanna Kotze, and Pam Tanowitz.
With questions or to register for the workshop, email firstname.lastname@example.org
Photo by Caterina Verde.
2017 COMMUNITY ENGAGEMENT RESIDENCY:
HMD is pleased to launch the Community Engagement Residency, funded in part by the California Arts Council Artists Activating Communities program, to provide sanctuary and creative opportunity for artists who identify as coming from the margins.
The 2017 Community Engagement Resident artist is Julie Tolentino. For a full year, HMD is supporting Tolentino in working intensively with a small cohort of artists, selected by Tolentino herself, to share art practices, investigate ideas of sanctuary, precarity and advocacy, and create new work. Artists participating include Maurya Kerr, Amara Tabor Smith, Xandra Ibarra, and Larry Arrington.
This residency is supported in part by the California Arts Council, a state agency. Learn more at www.arts.ca.gov
Images courtesy of Julie Tolentino
The Bridge Project and CIIS co-present
A Contact Improvisation Workshop with Kristin Horrigan:
(Un)Doing Gender in CI
Friday and Saturday
June 2 & 3, 2018
Free Public Talk June 1 at CIIS.
Location: S.F. Conservatory of Dance, 301 8th Street, San Francisco
Sliding Scale $125-$200
To register email: email@example.com
Contact Improvisation is about responding in the moment, playing with the possibilities, creating with what we find, and using our full physical capacity to navigate the situations that present themselves. Within this form, we have tremendous freedom to move our bodies and to discover different dynamics of dances. But, what if we are holding ourselves back from the full range of possibilities in our dancing, in ways we do not even realize? Gendered patterns of movement and interaction play a larger role in CI dancing than one might think, given that CI is a form without any proscribed gender roles. In our days together, we will seek to deepen our CI dancing, strengthen our technique, and expand the range of dances we have by discovering how gender lives in our movement and building strategies to undo the ways it limits us.
Kristin Horrigan is a contact improviser, Professor of Dance and Gender Studies at Marlboro College in Vermont, and the former Artistic Director of the intergenerational company Dance Generators. She has been dancing contact improvisation for 20 years, teaching regularly in the US and abroad. Begun as an exploration of the queer potential of CI as a gender-fluid dance, her current research is a practice of unearthing the habits and histories that limit us to gendered stories. In addition, Kristin’s CI teaching explores pedagogy that preserves the accessibility of CI for people of all body types and abilities, the skill of being interested in the moment, and relationships between play and composition. At Marlboro College, Kristin directs a curriculum that is oriented towards social justice, creative process, critical thinking, and interdisciplinarity. Kristin holds an MFA in Choreography from Ohio State University and works as a community-based artist, drawing together untrained and trained dancers to collaborate around issues of mutual concern.
To register email firstname.lastname@example.org
Composition Intensive with Hope Mohr
Wed June 6-Sunday June 10
An intimate retreat in the remote woods of Mendocino County. Participants will enjoy deep inquiry through making, unmaking, focused research, improvisation, reading, writing, and discussion. Participants will receive individualized mentorship. Part of the work will include writing about the work.
LIMITED TO 6 PEOPLE.
Participants can camp in tents or sleep indoors.
Workshop fee includes room and board for 4 days and 4 nights.
All food preferences accommodated. Open kitchen available. Participants are welcome to bring their own food to supplement meals.
Workshop Fee: Sliding scale $400-$500
To apply, send statement of intent to email@example.com
The Bridge Project Teaching Artist Series presents
A Workshop with Heather Kravas
November 3-4, 2018
TO REGISTER EMAIL firstname.lastname@example.org
Labor, Structure, Desire
A conversation between language, movement and each other, this class invites dance makers, performers and individuals to explore the emotional and dynamic edges of rigorous physical states. How may our dancing be simultaneously political and abstract? Formal and spontaneous? Precise and kinky? Deriving inspiration from a variety of teachers and sources, we will use improvisation, repetitive movement and task-oriented structures to create dances that value immediacy, depth and complexity.
About Heather Kravas
Heather Kravas is a choreographer and performing artist. Since 1995, she has investigated choreographic, improvisation and collaborative practices in contemporary dance to explore the limits of choreography as a form and her abilities as an artist. Combining recognizable traditions, tasks and somatic practices her dances grapple with structural idealism and uncontainable emotions. In a renunciation of the spectacular, she strives to illuminate actions such as labor, listening, concentration, failure and presence.
Kravas grew up in Pullman, Washington, where, under the tutelage of Deirdre Wilson, she studied classical ballet and the experimental theater theories of Jerzy Grotowski. Significant to her understanding of dance as a relevant and complex form are the many artists/teachers/colleagues she has been privileged to work with/for: Antonija Livingstone, DD Dorvillier, Dayna Hanson, Stephanie Skura, Marina Abramavic, Okkyung Lee, Yvonne Meier among many.
Ms. Kravas has received support from Creative Capial, the Doris Duke Impact Award, Foundation for Contemporary Art, MAP Fund, National Performance Network, Seattle Arts Commission, 4 Culture, f.u.s.e.d, Bossack-Heilbron Foundation, the Yard and Pact-Zollverein. Her choreography has been presented at venues including American Realness, Base, Chez Bushwick, The Chocolate Factory, Dance Theater Workshop, Danspace Project @ St.Markʼs Church, Fusebox Festival, The Kitchen, Movement Research @ Judson Church, On the Boards, Performance Space 122, Tonic and Velocity Dance Center as well as internationally.
Heather currently lives in Seattle, Washington with her family.
Photo by Jason Starkie.