HMD is thrilled to have been invited by painter Liam Everett to hold open rehearsals as part of Everett's SECA Award exhibit at SFMOMA July 20-September 14.
The title of Everett's exhibition is: Look at a cat when it stalks a bird; or a beast when it wants to escape. Everett’s paintings reveal traces of their making, evidence of deliberate and repetitive actions focused on movement and materials.
Beginning July 20, HMD will be rehearsing every Thursday from 4-6 PM on the 4th floor of the museum (except no rehearsal July 27).
Liam Everett, Untitled (Eightercua), 78x55 inches, 2016
Courtesy of the artist
Come Support HMD's Programming
at our annual benefit for artist pay!
6-9 PM Thursday September 14
54 Washburn Street, San Francisco
All proceeds go directly to artist pay.
HMD's Bridge Project presents Becca Blackwell's They, Themself and Sherm at Z Below one night only Monday, September 18.
Blackwell is a NYC based trans actor, performer and writer. Existing between genders, and preferring the pronoun “they,” Blackwell works collaboratively with playwrights and directors to expand our sense of personhood and the body through performance. Some of their collaborations have been with Young Jean Lee, Half Straddle, Jennifer Miller’s Circus Amok, Richard Maxwell, Sharon Hayes, Theater of the Two Headed Calf and Lisa D’Amour. Becca is a recipient of the Doris Duke Impact Artist Award 2015.
They, Themself and Sherm is a disturbingly hilarious personal tale of being adopted into a Midwestern religious family, trained to be a girl, molested, and plagued by the question, “How do I become a man and do I even want that?” Blackwell recently performed They, Themself and Sherm at Under the Radar in NYC to critical acclaim; this San Francisco engagement is part of a larger West Coast tour that includes the TBA Festival in Portland.
Blackwell has “the razor-sharp timing of a stand-up comedian.” -BOMB Magazine
"Currently I do all the things that a man does, yet I don’t always feel comfortable using the term he, because I’m concerned that it will erase the entire struggle that shebrought with me. And there was a long time where I would present as I am in a masculine way, but request that people use she with me. It’s like, yeah I look like a dude, but you’re going to call me she, because I want you to rethink feminine bodies. Like, I am Martha and I am George. Deal with that." --Interview with Blackwell in the Huffington Post
Tickets available HERE
Photo by George Maracineanu
What does it mean to have a radical body?
Artists, activists and academics respond with two weeks of multidisciplinary performance and dialogue.
TICKETS ON SALE NOW AT counterpulse.org
FEATURED ARTISTS AND ACTIVISTS
Friday, November 3 (8 PM)
Judith Butler and Monique Jenkinson
Saturday, November 4 (8 PM)
Jack Halbertsam and boychild premiere
dance of darkness: a performance, a conversation, a rehearsal for the future
Friday, November 10 (8 PM)
Peacock Rebellion premieres You Really Should Sit Like A Lady (or how I got to femme)
What do martial arts, early 90's R&B divas, crotchety elders and sailor moon have to do with gender? A whole damn lot! Join Lisa Evans for an exploration of the hilarious, perplexing and sometimes infuriating contradictions in the process of gender identity formation in their first ever full length show You Really Should Sit Like A Lady (or how I got to Femme).
Saturday, November 11 (8 PM)
Maryam Rostami premieres Untitled 1396
Sunday, November 12
Julie Tolentino and The Hard Corps
Performance Installation 4-7 PM
Discussion 7-8 PM
Reception 8 PM
Featuring Julie Tolentino and The Hard Corps (Amara Tabor Smith, Larry Arrington, Xandra Ibarra, and Maurya Kerr) part of Tolentino's year-long Community Engagement Residency supported by the Bridge Project. In process explorations will be followed by a public group discussion with the artists, joined by Tolentino's colleagues Debra Levine and Scot Nakagawa.
At the Joe Goode Annex, 401 Alabama Street
Tickets on sale now at counterpulse.org
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, San Francisco Grants for the Arts, the Kenneth Rainin Foundation, and the Sakana Foundation, and generous individual donors.
This event is supported in part by the California Arts Council, a state agency. Learn more at www.arts.ca.gov
Photo of Maryam Rostami by Robbie Sweeney.
Courtesy of the artist
2017 COMMUNITY ENGAGEMENT RESIDENCY:
Julie Tolentino, The Hard Corps
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 in The Hard Corps include Maurya Kerr, Amara Tabor Smith, Xandra Ibarra, and Larry Arrington.
As part of their year-long engagement, Tolentino and The Hard Corps will show in-process exploration and offer a public discussion abut precarity, advocacy and the "radical." Joining the discussion, to offer their insights, are Tolentino's long-term colleagues Debra Levine and Scot Nakagawa. This unique event, part of the 2017 Bridge Project, Radical Movements, is Sunday November 12 at the Joe Goode Annex. Tickets are available now at counterpulse.org
This residency is supported in part by the California Arts Council, a state agency. Learn more at www.arts.ca.gov
Image of Julie Tolentino by Aldo Hernandez. Courtesy of the artist.
The 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, 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 workshop at ODC Theater from 12-5 PM:
Deconstructing Dance History: A Studio Practice
SUNDAY FEBRUARY 25, 12-5 PM
TO REGISTER email firstname.lastname@example.org
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 email@example.com
Photo by Caterina Verde.
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
10 AM-4 PM
Location: S.F. Conservatory of Dance, 301 8th Street, San Francisco
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 Retreat with Hope Mohr
Wed June 6-Sunday June 10
An intimate, intensive composition retreat with Hope Mohr in the remote woods of Mendocino County. Participants will have the opportunity for deep inquiry into their dancemaking over four days of making, unmaking, research, improvisation, reading, writing, and discussion. Participants will receive individualized mentorship. Part of the work will include writing about the work.
Workshop limited to 8 people. Participants can choose to 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 $350-$500
To apply, send statement of interest and resume to email@example.com