2017 Bridge Project, Radical Movements: Gender and Politics in Performance. Photo credit (L to R): Maryam Rostami by Robbie Sweeney; boychild by Matthew Stone; Lisa Evans by Sonjhai Megette

Upcoming

2017 BRIDGE PROJECT
RADICAL MOVEMENTS:
GENDER AND POLITICS IN PERFORMANCE


November 3-12, 2017
Performances, conversations and workshops inspired by the question:
What does it mean to have a radical body? 

AUDIENCE READER  

SCHEDULE OF EVENTS
 

Friday, November 3 (8 PM)
Judith Butler and Monique Jenkinson in Ordinary Practices of the Radical Body
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 (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. 

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).
At CounterPulse

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)

A.U.L.E. 

-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 (audience is free to come and go during these three hours)
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 is supported in part by the California Arts Council, a state agency. 

Sunday, November 12 (8 PM)
Bridge Project Reception
Talk about the work and mingle with the artists and speakers.
Joe Goode Annex

“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

Tickets for all events on sale in September at counterpulse.org

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. 

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ABOUT THE BRIDGE PROJECT

The Bridge Project approaches curating as a form of community organizing to facilitate cultural conversations that cross discipline, geography, and perspective.  

The purposes of the Bridge Project are:

  • Create an intellectual commons for and among artists;
  • Promote alliances and relationships among artists;
  • Facilitate relationships among artists and activists in the struggle toward equity.

Bridge Project programming includes:

  • Teaching Artist Series (brings master teachers to the Bay Area)
  • Community Engagement Residency (provides sanctuary and creative opportunity for artists who self-identify as marginalized)
  • Multidisciplinary Performance

New Program: Community Engagement Residency

2017 Community Engagement Resident Artist Julie Tolentino

2017 Community Engagement Resident Artist
Julie Tolentino

 
 

Multidisciplinary Performance

Bridge Project 2017 RADICAL MOVEMENTS: GENDER AND POLITICS IN PERFORMANCE Image of Julie Tolentino Photo credit Aldo Hernandez Courtesy of the Artist  

Bridge Project 2017
RADICAL MOVEMENTS:
GENDER AND POLITICS IN PERFORMANCE

Image of Julie Tolentino
Photo credit Aldo Hernandez
Courtesy of the Artist

 

Bridge Project 2015: Rewriting Dance an exploration of the intersection between language and choreographic thinking featuring Deborah Hay, Jeanine Durning and Alva Noe Photo of Jeanine Durning by Ian Douglas

Bridge Project 2015:
Rewriting Dance

an exploration of the intersection between language and choreographic thinking featuring Deborah Hay, Jeanine Durning and Alva Noe

Photo of Jeanine Durning
by Ian Douglas

 
Bridge Project 2016: Ten Artists Respond to Locus a multidisciplinary exchange inspired by dance pioneer Trisha Brown Photo of Trisha Brown by Lois Greenfield

Bridge Project 2016:
Ten Artists Respond to Locus

a multidisciplinary exchange inspired by dance pioneer Trisha Brown

Photo of Trisha Brown
by Lois Greenfield

Bridge Project 2014: Have We Come a Long Way, Baby? an intergenerational celebration of female postmodern choreographers featuring Anna Halprin, Simone Forti, and Lucinda Childs Photo of Anna Halprin by Margo Moritz

Bridge Project 2014:
Have We Come a Long Way, Baby?

an intergenerational celebration of female postmodern choreographers featuring Anna Halprin, Simone Forti, and Lucinda Childs

Photo of Anna Halprin
by Margo Moritz

Teaching Artist Series

2017 Spring Teaching Artist Miguel Gutierrez: Making Work Photo of Miguel Gutierrez by Ian Douglas

2017 Spring Teaching Artist
Miguel Gutierrez:
 Making Work

Photo of Miguel Gutierrez
by Ian Douglas

2014 Spring Teaching Artist Stephanie Skura: Open Source Forms  

2014 Spring Teaching Artist
Stephanie Skura:
 Open Source Forms

 

2016 Spring Teaching Artist Chrysa Parkinson:  Performers and Authorship

2016 Spring Teaching Artist
Chrysa Parkinson:
 
Performers and Authorship

2013 Spring Teaching Artist Susan Rethorst: The Choreographic Mind at Work

2013 Spring Teaching Artist
Susan Rethorst:
 The Choreographic Mind at Work

 

CURRENT AND PAST BRIDGE PROJECT ARTISTS & SPEAKERS

Becca Blackwell (2018) They, Themself, and Schmerm
Julie Tolentino (2017 Community Engagement Resident Artist) The HARDCORPS
Miguel Gutierrez (2017 Teaching Artist) Making Work
Diane Madden/Trisha Brown Dance Company (2016)  Ten Artists Respond to Locus  
Gerald Casel (2016)  Ten Artists Respond to Locus  
Xandra Ibarra (2016)  Ten Artists Respond to Locus  
Gregory Dawson (2016)  Ten Artists Respond to Locus  
Larry Arrington (2016)  Ten Artists Respond to Locus  
Peiling Kao (2016)  Ten Artists Respond to Locus  
Amy Foote (2016)  Ten Artists Respond to Locus  
Cheryl Leonard (2016)  Ten Artists Respond to Locus  
Affinity Project (2016)  Ten Artists Respond to Locus  
Frances Richard (2016)  Ten Artists Respond to Locus  
Tracy Taylor Grubbs (2016)  Ten Artists Respond to Locus  
Chrysa Parkinson (2016 Teaching Artist) Performers and Authorship
Deborah Hay (2015) A Continuity of Discontinuity
Alva Noe (2015) See me if you can!
Michele Steinwald (2015) Reorganizing Ourselves
Jeanine Durning (2015 Teaching Artist) inging & what we do when we do the thing we do before we know what we are doing
Maurya Kerr (2015) Talk the Walk
Jenny Stulberg/Lauren Simpson (2015) Still Life No. 4
Maureen Whiting (2015) Talk the Walk
Megan Nicely (2015) Talk the Walk
Simone Forti (2014) News Animation
Anna Halprin (2014) The Courtesan and The Crone
Lucinda Childs (2014) Carnation (performed by Hope Mohr)
Stephanie Skura (2014 Teaching Artist) Open Source Forms
Susan Rethorst (2013 Teaching Artist) Behold Bold Sam Dog
Dusan Tynek (2012) Transparent Walls and Base Pairs
Liz Gerring (2011) She Dreams in Code
Molissa Fenley (2010) Mass Balance
Yvonne Rainer (2010) Trio A (performed by Hope Mohr and Robbie Cook)

WHAT PEOPLE ARE SAYING ABOUT THE BRIDGE PROJECT

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

"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

“HMD’s Bridge Project fills a critical gap in the artistic and intellectual life of the Bay Area dance community by honoring the past and giving context to the present through its remarkable annual series of guest artists and events.” 
-- Stanford University's Dr. Janice Ross

"[The Bridge Project] is an artist’s-curated initiative that opens the thinking processes that go into creation of work."
--Critic Rita Felciano, KQED Arts, "The Do List," November 6, 2015

“[The Bridge Project goes] beyond [Mohr's] work as choreographer and artistic director to lead processes often executed by performing arts presenters and venues.”
-- Julie Potter, ODC Theater Director

“Rather than creating a bridge that reinforced the distinctions between disciplines, the Bridge Project offered a view of an inclusive community—one in which complementary, rather than disparate, pursuits benefited each other and those in attendance.”
--Joe Ferguson, "Science, Philosophy and Performance Art in 'The [2015] Bridge Project,'"  SciArt in America, Dec. 28, 2015

"[HMD's Bridge Project presents]...intelligent and excellent evenings of dance. The Bay Area owes her."
--Rita Felciano, " Dance View Times, Vol. 31, No.4, Autumn 2014

"I see the Bridge Project as a counter-balance to th[e] propensity towards isolation [in the Bay Area]. It keeps us connected and aware of a broader history and larger artistic community.  Its facilitators provide artists with tools and a space to deepen their understanding of their own artistic inclinations and intent. I suspect that this rigor and clarity with respect to intent increases our potential to engage in meaningful exchanges outside our immediate community. "

--Karla Quintero, Participant in the 2016 Bridge Project: Ten Artists Respond to Locus

 

FUNDING

Funding for the Bridge Project comes from the NEA, San Francisco Arts Commission, California Arts Council, San Francisco's Grants for the Arts, the Kenneth Rainin Foundation, the Sakana Foundation, and generous individual donors. 

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Gallery photo credits:
Trisha Brown (by Lois Greenfield); Anna Halprin (by Margo Moritz), Jeanine Durning (by Ian Douglas), Stephanie Skura, Simone Forti (by Margo Moritz), Hope Mohr (performing Lucinda Childs' Carnation/by Margo Moritz).