August 13-20, Hope Mohr Dance will be the first resident in the Petronio Residency Center’s Community Partnership Program. While in residence, Mohr will be developing extreme lyric I for its October 2018 premiere.
Hope Mohr Dance is the first resident in PRC’s Community Partnership Program made possible with support from NYSCA, SHS Foundation, Rockefeller Brothers Fund and generous individuals
Photo by Margo Moritz.
Premiere of "extreme lyric I"
OCTOBER 4-6, 2018 Shows at 7 and 9 PM Co-produced by ODC Theater
extreme lyric I isinspired by and features Anne Carson's translations of Sappho.
Many credit the Greek poet Sappho with inventing the “lyric I,” a point of view anchored in the first person singular. Sappho's ecstatic, confessional work was ahead of its time in giving voice to individual desire.
How can we accept Sappho's invitation into embodiment? Or have our habits of selfhood closed us off from her vision of freedom?
This intimate work, a conversation between contemporary gender identities and an ancient approach to ecstasy, will be performed for small audiences in the round. Featuring Super 8 film projection design by Ian Winters, sound design by Theodore Hulsker, costume design by Tiffany Amundson, and lighting and set design by Tony Shayne. Original performance text in collaboration with Maxe Crandall. Performers:Maxe Crandall, Rose Huey, Tara McArthur, Hope Mohr, Suzette Sagisi, Jane Selna and Karla Quintero.
Performances October 4-6, 2018, ODC Theater. Shows at 7 and 9 PM.
Photo of HMD dancers Jane Selna and Karla Quintero by Margo Moritz. Concept/design Aza Raskin.
"Dancing Around Race" Public Gatherings
2018 COMMUNITY ENGAGEMENT RESIDENCY: Gerald Casel, Dancing Around Race
HMD's Bridge Project is proud to support choreographer Gerald Casel for a full year as Lead Artist in Dancing Around Race, the 2018 Community Engagement Residency.
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:
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.
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.
Collaboration with Ranu Mukherjee at the di Rosa Center for Contemporary Art
Hope Mohr is thrilled to be continuing her collaboration with visual artist Ranu Mukherjee through Mukherjee's Succession, a commission forBe Not Still, Living in Uncertain Timesat the di Rosa Center for Contemporary Art, June 13 - November 1, 2018.
Mukherjee’s installation features footage of HMD dancers on the grounds of the museum. HMD will perform inside the installation on October 13, 2018 from 3-5 PM. This work commemorates the one-year anniversary of the Sonoma fires.
The performance features new choreography developed through dancers' physical engagement with the burned and recovering landscape on the di Rosa property. It is a collaborative visceral response to the conditions of the aftermath as well as our intimate connection to the ground we stand (and dance) on.
Image of Saturn Time (2015) by Matthew Ritchie. Oil, ink, wax and varnish on canvas. All rights reserved.
Workshop with Heather Kravas November 2018
The Bridge Project presents 2018 Fall Teaching Artist Heather Kravas 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.
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.
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.
Leaving the Atocha Station
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'spostmodern 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.