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Lorraine Hansberry Theater’s JOYFUL NOISE: Volunteer Ushers

Fri- Sun, Dec 14 – Dec 23, times listed below
African American Art & Culture Complex Buriel Clay Theater, SF

Lorraine Hansberry Theater is looking for people to volunteer as ushers for their production JOYFUL NOISE, a gospel holiday concert.

December 14, 8pm
December 16, 3pm
December 20, 8pm
December 21, 8pm
December 22, 3pm & 8pm
December 23, 3pm

African American Art & Culture Complex
Buriel Clay Theater
762 Fulton Street
San Francisco, CA 94102

All ushers will see the show for free.

For details please email Robert at rhjdc@hotmail.com.

Contact: hjdc@hotmail.com

lhtsf.org

Art of Looking Sideways: Making Work—Ideas, Practice and Process

Sat, Dec 8, 11am-12:30pm
Bancroft Studio at UC Berkeley

Cost: $10 general admission
FREE for first 10 Dancers’ Group Members responses: Write to eduprograms@calperformances.org

Palissimo’s artistic director Pavel Zuštiak leads a dance-making workshop for choreographers, dancers, actors, artists working with body as medium. He will focus on developing conscious presence while improvising and connecting technique to composition. Participants will practice creating structures for dance; generating movement material, editing and deconstructing it; relationships between composition and improvisation; and introducing elements of chance. Open to all ages and abilities.

Contact: eduprograms@calperformances.org

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Performing Diaspora 2018 Volunteers

Thu-Sat, Dec 13-15
Thu-Fri at 6:30pm, Sat at 1:30pm
CounterPulse, SF

Volunteer at CounterPulse and see Performing Diaspora 2018 for free!

Performing Diaspora supports artists that are drawing on tradition as a radical way to be responsive, inclusive, and support equity. This year we present works that connect the historical othering of Asian bodies and current xenophobic regimes while honoring the legacy of local master, film icon, and hero, Bruce Lee.

Contact: justin@counterpulse.org

counterpulse.org

Alonzo King LINES Ballet travels to Paris to commemorate the UN’s Universal Declaration of Human Rights

Alonzo King LINES Ballet, the San Francisco-based, internationally celebrated contemporary ballet company, is pleased to announce it has been selected as one of the dance companies to perform at Wake of Humanity, a celebration of the 70th anniversary of the signing of the Universal Declaration of Human Rights. This historic event takes place at the Palais de Chaillot in Paris, December 10, 2018.

Seven decades ago, 48 nations came together at the Palais de Chaillot to sign the Universal Declaration of Human Rights. This milestone document affirmed an individual’s rights. The Declaration was the first step in the process of formulating the International Bill of Human Rights, which was completed in 1966, and came into force in 1976.

To commemorate this anniversary and reaffirm the values set forth by the Declaration, Alonzo King LINES Ballet will perform an excerpt of King’s groundbreaking work, Writing Ground. Company dancers Adji Cissoko, Babatunji, Robb Beresford, Michael Montgomery and Shuaib Elhassan will perform.

“We are incredibly honored that LINES Ballet has been invited to participate in the performances surrounding the 70th Anniversary commemorating the signing of the Declaration of Human Rights,” says Alonzo King. “The belief in human rights is at the core of our beliefs in all that we make and do at LINES.”

Wake of Humanity, directed by Anne-Laure Liégois, will also include works by artists Isabelle Adjani, Taigue Ahmed, Marcia Barcellos, Fabrice Bwabulamutima, Carolyn Carlson, Francois Chaignaud, Denis Guénoun, Anne-Laure Liégeois, Phia Ménard, Dominique Mercy, Mathilde Monnier, Wajdi Mouawad, Ohad Naharin, Angelin Preljocaj, Lia Rodrigues, Eric Ruf, Kirill Serebrennikov, and others. More information here.

While in Paris, Alonzo King will take part in Art Lab, a dialogue on human rights with artists from around the world at the UNESCO Headquarters on December 11, 2018. Moderated by journalist Audrey Pulvar, the event gives the floor to international artists to present their artistic research and describe their personal journey, especially as it pertains to human rights.More information about Art Lab is available here.

In addition, LINES Ballet dancers participated in the United Nation’s Stand Up 4 Human Rights’ online video Campaign leading up the 70thAnniversary of the Declaration. Each dancer recorded reading one of the 30 articles from the Declaration. The series of videos and others from people around the world are available here.

About Alonzo King LINES Ballet
Since 1982, Alonzo King LINES Ballet has collaborated with noted composers, musicians and visual artists from around the word to create performances that alter the way we look at ballet today. The Company is guided by a unique artistic vision that adheres to the classical form-the linear, mathematical and geometrical principles that are deeply rooted in the preexisting East-West continuum. LINES Ballet’s spring and fall home seasons and global tours share this vision of transformative, revelatory dance with 40,000+ audience members worldwide every year. It has been featured at venues such as the Venice Biennale, Monaco Dance Forum, Maison de la Dance de Lyon, the Edinburgh International Festival, Montpellier Danse, the Wolfsburg Festival, the Holland Dance Festival, and most recently Théâtre National de Chaillot in Paris.

Alonzo King has been honored by the dance world’s most prestigious institutions for his impact on the cultural fabric of the company’s home in San Francisco, as well as nationally and internationally for over more than three decades. Named a Master of Choreography by the Kennedy Center in 2005, King is the recipient of the Doris Duke Foundation Artist Award, the NEA Choreographer’s Fellowship, the Jacob’s Pillow Creativity Award, the Irvine Fellowship in Dance, the US Artist Award in Dance, and the National Dance Project’s Residency and Touring Awards. King has works in the repertories of San Francisco Ballet, the Royal Swedish Ballet, Frankfurt Ballet, Béjart Ballet Lausanne, Les Ballets de Monte-Carlo, Joffrey Ballet, Alvin Ailey American Dance Theater, Hong Kong Ballet, and Hubbard Street Dance Chicago, among others.

“Alonzo King is one of the few ballet choreographers working today who is genuinely thinking and asking his dancers to think, too. Who would have thought that ballet-so historically Western, hierarchical, and white-could be renewed by an African American child of the civil rights movement whose aesthetic vision and inquiring mind are pushing it out of its provincial state into the world” (Jennifer Homans, The New Republic).

Share your perspective: What does “health” mean to you?

Deadline: Tue, Nov 27

The double January/February issue of In Dance will feature several articles highlighting the broad, complex, and vital topic of “Health,” and we invite YOU – our community – to share your perspectives.

Take this short survey to share your responses to our questions. An edited selection will be published in the January/February issue of In Dance.

Survey link: docs.google.com

dancersgroup.org

Music video dance teacher for fundraiser

Weeknights during Wed-Fri, Nov 28-Dec 14, times TBD
TBA, San Francisco

Spark is the largest non-profit philanthropic network of young professionals dedicated towards advancing gender equality all across the globe. They are looking for a Bay Area-based instructor who can donate an hour of their time to teach a class based on moves from a music video (can work together with organizer). Venue TBA.

Contact: Karen Datangel, kmdatangel@gmail.com

sparksf.org

Volunteers Needed for Rotunda Dance Series

Fri, Dec 7, 11:30am-1pm, San Francisco City Hall, Cunamacué

Dancers’ Group and World Arts West are seeking volunteers to assist with the monthly Rotunda Dance performances. The performances occur at SF City Hall from 12pm-1pm, please arrive at 11:30am. Volunteer duties include helping set up, ushering, striking equipment, and handing out programs.

Volunteers will receive a 3 month extension or upgrade on their DG Membership.

Contact: Michelle Lynch Reynolds, michelle@dancersgroup.org

dancersgroup.org

KQED: Bay Brilliant: Amara Tabor-Smith

Dancer with blue scarf on rock

The politically charged dancer-choreographer discusses her ‘afro-futurist conjecture art.’ (Jean Melesaine)

One evening last March, dozens of black women sat in a circle in a downtown Oakland gallery to be blessed and encouraged to rest. Some wept, while others deeply exhaled. Onlookers hummed in unison. Then the women went to a private boarding house outfitted for further relaxation.

The scene was one part of “Black Women Dreaming: A Ritual Rest,” the 11th “episode” in multi-site performance series House/Full of BlackWomen, which Ellen Sebastian Chang created with local dancer-choreographer Amara Tabor-Smith. The series, intended to address displacement, well-being, and sex trafficking of black women and girls in Oakland, exemplifies what Smith calls her politically pointed, spiritually infused “afro-futurist conjecture art.”

Smith, 53, leads Deep Waters Dance Theater, a performance art ensemble centering ritual and folklore in its examination of issues facing people of color and the environment. In recent years, the Oakland artist and UC Berkeley lecturer’s work has increasingly foregrounded her spiritual practice as a Yoruba priest.

Read on as Tabor-Smith discusses collaboration as cultivation, preferring grocery stores to dance studios, and the enduring influence of her early mentor and teacher, the late dancer-choreographer Ed Mock.

How was House/Full of BlackWomen like or unlike any other project in your career?

First what I’ll say is that it isn’t behind me. It moved from being a two-year project to a five-year project. Whether due to grants, funding, or project goals, as artists we’re often dictated by the calendar, the clock. I really wanted to give myself and the women I would be collaborating with time to explore, discover, to be in process, and to cultivate larger community and trust.

The more that I got to know folks, and the issues, and delved deeper into the issues facing black women, not just myself and collaborators, but a larger community of black women, the more I realized, “Oh, this is gonna take time.” I say “cultivate” and not “build” because cultivation, like farming, like anything, needs attention, needs time, and needs seasons. My work is rooted in ritual, and something doesn’t become ritual without time, and without practice and dedication.

To a lot of artists, the prospect of a five- or even two-year project probably sounds luxurious. What advice do you have for artists attempting projects of that scope?

It’s about cultivating relationships, and that directly contradicts the ways we get socialized as artists, where we’re in competition with each other for resources, and therefore we’re alienated from each other. We’ll talk about wanting to make connection, but we’re also being really guarded because we’re under this idea of there’s only a few resources for a few people. But if we say, “No, it’s more important that I take time with this work,” and believe in it—it may not be easy, and the hustle is the hustle, but you help shift the culture that says five years is luxurious.

Amara Tabor Smith photo by Jean Melesaine

You grew up in San Francisco. Can you talk about your early life, and how you discovered dance and choreography?

I was born and raised in San Francisco. I started dancing as a teenager, a really young teenager. I studied with a very beloved dance figure whose name was Ed Mock. I’ve always credited him for why I became a dancer and dance maker. Ed was this phenomenal dancer, improviser, and really a Griot movement artist. I would say he raised me. I always say he was like my father in dance.

I remember walking into his studio, which was on 32 Page Street, and going into this room full of dancers all stretching on the floor—brick wall, wood floor—and I felt magic in the room. Then when he walked into the room to start class, I had this experience where, just being in his presence, I felt like I was seeing God. That’s how I felt, and I was never one to idolize anyone.

Then I started studying with him. I was in awe of him. I was afraid of him. I had such reverence and respect for him. The way that he would conjure the spirit of a character that he was dancing was much more the way of an improviser. Even though he choreographed movement on his dancers, he never choreographed movement for himself. Those two things really stuck with me.

Your series conjuring Ed Mock gave his legacy a lot more visibility, and it inspired Brontez Purnell to continue this project of honoring and remembering him. What would you say to other artists who’d like their work to similarly highlight secret histories of local culture?

That’s such an interesting question. I would say listen to the streets. If you’re not from the Bay, get to know people who’ve been here. Ask yourself why. So there’s a hidden history in San Francisco—what is it about that history that calls you? What is it about that energy that’s calling you? Listen to that, and be guided by it. Making that piece for Ed was the first time that I integrated my spiritual practice more profoundly into my artwork. It was really about listening. I prayed to Ed, and I said, “Tell me the piece you want me to make.” I just listened, and I trusted.

So I say that there are the obvious histories that will be in the forefront, that have to do with the people that had more visibility, for whatever reason. But I say for someone who really wants to look at the hidden history, listen. Go to the places. Go to the places and scratch the surface. And give yourself time that’s not just about the research where you go into the libraries and you go into the archives, but also when you go sit in the cafes where said histories took place, or where said people visited. If you go and sit in with the people and listen to the concrete, they’ll talk.

You mentioned your spiritual practice—how did you begin incorporating that into your work, particularly the Yoruba tradition?

I am a priest in the Yoruba tradition, and my spiritual practice has always been the underpinning of my work. Icons and figures have always presented themselves in my work, but more subversively, not necessarily on the surface. Partly that was because I felt like I didn’t want my spirituality to be seen as a dogma guiding my art. I wanted to keep that separate, and did so for a long time. But that felt disingenuous. There came a point where I felt like there was something missing. I didn’t know what it was, and then the opportunity came to make the piece for Ed.

I remember thinking, “You know, if I’m gonna do this, I really need to conjure him. And If I’m gonna conjure him, I’ve gotta use techniques that I use in my spiritual practice, which are about sitting with the dead.” You know, being in what you might call a séance. Kind of having rehearsals function as a kind of séance, and that requires that the performers participate. It was like I recognized through the making of the work that this was the piece that was missing in my work all these years, the need to incorporate spiritual ritual more prominently in my work.

It sounds like you’re saying there was sort of a stigma attached to spiritually centered art.

Totally. It’s only been recently that people who are actually engaging in ritual in their art-making practices have become more accepted. Before, people would be like, “What? What are you doing?” And there would be questions about this idea of, again, it coming from a sort of stereotypical Christian perspective of putting spirituality in your work, meaning that it’s religious.

A lot of your work is site-specific or outdoors. How and why did you get interested in moving dance away from the theater and the stage?

I feel more at home in environments outside of the theater. It’s not that I don’t make work in the theater at all, but I feel like the site work has given me more inspiration. Part of it is that my approach to site-based work is that your site is a character. Your site is a part of the story, is a character, an active environment. So I don’t use a street as if it’s a stage. It’s a collaborator.

I can go into a studio to make choreography and feel completely blank. Whereas I can be in the aisle of a supermarket and be more inspired to move my body because I’m stimulated by the energies, the people, the vegetables, the story that’s in that space. That’s just what feeds me.

To circle back to House/Full of BlackWomen, what’s next for that project?

Part of the reason that I wanted to continue this work is that we do ritual processions, and the procession work is rooted in sort of shifting the vibration of the topics that we are dealing with: displacement and the sex trafficking of black women and girls in Oakland. I’m less interested in educating people through the work, and more in shifting the vibration of the issues.

One of the ways we’ve done that is to do ritual processions down the streets of Oakland. Each time we’ve done one there’s been a shift. The hope is that the women who’ve been collaborating on the processions will continue them. To think of founding a society of black women who are dedicated to these processions to end trafficking and displacement, it becomes ritual, a neo-folk tradition. What might it look like for these processions to occur in Oakland for 30, 40, 100 years?

Five Trailblazing Black Dance Companies Awarded Half Million Dollars

The International Association of Blacks in Dance (IABD) has awarded each of its five (5) founding member companies — Cleo Parker Robinson Dance; Dallas Black Dance Theatre; Dayton Contemporary Dance Company; Lula Washington Dance Theatre; and The Philadelphia Dance Company (PHILADANCO!) — $100,000 each in unrestricted grants, totaling a half million dollars, to be applied to general operating expenses. IABD awarded its IMPACT 100 grants during its inaugural financial and organizational health program, MOVE: Managing Organizational Vitality and Endurance, which was generously funded by The Andrew W. Mellon Foundation.

iabdassociation.org

Book: Can You See Me Flying? Memoir of an Aerial Dance Pioneer

Can You See Me Flying? Memoir of an Aerial Dance Pioneer
by Terry Sendgraff

Terry Sendgraff has been a prominent figure in the Bay Area dance community since 1975. She consistently developed innovative and exciting new ways to dance and was the first to discover the movement vocabulary possible when integrating low flying trapezes with movement improvisation. Terry’s career as a performer, choreographer, and master teacher spanned five decades. Her early experimental and improvisational performances blended spontaneity and creativity. In “Year of Sundays,” Terry performed for 52 consecutive Sundays. She also founded and directed Fly By Nite, a women’s trapeze troupe; the Motivity Company; Women Walking Tall, a women’s stilt dancing project, and the Motivity Aerial Dancers. Her work was featured as part of the National Aerial Dance Festival in Colorado, the Michigan Women’s Music Festival, and Women Who Fly in San Francisco.

Terry has influenced several generations of dancers who now include aerial choreography in a variety of dance genres. She is recognized nationally as a pioneer of the form now known as aerial dance. She is credited with the introduction of the single point trapeze that expanded aerial movement possibilities. In Terry’s quest to “dance my own dance,” she has mentored hundreds of students toward that same goal. Her uniqueness and personal style have impacted all those who have worked with her.

In her newly published memoir, Can You See Me Flying? Memoir of an Aerial Dance Pioneer, Terry recounts the twists and turns of her life and career. Combining gymnastics, dance, and improvisation, Terry created performance art on trapezes, bungees, slings, stilts, a bicycle, and a child’s bed. Through her innovative teaching, performing, and choreography, Terry broadened the definition of dance.

Available on Amazon – amazon.com

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