FRESH 2018 PERFORMANCES
FRESH Performances present 4 weekends of cutting-edge live art from January 5-27 at Joe Goode Annex, inviting 3 radical and risk-taking dance, music and performance makers each weekend to use the mainstage as a platform for new material and experimentation.
Weekend 1 – Friday + Saturday 1/5 + 6
NAKA Dance Theater (Debby Kajiyama x José Navarrete) + guests
ALTERNATIVA (Kathleen Hermesdorf + Albert Mathias)
Weekend 2 – Friday + Saturday 1/12 + 13
Gerald Casel + Keith Hennessy
Sara Shelton Mann
Rachael Dichter + Allie Hankins
Weekend 3 – Friday + Saturday 1/19 + 20
Brontez Purnell Dance Company
Weekend 4 – Friday + Saturday 1/26 + 27
Abby Crain/ Lisa Rybovich Crallé/ Samuel Hertz/ Layton Lachman/ mara poliak
Christine Bonansea (New York)
Photos: Robbie Sweeney
Weekend 1 – Friday + Saturday 1/5 + 6
By Tara Brandel
Cappaghglass was made in response to the current refugee crisis in Europe, using the rural Irish valley of Cappaghglass (where Tara was born) as a metaphor. Cappaghglass looks at displacement, otherness and migration, and our universal need for home.
Tara Brandel has been Artistic Director of Croí Glan Integrated Dance Company based in Cork, Ireland since 2006. She has just completed a two-year dance residency at the West Cork Arts Centre in Ireland , which included a retrospective exhibition of 25 years of her choreography. Tara performed in Leonie McDonagh’s Elk and Sainty, nominated for Best Performance Ensemble at the Dublin Fringe Festival 2015, and in Gawky and Awkward at the San Francisco International Arts Festival 2015. Most recently, she was commissioned to choreograph a site-specific integrated dance quartet at the Downtown Contemporary Arts Festival 2017 in Cairo, Egypt, and her short dance film CAR was screened at the Contact Dance International Film Festival in Toronto in June. She is performing with Croi Glan as part of Jess Curtis/Gravity’s Intercontinental Collaborations #7, at Joe Goode Annex, San Francisco in November. Having lived and worked in the Bay Area 1999-2006, Tara has recently returned to California and is currently doing an MFA in Dramatic Arts at UC Davis, for which she was awarded a Provost Fellowship.
ALTERNATIVA, directed by dancer Kathleen Hermesdorf with musician Albert Mathias, is an apparatus for deeply integrated contemporary dance and music via collaboration, creation, improvisation, performance, production, curation and education. Active in San Francisco since 1998, the organization supports the creative work of the directors, known for research, practice and performance pieces that explore human behaviors and conditions, corporeality and other ineffabilities. Activities, including an annual FRESH Festival, workshops in the Bay Area, residencies at universities, festivals and studios worldwide and PORCH/Ponderosa/POSSE in Germany, engage an extensive population of artists, audiences and participants. ALTERNATIVA is fiscally sponsored by Dancers’ Group and has received support from the Zellerbach Family Foundation, William + Flora Hewlett Foundation, Kenneth Rainin Foundation, CA$H Grant, CHIME/MJDC, San Francisco Arts Commission and The Suitcase Fund. / la-alternativa.us
Let Me Backtrack, for better or for worse (working title)
Conceived and Performed by NAKA: José Navarrete & Debby Kajiyama in collaboration with J Miakoda Taylor, Amelia Uzategui, Jose Abad, Miriam Wolodarski, Ronja Ver, Randy Reyes and Cookie Harrist.
An exploration and gathering of testimonials where privilege, supremacy, economics and race fuel a cathartic debate about the role of artists.
Weekend 2 – Friday + Saturday 1/12 + 13
Gerald + Keith
A dance in a theatre by Gerald Casel + Keith Hennessy
Exploring themes of collaboration, equity, and difference.
Gerald + Keith was originally created for Ocean Beach as part of a series of free outdoor performances produced by Circo Zero and funded by SFAC, CAC, and Rainin Foundation.
Philippine born Gerald Casel was raised in California where he began dancing in public school. His choreographic work complicates and provokes questions surrounding colonialism, cultural amnesia, whiteness and privilege, and the tensions between the invisible/perceived/obvious structures of power. As a teacher, he employs somatics as a way to amplify knowledge production through movement and by identifying and undoing coded systems of dance training that privilege Eurocentric canons and aesthetics. A graduate of The Juilliard School, he received an MFA from the University of Wisconsin-Milwaukee. Casel danced in the companies of Michael Clark, Stanley Love, Zvi Gotheiner, Sungsoo Ahn, Lar Lubovitch, and Stephen Petronio. Casel was awarded a ‘Bessie’ – New York Dance and Performance Award for Sustained Achievement. Casel is an associate professor of dance at University of California, Santa Cruz and is the Artistic Director of GERALDCASELDANCE. He was a Yerba Buena Center for the Arts Fellow in 2016, a Hellman Fellow in 2015, and is a Resident Arts at ODC (2015-2018). Future projects include collaborations with Keith Hennessy, Netta Yerushalmy, and Camping at Centre National de la Danse, Pantin.
Keith Hennessy, MFA, PhD, is a dancer, writer, choreographer, activist, and ritualist. Raised in Canada, living in San Francisco since 1982, he tours internationally. Keith’s 2016-17 collaborators include Peaches, Meg Stuart, Scott Wells, Jassem Hindi, J Jha, Annie Danger, Gerald Cassel, Blank Map and Turbulence. Awards include Guggenheim, USArtist, Bessie, and a few SF Izzies. Hennessy directs Circo Zero and was a member of Sara Shelton Mann’s Contraband, 1985-1994. Recent gigs include New Tretyakov / VAC Foundation (Moscow), Impulstanz (Vienna), Ponderosa (German), Warsaw Flow, TBA Festival (Portland), Movement Research (NY), American Realness (NY), and the colleges San Diego State, Mills, St Mary’s, and Hollins.
Frames/the revolving door II
Conceived and Directed by Sara Shelton Mann in collaboration with the artists – Jesse Hewit and Kathleen Hermesdorf, Performers and Robbie Beahrs, Sound Artist
In the border before crossing and in the absence of Part A, Part B becomes a small thread in a scenario of a torn map in the midst of a somewhat familiar terrain. Or, you could take option 3 leaving the mind at the door whimpering and making up all kinds of stories to get your attention, get a walk or pay the candy man.
Sara Shelton Mann has been a choreographer, performer, and teacher since 1967. She was a protégé of Alwin Nikolais and Murray Louis in New York City before moving to Canada where she met Andrew Harwood and fell in love with contact improvisation. In 1979 she moved to San Francisco and founded Mixed Bag Productions, for which she has continuously served as artistic director. One of its early manifestations was the company Contraband, launched as a performance group and research ground combining the principles of contact, systems of the body and spiritual practice into a unified system of research. Among her awards are a John Simon Guggenheim Fellowship, 6 Isadora Duncan Awards, Djerassi Artist in Residence Awards, Headlands Center for the Arts Residency 2016, Lifetime Achievement Bay Guardian Award, 10 Women Who Made a Difference, Bay Guardian “Goldie” Award, Foundation for Contemporary Arts Grants to Artists award (2016) and special achievement award “erasing time”: celebrating 30 years a radical dance legend, ( Sara Shelton Mann with David Szlasa and Norman Rutherford) Her Movement Alchemy training is an ongoing teaching project and is influenced by certifications and studies in the metaphysical and healing traditions. Sara’s performance work is a platform for collaboration and research in consciousness. www.sarasheltonmann.org
Jesse Hewit is grateful to be making art with his friend, Sara Shelton Mann. In addition to making performance work and collaborations, Jesse curates the Friction/Function series at Aggregate Space Gallery in West Oakland, serves as Program Manager for ODC Theater, and is currently writing a book of essays about his impressions of his dad and other time-based things.
Robbie Beahrs is an ethnomusicologist, sound artist, and filmmaker. His fieldwork in Russia, Mongolia, Kazakhstan, and the United States links archival research with multi-sensory ethnography, voice-driven performance practice, filmmaking, and soundscapes. His current research projects explore genealogies of throat-singing in the Altai Mountains, interspecies listening and voicing in Western Mongolia, and vibrational sensing with Russian cosmonauts and American astronauts during long-duration space flight. Robbie has collaborated with performance-makers at FlyTrap Studios (Oakland), Yerba Buena Center for the Arts and Z-Space (San Francisco), Los Angeles Live Arts, and Dock 11 (Berlin). He holds a PhD in ethnomusicology from U.C. Berkeley. For more information, please visit www.robeahrs.com
By Rachael Dichter and Allie Hankins
Set in an austere world characterized by coded language, penetrating focus, and biting humor, Allie & Rachael skillfully utilize the expansive and charged moments between events to slowly reveal a world where tension is currency, silence is sustenance, and surreality is a given. Seeking to undermine their (and our) status as subject or object, the women implore the audience to watch their world unfold slowly. They concretize images (shapes, desires, projections). Are you listening? Are they reading? Can you hear them? Do you see them? How far offshore are we now?
Rachael Dichter is a San Francisco based dancer, performer, choreographer and curator. She studied dance and art history at Mills College and was a 2015 Danceweb Scholar, and 2017 Artist in Residence at Caldera and a recipient of the Robert Rauschenberg Residency. Her work has shown at Dock 11 Berlin, Ponderosa Tanzland Berlin, Paf St Erme, Joe Goode Annex San Francisco, On the Boards Seattle, and she has been lucky to collaborate with a number of fierce and talented folks including Laura Arrington, Mica Sigourney, Ruairi Donovan, Allie Hankins, Sara Kraft, Abby Crain, Jesse Hewit, Marten Spangberg, Keith Hennessy and Jess Curtis, and for four years she co-curated the San Francisco based live arts festival THIS IS WHAT I WANT.
Allie Hankins is a Portland-based performer who makes works that toy with the destabilization of persona through uncanny physicality, wry wit, labyrinthine logic, and skillfully layered imagery, all while trying to suppress her contentious eagerness to please. She is an inaugural member of FLOCK: a dance center & creative home to Portland’s experimental dance artists spearheaded by Tahni Holt, and In 2013 she co-founded Physical Education: a critical & casual, reading & researching, drinking & dialoguing, dance & performance body comprised of herself, keyon gaskin, Taka Yamamoto, and Lu Yim. Physical Education hosts open reading groups & lectures, curates performances, and teaches workshops nationally. Most recently, Allie has performed with Julien Prévieux (Paris), Morgan Thorson (Minneapolis), Tahni Holt (Portland), and Ruairi Donovan (Ireland). She has been an Artist in Residence at Caldera, the Djerassi Resident Artist Program, the Robert Rauschenberg Residency, and will be an Artist in Residence at the Wassaic Project in February 2018. Outside of Portland her work has been presented in Los Angeles, San Francisco, Seattle, Minneapolis, Chicago, New York, Berlin, Austria, Cork, and Tel Aviv.
Weekend 3 – Friday + Saturday 1/19 + 20
By Kinetech Arts
MESH by Kinetech Arts juxtaposes old and new technologies to tell stories of personal struggles against life-threatening illnesses. A medical device – a mask made of mesh – holds not only suffering and fear but also hope and resilience. A virtual body is created through motion data captured live. Physical and virtual bodies communicate with each other, reveal and share emotions, and negotiate with a physically disabled body.
Navigating through these juxtapositions, we explore our fears, fall and catch each other, and cope with conflicting feelings. We find strength in our physical, spiritual and emotional limitations while constantly supporting one another.
Kinetech Arts creates performances that combine dance and science with the newest interactive technology. Founded by scientist Weidong Yang and choreographer Daiane Lopes da Silva in January 2013, Kinetech Arts has performed at CounterPulse, ODC Theater, YBCA, KUNST-STOFF arts, Headlands Center for the Arts, Palace of Fine Arts, Djerassi, De Young Museum, Darmstadt/Germany, among others. KA hosts the DanceHack, an annual tech + dance event, in association with CounterPulse SF. Kinetech Arts was recognized by the SF WEEKLY as “Best Genre-Defying Sci-Artistic Collaboration of 2014.” www.kinetecharts.org.
By Larry Arrington
Details coming soon.
Chronic: A Dance About Marijuana
By Brontez Purnell Dance Company
Brontez Purnell has been publishing, performing, and curating in the Bay Area for over ten years. He is the author of Fag School, The Cruising Diaries and Johnny Would You Love Me If . . . (My Dick Were Bigger), the frontman for his band “The Younger Lovers,” and founder of the Brontez Purnell Dance Company (BPDC). The company’s founders, Brontez Purnell and Sophia Wang, build works that combine punk rock subversion, free jazz improvisation and a company comprised of movers and artists of all disciplines. Purnell has recently turned from music and dance to writing in order to use his own sex life and his incisive voice as an artist living with HIV to paint a vivid portrait of a sex life in the San Francisco Bay Area now. His new illustrated book, The Cruising Diaries, continues Purnell’s tradition of DIY literary and performing art. Purnell lives and works in Oakland, CA.
Weekend 4 – Friday + Saturday 1/26 + 27
REQUIEM 3: Fosas Cuerpo
By Violeta Luna
Fosas Cuerpo is part of the series Requiem: Altares Efímeros (ephemeral altars), dedicated to the victims of state violence. Be it through extrajudicial killings, forced disappearance, or torture, this violence is imprinted on the body of its victims in order to generate terror and exercise control over those who survive. Clandestine burial in mass graves is among the worst expressions of this violence.
Requiem 3 is a poetic action intent in rescuing the memory and reclaim the humanity of those buried in Mexican mass graves. Grounded in an inclusive and public creative space, it questions and reveals the impunity of an institutional machine devised to impede the right to access truth, justice, and mourning.
Violeta Luna’s (Actress/Performance Artist/Activist) work explores the relationship between theatre, performance art and community engagement. Working within a multidimensional space that allows for the crossing of aesthetic and conceptual borders, Luna uses her body as a territory to question and comment on social and political phenomena. Born in Mexico City, Luna obtained her graduate degree in Acting from the Centro Universitario de Teatro (UNAM,) and La Casa del Teatro. She has performed and taught workshops extensively throughout Latin America and Europe, as well as in Rwanda, Egypt, New Zealand, Japan, Canada and USA. While primarily working as a solo performer, she is also an associate artist of the San Francisco-based performance collectives La Pocha Nostra (LPN) and Secos Y Mojados. She is a California Arts Council Fellow, and a member of The Magdalena Project: International Network of Women in Contemporary Theatre.
Roberto Varea’s creative work and writing focuses on live performance as means of resistance and peacebuilding in the context of social conflict and state violence. His stage work and writing includes direction and dramaturgy in community-based projects, publishing in journals and two books Acting Together, Peformance and the Creative Transformation of Conflict (New Village Press, 2011-2012), as well as regular collaborations with Violeta Luna and David Molina, primarily as part of the performance collective Secos Y Mojados.
David Molina (composer) is an award winning composer, multi-instrumentalist, sound artist/designer and recording engineer. He has created music and sound for theatre, video, film, dance, performance art, radio, television, installation, and multimedia productions for the past 20 years. Recently he has been inventing and building instruments from salvaged materials, which become part of interactive, multimedia installations displayed at galleries and festivals, including a solo exhibit Transience: The Work of David Molina, at Asterisk Gallery SF (2013,) He has worked with numerous bay area theatre companies, performing arts venues, educational institutions, museums, and with several regional companies and organizations throughout the U.S., and has performed and had his music featured internationally. His music and bands: Ghosts and Strings, Transient, Earthlike, and Impuritan are available on Resting Bell (Berlin,) Dorog Records (Peru,) Black Note Music (USA,) Distant Spore (USA,) or through his own D.I.Y. releases. http://drmsound.com
Abby Crain/ Lisa Rybovich Crallé/ Samuel Hertz/ Layton Lachman/ mara poliak
Three frogs sit on wet grass, but we are not sure if it is actually grass, or if they could actually be frogs because they have so much hair. They also dance.
Abby Crain is a Bay Area based dance artist whose work researches the destabilization of time, space, and logic through the use of non-linear, non-logical, often non-human frameworks for body based performance and movement making. She works in the field as a choreographer teacher and performer. Her work has been presented in NY, SF, LA, Portland, Chicago, Germany, Sweden, Great Britain and Ireland. abby-crain.com.
Lisa Rybovich Crallé is an interdisciplinary artist based in the SF Bay Area. Her installations and collaborative performance projects have been presented in the US and abroad, including Yerba Buena Center for the Arts (San Francisco), Detroit Institute of Arts (Detroit), the Berkeley Art Museum (Berkeley), Field Projects (NYC), and the Dublin City Gallery (Ireland). In addition to her studio practice, Lisa also teaches at California College of the Arts, and organizes Heavy Breathing with Sophia Wang – a monthly series of experimental, artist-led movement seminars. For more info visit: www.lisaRcralle.com and www.heavyheavybreathing.com.
Samuel Hertz is a Berlin-based sound-artist and researcher working at the intersections of psychoacoustics and expanded listening practices whose work and research has recentl
y been presented in France, Germany, Belgium, Austria, Sweden, the UK, and the US. As a recipient of the 2017 DARE Prize for Radical Interdisciplinarity (University of Leeds/Opera North: Leeds, UK), his current research concerns affective crossings between humans and environment, ecological soundings, and geophysical/atmospheric infrasonic sound. His research includes publications in association with Studio Tomas Saraceno, The Royal College of Art/Imperial College (London, UK), and Temporary Art Review, and lectures at the American Association of Geographers, Lancaster University, University of Leeds, Beloit College, and FH Potsdam •• samhertzsound.com ••
After working in the San Francisco Bay Area for seven years, Layton Lachman is now a Berlin-based artist. She is working in dance performance and continues to be deeply invested in the politics of alternative modes of artistic collaboration, curation, and social organizing. Her research is often in the realm of somatics and finding methods of utilizing these experiential practices in the creation of immersive worlds of sensorial complexity and perceptual disorientation.
mara poliak is a dancer, writer, and teacher based in Oakland, California. Their practice is centered on friendship as a way of life and queernaturecultures.
Conceived, Choreographed and Performed by: Christine Bonansea
Original Music Composed and Performed by: Nicole Carroll
Lighting Design by: Elizabeth Mak and Solomon Weisbard
Photography by: Robert Flynt
Graphic Programming by: Yoann Trellu
OnlyHuman is a solo inspired by Friedrich Nietzsche’s aphoristic volume Human, All Too Human. The performer/ choreographer is investigating the stark contradiction between our race’s capacity for freedom and beauty against its most destructive and illogical behaviors. Created in collaboration with visual artists Robert Flynt, Yoann Trellu and with the composer Nicole Carroll, the piece is conceived as a departure point for a future series. This highly kinetic and virtuosic dance is a meditation on bodily images and stereotypes of self in the context of the environment – geography, emotions, social structure.
Christine Bonansea is a New York-based dancer and choreographer with over 17 years of international experience in conceiving, directing/choreographing and performing movement-based works. She creates performances, installations, and films. She is the Artistic Director of Christine Bonansea Company, founded in 2010. Defined by expressive, virtuosic, improvisation-driven movement, her work inhabits an experimental, interdisciplinary, and collaborative environment in which other media – theater, video, visual art and design, spoken word, and music – play an important and integral part. Having studied Modern Literature at Paris’ La Sorbonne, she cites writers and philosophers as major influences.
Bonansea studied dance with such luminaries as Regine Chopinot, Catherine Diverres, Mathilde Monnier, Ralph Lemon, Anna Halprin, Nancy Stark Smith. She had the pleasure to collaborate and perform with such artists as, Nita Little, Catherine Galasso, Katie Duck, Kathleen Hermesdorf, Sara Shelton Mann, Faustin Linyekula, Tino Sehgal, Yoshiko Chuma.
In New York City, Bonansea’s work has been presented by Danspace Project, Dixon Place, at the Judson Church, Triskelion Arts, JACK. Her dances have also been developed in art residencies and commissioned by numerous venues and festivals worldwide, including YBCA, ODC Theater, San Francisco International Arts Festival, and The FRESH Festival (San Francisco); Headwater Theater (Portland); Atlantic Center for the Arts (South Beach, Florida); DanceMatters (Toronto, Canada); Whenever Wherever Festival (Tokyo, Japan); The Centre Nationale De la Danse – Paris and at DOCK11 (Berlin, Germany). Additionally, Christine is also an accomplished dance teacher in both professional / performative and therapeutic setting.
Christine Bonansea Company has been supported by funds from the Zellerbach Family Foundation, American Dance Abroad, Foundation for Contemporary Arts, Theater Bay Area the LAD-Dancer’s Group, and sponsored by New York Live Arts – NYC. www.christinebonansea.com
Nicole Carroll is a composer, performer, sound designer, and builder based in Providence, RI. Her work spans installation, improvisation, and fixed media performance. She is active as a sound designer and composer in theater, performs electronic music under the alias “n0izmkr”, and builds custom synthesizers and performance sensor systems. She is also a bassoonist, currently developing a sensor system for augmented bassoon. Other research interests include soft circuits and wearable sensors, and AV synthesis on mobile devices and embedded systems. Through her work, she seeks to reconcile the natural world with technology. Themes found in her work derive from reflections on nature, supernatural phenomenon, literature, and the human psyche. Nicole holds an M.M. and B.M. in Composition from Bowling Green State University and Arkansas State University, respectively. She is currently pursuing a Ph.D. in Computer Music and Multimedia at the Multimedia & Electronic Music Experiments (MEME) program at Brown University and in Brisbane (Australia).
Yoann Trellu is a visual designer – video programming, born 1976 in Chateaubriant, France. My first medium was photography. I started working with live projections in Nantes, France, in 1999. I first used photography and slide projections, but I quickly switched to computer and video projection. I’m interested in real time video software and especially Max/Msp/Jitter.
In October 2003 I move my base of activity to Berlin and started to collaborate with dance productions. Since 2004 I worked on 50 stage productions with more than 10 different directors in Europe, USA and Asia. I create imagery as well as project-specific multimedia software.