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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…

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

I’m very much so interested in this idea of opening new – it’s not a reopening, I’m not trying to return to the way things were before – I’m really invested in how we move forward.

Who’s getting funded and who has access to getting funded? And really looking at a lot of my mentors in the Bay Area and beyond who…have changed and shaped communities and done this work for decades and decades and decades, but because of resources and because of language barriers, they aren’t necessarily able to apply and receive the funding they should be. With that, I just felt it really important in that I don’t want to be one of the only ones from the Bay Area – in our kind of world of dancers of color who are coming from dance forms from traditionally Black and brown communities – I don’t want to be one of the only ones getting this. There are so many more people who need and deserve this – this funding.

You are reading excerpts from David Herrera and Jocelyn Reyes’ recorded conversation. Listen to the conversation. Transcript of the full conversation