Author: sfdancematters

August 19th, “Observations of Predation in Humans”

By Coco Fusco 

This was not a dance: It was a performative lecture.

Disclaimer: I didn’t know anything about this event except that several of my colleagues were excited to go.  And one more –  I didn’t google anything before going.  I just went.  The full title: “Observations of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist.”

This performance was all about language in both form and content.  It was a retelling of a story, a narrative of the (human) present moment that is overwrought by domination and without much empathy.  It was told in the language of a non-human from the future, looking back.  

I enjoyed not knowing, took delight in the bits of surprise, and left not really knowing more, but knowing it a little differently.

August 8th, “Pope.L’s Costume Made of Nothing”

Choreographed and Danced by Brontez Purnell

I felt a little naughty stepping in and out of watching the piece, talking quietly with a friend, wandering around the YBCA art gallery.

I’ve never seen dance as part of an exhibit before (at least not to my memory at the present moment).  I liked the informality – kind of like flirting.  I was very much into my experience – the environs, the dance, conversation, other art works.  

It was a fun way to spend 30 minutes.

July 10th, “95 Rituals (for Anna Halprin)”

Performance project by inkBoat, directed by Shinichi Iova-Koga, presented by Dancers’ Group.

We only stayed for 30 minutes because Alice got hungry.

Glorious.

Stunning.

Beautiful.

The light, sound, colors, and movement were – yes, I am going to say it – perfect. For this perfection has to do with the totality of my experience, of seeing Alice transfixed (if only for 5 minutes at a time) by the movement, the warmth of the sun (so rare in July!), and my own delight.  The best –  when a dancer handed Alice a piece of tissue paper (on it was written, “who do you honor in your life?”).  Alice’s eyes were so wide and bright as she whispered: “thank you.”  The moment stayed with me all night – I was wrapped in happy.  

 

July 9th, “Bestiarium”

Choreographed by  Paige Starling Sorvillo and Violeta Luna with sound by Evelyn Ficarra

“It must be hot in those masks” (yes, I did say that during the Q & A).

It took some convincing, but I ended up really liking “Beastiarium (or a conversation on Empire and Multitude),” a “new work in progress.”  The movement from animal headed bodies (unicorn and rat) to naked humans was thoughtful and layered.  The excess and multitude on display in the dance was palpable, I felt it.  The dancers moved like animals, and like humans – they resided very much in between forms, identities,  genders, and attitudes.  It was odd, but an odd that was trying to say something about the present human condition that is both funny and disturbing.

June 5th and 6th, “Walking Distance Festival”

 

Programs A & C

I saw four different dances, and here are my very gut reactions to each one.

Program A

Double Exposure, RAWDance

The best I’ve seen of them and some segments were quite interesting.  I’ll go see the larger work, but I am still not sold on them choreographically or as dancers.  Why do they only choreograph for themselves?  As N said, “They seem a little too self-congratulatory.”

Pupil Suite, Gallim Dance

I’m just going to say it: I was kind of offended (and shocked that N had the same response).  There as a part of the dance that crossed a line.  I’m sure I opened my mouth in surprise, or scrunched up my nose – did I really just see that?  It’s hard to describe, but the movement seemed to be mocking to a degree of maybe not being aware of its potential offensiveness.  Didn’t anyone tell them?  Am I being too sensitive? Overall, I liked their aesthetic and the first two sections were fantastic.  I’m a little confused.

Program C

Dwelling, GERALDCASINGDANCE

Some responses:

K: “that was the longest 30 minutes of my life”

N: “that was so disappointing”

Probably the most interesting part was when one of them quoted Heidegger.  The rest was an utter bore.

The Dance that Documents Itself, Jess Curtis/Gravity

I don’t mind naked bodies on stage, but I need it to mean something.  The rest did seem to get at larger issues of digital documentation, subjectivity, etc.  I appreciated the moment when Jess stepped out to address the current state of San Francisco’s economy and housing crisis.  He recognized that some things just can’t be “danced” and need speech; dance isn’t always the best way to communicate.  I was a little surprised that Christy Bollingbroke mentioned that this piece is a “set-up” for the ODC Theater programming for the next season.  I am curious to see how that plays out and what it means.

May 30th, “Stay” and “Material of Attention”

Choreography by Hope Mohr 

I have never met her, but I love Hope Mohr

I think we could talk for hours about dance, movement, rhetoric even.  I very much enjoyed the show and her dancers. Although her work is abstract, it still speaks, articulates, thinks.  The program notes clearly reflect this attention/direction. The key, as it seems from the outside looking in, are dancers that can speak, articulate, and think with movement while holding performative space and doing performative practice.  I think I did what the program notes asked me to do – to  “stay inside [my] own subjective experience of these dances,” which is not easy to do, but easier with the right kind of dance and mood).

PS: went to Sandra Chin’s Professional Level ballet class and met James Graham, one of the dancers in the show.  We both ducked out during a complicated petite allegro, and had a great conversation about the making of the dances (and wearing that awesome skirt).  During our brief chat he reminded me that I am a dancer (even if I no longer get on stage) and that made me smile. 

May 8th, “Margaret Jenkins Dance Company: An Intimate Evening of Three Choreographers”

Choreography by Margaret Jenkins, Katie Faulkner, and Risa Jaroslow

Last year I saw the Margaret Jenkins anniversary show at YBCA.  It was the first time I had seen her work live, and it was a great show so I was keen to see what she’d been up to.  I also wanted to go to see Katie Faulkner’s new piece, Coat of Arms.  I was happily surprised to see Lauren Simpson dance again (Still Life for Two No. 2) but this time in a different piece – a lovely mover.  Katie is also a lovely mover, and her piece was also lovely. The piece by Jenkins, A Gallery of Rooms, was not that interesting.  The dancers were great – as expected – but the choreography didn’t seem to do much, or rather say much. I really wasn’t inspired by the end of the evening.  I wasn’t disappointed.  I was just….well, just. 

PS – Just realized I didn’t write about Jaroslow’s two pieces, Thinking Aloud  and Evolutionary Tales.

April 25th, University of San Francisco Dance Ensemble Spring 2015 Concert

Choreographed by University of San Francisco Faculty (with Guest Artists Lauren Simpson and Jenny Stulberg)

I got to see Still Life for Two No. 2 again – such fun, repeat

Student shows back-to-back.  It was great to see these two shows so close together (I am a geek and dance nerd for sure).  I have learned to appreciate the spring dance concert at USF, and it’s gotten better over the years.  It is usually a short program with a wide variety of dance (ballet, hip hop, contemporary, African), and the dancers dance their hearts out it.  This year, Naby Bangoura, D Montalvo, Eli Nelson, and Jennifer Polyocan presented dances.  The dancers may not have same level of technical skill as the Berkeley students and it may show, but their commitment to the performance, to the stage is just as strong. For example, Kusan-Hsuan Lee danced the solo variation from Esmeralda with such delight that I couldn’t help but giggle.  She didn’t have the best technique (and her costume was terrible), but she took command of the stage and didn’t let go.  It was a joy to watch, truly.