Dancers for a Free Palestine: Tactics of Resistance that Artists Understand

As the horrors of the ongoing U.S. funded Israeli genocide in Palestine pour into our social media feeds from Gaza over the last six months, it has become more clear to me how FLACC’s seemingly small, yet, public “platform” has more influence and power on a political and cultural stage than I realized.

I Wonder if My Neighbors Can Hear Me Singing

In March, when we received the Stay at Home Order, I was burnt out. Most days, I was driving in circles around the Bay to keep up with my freelance gigs, eating peanut butter sandwiches in my car between jobs, and desperately in need of a break. I couldn’t have imagined when we received that first Stay at Home order on March 16 that we would be here now.

Anchor Us: Making and not Making in the time of Covid

For two artists who are self-producing events for their local communities, the notion of having a practice that negated any kind of product appealed—at once sustainable and restorative.

In Conversation: Maurya Kerr and Alaja Badalich

You are reading excerpts from Maurya Kerr and Alaja Badalich’s recorded conversation. Listen to the conversation. Transcript of the full conversation

Got Space? Launching A New Online Directory of Performing Arts Spaces

HAVE SPACE? NEED SPACE? Starting November 15, the Bay Area Performing Arts Spaces (BAPAS) online resource holds the keys to hundreds of venues throughout the Bay Area. The BAPAS website […]

What’s in a Conversation?

“We had an incredible Practitioner Exchange last night!” I tell my Luna colleagues, “I laughed, I even cried, we danced around, and the conversation just flowed.” I realize as I’m saying this, that I’m not fully describing the depth of the discussion, and that in fact, it sounds a bit trite.

Notes from an Invited Spy: My RSVP to 95 Rituals

“…How am I even going to write about this emerging, unfolding thing?…” I wrote this after my first day observing theater and dance company inkBoat in rehearsal for 95 Rituals, […]

Kularts & Alleluia Panis: Setting the Stage for Filipinx Diaspora Narratives

In a conversation about how she classifies her artistic practice, she told me that she does not consider her work to be “Philippine” dance, as that would be disrespectful to regional practitioners who undergo rigorous study, practice, and discipline that she as a choreographer and dancer who has livedmost of her life in the US has not undergone…

Out of Order: Disobedient Dance Criticism

“The review, the most common form of dance writing, is weak as much for how it attempts to describe the object of that performed event as for what it leaves […]

Care. Liberation. Now.: Changing Shape, Shaping Change

Dancing Care In April 2021, right after we’d both been vaccinated, I began to meet weekly with a dancer friend and collaborator.  We met, keeping our masks on, in my […]