An Afternoon of Conversation and Performance: Ranu Mukherjee, Judy Dater and Hope Mohr Dance
October 13, 2018
2:30 – 3:45pm: Mukherjee and di Rosa collection artist Judy Dater kick things off with a discussion addressing their shared interests in working with time, bodies, and landscape to address societal concerns.
4:00-5:30pm: Following a brief intermission, the event will continue with a special performance by Hope Mohr Dance activating Mukherjee’s Succession (2018), a multi-faceted installation created in collaboration with the artist for the exhibition. The installation and performance feature new choreography responding to the 2017 North Bay wildfires, developed through the dancers’ physical engagement with the burned and recovering landscape on the di Rosa property. The performance is a collaborative visceral response to the conditions of the aftermath and our intimate connection to the ground we stand (and dance) on. Featuring dancers Karla Quintero, Suzette Sagisi and Jane Selna, and audio composition by Mike Maurillo.
Hope Mohr is thrilled to be continuing her collaboration with visual artist Ranu Mukherjee through Mukherjee's Succession, a commission for Be Not Still, Living in Uncertain Times up at the di Rosa Center for Contemporary Art, June 13 - November 1, 2018.
Facebook event page here:
Photo of HMD dancers Jane Selna and Suzette Sagisi at the di Rosa Center for Contemporary Art by Ranu Mukherjee.
2018 COMMUNITY ENGAGEMENT RESIDENCY:
Gerald Casel, Dancing Around Race
As part of Casel's residency, HMD will present three public gatherings that invite the community into this year-long conversation around equity and the arts. The next gathering is:
Friday, October 26, Joe Goode Annex 10:30-12:30 AM
Featuring Barbara Bryan, Director of Movement Research in New York. FREE But Reservations are required: https://www.artful.ly/store/events/16388
The discussion will cover institutional thinking and models for advancing equity in the field, including:
—Movement Research as both institution and organization--how does the language of equity work or change depending on who is speaking and who is present in the audience
—The internal work that MR, as a traditionally white institution, has been doing towards equity, and the successes and challenges of that internal work
—MR's Artists of Color council
—How can this work remain artist-driven?
Thursday, February 28, 518 Valencia 7 PM
Featuring Guest Speaker Thomas DeFrantz, Chair of African and African American Studies and Professor of Dance, and Theater Studies at Duke University
Members of the artist cohort for Dancing Around Race are: Raissa Simpson, Zulfikar Ali Bhutto, Sammay Dizon, Yayoi Kambara and David Herrera.
Description of Dancing Around Race by Casel:
My choreographic work complicates and provokes questions surrounding colonialism, cultural amnesia, whiteness and privilege, and the tensions between the invisible/perceived/obvious structures of power. For this residency, I will be engaging with artists as co-interrogators to look closely at the role race plays in dance production and presentation. We will ask how our work as artists functions in society and how the communities we engage with are considered, internalized, and reflected through our work. Employing a 'systems thinking' approach, I hope to connect with sectors of the Bay Area dance ecology and beyond to engage in invigorated dialogue to better understand how all are interconnected. We will invite curators, critics, scholars, dance writers, grantors, collaborators, publicists, and audience members to come together to spark conversations around dance. We will address systems of support, power and privilege, race and colorblind racial ideology, issues and problems around diversity, resilience and sustainability, and more. Working with the premise that all sectors are interdependent, we will promote a culture of empathy so that every part of the dance community feels more visible, heard, and understood. Finally, we will identify issues that dancers, choreographers and their collaborators face and will try to create solutions to problems that may be attributed to misunderstandings, uninformed assumptions, and myths.
Dancing Around Race AUDIENCE READER
Funding for the Community Engagement Residency comes from the San Francisco Arts Commission and the Center for Cultural Innovation's Investing in Tomorrow program. This activity is also supported in part by the California Arts Council, a state agency. Learn more at www.arts.ca.gov.
Photo of Gerald Casel by Robbie Sweeney.
HMD is thrilled to be collaborating with renowned visual artist Matthew Ritchie as part of The Demon in the Diagram, Ritchie’s residency and exhibit at the Moody Center for the Arts at Rice University.
HMD will perform as part of the exhibit on Saturday, October 27th.
For more information visit https://moody.rice.edu/
Image of Saturn Time (2015) by Matthew Ritchie. Oil, ink, wax and varnish on canvas. All rights reserved.
The Bridge Project presents
2018 Fall Teaching Artist
November 3, 2018
Workshop 4-7 PM
Performance 8 PM
Location: Joe Goode Annex, 499 Alabama Street, San Francisco
WORKSHOP November 3, 4-7 PM
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.
To register: https://www.artful.ly/store/events/15515
PERFORMANCE November 3, 8 pm
Following the workshop, Kravas will perform material from a new on-going project called Solid Objects, a collaboration with visual artist Victoria Haven and Cecilia Lisa Eliceche.
BUY TICKETS HERE
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.
Hope Mohr’s stage adaptation of Ben Lerner’s acclaimed novel, Leaving the Atocha Station, premieres in the Bay Area January 25-27, 2019 at Southern Exposure. LA premiere Feb 1 & 2 at Highways Performance Space.
In Lerner's postmodern novel about an artist's search for authenticity, the protagonist poet, crippled by irony and doubt, longs to disappear into numbness. But he secretly believes in the power of art. Beyond merely staging the novel, Mohr's adaptation takes the genre-breaking nature of Lerner's auto-fiction as a jumping off point for hybrid theater: part dance improvisation, part monologue, part hallucinatory testimonial for the role of art in precarious times. Featuring two veteran performers, Christian Burns and Wiley Naman Strasser, each of whom embodies a different aspect of the protagonist's conflicted self.
Pictured here: Wiley Naman Strasser and Christian Burns in rehearsal.
Monday nights at 7 and 8 PM (one slot per artist)
ODC Dance Commons Studio B
October 22 -December 3
SIGN UP HERE: http://odc.dance/DancemakerClinic
A new opportunity for artistic growth and career coaching with choreographer and director Hope Mohr in ODC’s beautiful Studio B (50 feet x 61 feet). A full hour of individualized, private mentorship tailored around your needs and questions. Mentorship includes artistic feedback, production coaching, career strategy and a variety of tools to support your process. Artists can use the hour to show and document work in progress. Prior to your mentorship session, Mohr will connect with you to assess your needs and interests. Performance makers from all disciplines welcome. Appropriate for artists at any career stage. Monday nights at 7 and 8 PM (one slot per artist). Cost: $50 includes space rental of Studio B. Questions: email email@example.com.
SIGN UP HERE: http://odc.dance/DancemakerClinic