Practices

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FRESH 2018 PRACTICES

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FRESH Practices feature 13 innovative and experienced artists facilitating dance, embodiment, corporeality and physical arts from January 6-26 at Joe Goode Annex. Somatic, technical, experiential, improvisational, creative, performative and human practices for serious practitioners and curious bodies.

SCHEDULE

Saturday-Sunday, January 6 + 7
12:30-5:30 Chrysa Parkinson

Monday – Friday, January 8-12
10-12 ALTERNATIVA
1:30-3:30 Abby Crain
4-6 Kevin O’Connor

Saturday-Sunday, January 13 + 14
12:30-5:30 Keith Hennessy

Monday – Friday, January 15-19
10-12 ALTERNATIVA
1:30-3:30 Diana Thielen
4-6 Sara Shelton Mann

Saturday-Sunday, January 20 + 21
12:30-5:30 Brontez Purnell

Monday – Friday, January 22-26
10-12 ALTERNATIVA
1:30-3:30 José Navarrete + Juan Manuel Aldape Munoz
4-6 Violeta Luna

PRICES

1 Practice workshop $125
4 Practices for $400
8 Practices for $750
12 Practices for $1000

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Photos: Yvonne Portra

PRACTICE DESCRIPTIONS

Saturday-Sunday, January 6 + 7

12:30-5:30 Chrysa Parkinson

Performers and Authorship (II)
Physical performance practices and guided discussion will be used to consider experience as work, authored by the performer. Performers can be inscribed and informed (de-formed, re-formed) by both context and content. There’s a double pressure that forms a border-realm between the inside-out and the outside-in. What qualities does that border need? What are the roles and materials performers create when working between how they are seen and how they see? What traces are left when the role is over and the materials no longer in use? Who do those traces belong to? How?

Glitches, ghosts, kinesthetic empathy, abstraction, distraction and inscription are some of the many tools that will be welcome and in play during these two days.

Chrysa Parkinson is a dancer living in Stockholm and Berkeley, California. She lived in New York for many years and performed with Tere O’Connor Dance, Irene Hultman, Mia Lawrence, Jennifer Monson and Mark Dendy, among others. She began traveling to Belgium in 2000 to work on improvisational performance with Zoo/Thomas Hauert and David Zambrano. Since then she has also performed with: Adrian Heathfield, Veli Lehtovaara, Remy Heritier, Boris Charmatz, Andros Zins-Browne, Rosas/Anne Teresa De Keersmaeker, Jonathan Burrows, Mette Ingvartsen, Phillip Gehmacher, Eszter Salomon, John Jasperse, Deborah Hay, Alix Euynadi, Meg Stuart and Joaquim Koester. She has taught in the US, Europe and Australia, and yearly at PARTS (be) since 1998. Chrysa’s writing and films have been published and distributed internationally. Her most recent project, The Dancer as Agent Collection, is available at Oralsite.be. She is the Director of the New Performative Practices MFA program at DOCH/Uniarts in Stockholm.

Monday – Friday, January 8-12

10-12 ALTERNATIVA [Kathleen Hermesdorf + Albert Mathias]

GUT Motives

GUT Motives is an alternative contemporary dance class and ongoing research by ALTERNATIVA investigating corpo-reality and the act of motion from internal impulse to external expression. The work utilizes a hybrid of forms to encourage deep awareness and understanding of the body and the body in motion, motivated by multiple interpretations of GUT, including viscera, center of gravity, courage, instinct, intuition, revelation and vulnerability. The practice is a progression of energy cultivation, hands-on investigation, somatic improvisation, technical experiments and methods of falling, flying and inversion, culminating in dynamic, 3-dimensional phrase work. The class is an intimate, animated arena for physical and artistic exploration, deeply informed by live, original music, and cultivating sensate virtuosity, kinetic efficiency, physical perception, interactive intelligence and performance-level dancing.

1:30-3:30 Abby Crain

Future dreaming body

re wilding entropy tides vertigo mirages dream maps futurology ebb and flood delimitation disaster
shifting baseline continuity discontinuity epiphany interruption erosion ignition re sanding memory

use of logical and dis-logical landscape and ecologically based evaluative, reductive and creative frameworks to activate the moving body for future historical visionary beings.

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, performer, curator, and dramaturg. Her solo and collaborative work has been presented in NY, SF, LA, Portland, Chicago, Germany, Sweden, Great Britain and Ireland. Performance resume includes extensive performance work with Miguel Gutierrez and Sara Shelton Mann, as well as projects with Jesse Hewit, Jess Curtis, Kathleen Hermesdorf, Kirstie Simson, Guillermo Gomez Peña, and KJ Holmes. Collaborative resume includes current work with Layton Lachman and Mara Poliak, extensive teaching and performance with Margit Galanter under the moniker Art Workouts, and an ongoing conversation/collaboration around performance and language with Oakland poet David Buuck. She was certified to teach Open Source Forms by Stephanie Skura in 2014 and has been on faculty at Movement Research NYC, FRESH Festival, Ponderosa Tanzland, and Mills College. abby-crain.com.

4-6 Kevin O’Connor

Interconnecting Tissues: Improvising with fascia

This workshop moves and thinks with fascia and its emerging bio-medical claims and practices. We will move with and engage with the histories, practices and science discourse on fascia. In doing so we will address the potential of performance practices to intervene in and extend vital debates around biological and medical knowledge and practice, enhance our understanding of how fascia is made through practices, and potentially offer an antidote to biosciences influence and dominance. We ask, can engaging emerging biologies as non-essentializing material-cultural entanglements offer us new practices, and different ways of training our attention and body-minds, while acknowledging the implicit power dynamics at play within these biologies?

*** fascia or connective tissue—the viscous goop that connects, divides, and slides between muscles, organs, skin, and cells, and performance research in the arts. Fascia has been found to be active, intelligent, communicative, and a sensory organ—sometimes three, sometimes many and sometimes one liquid, solid and mucus.

Kevin O’Connor is a multidisciplinary artist working as a choreographer, dancer, improviser, circus artist and installation artist from Ontario, Canada and now based in the Bay area. He is involved in a decade long artistic collective exploring participatory de-colonizing performances within polluted watersheds in Ontario. Over the last few years he has worked with NAKA, Shakiri and Skywatchers in the Bay Area, Oncogrrrls feminist art collective in Spain, and collaborated with Inuit hunter and designer Paulette Metuq on a project in Nunavut in the Canadian Arctic. He has been learning with the axis syllabus community for over a decade and is a biodynamic cranial sacral practitioner. His current research examines anatomies, body performance capacities, interventions and imaginations in relation to science studies, including the becoming bio-capital, on fascia.

Saturday-Sunday, January 13 + 14

12:30-5:30 Keith Hennessy

Dance, witchcraft, healing

An experiential weekend in the borderlands of dance and healing. This is a workshop for people who want to experiment and collaborate, motivated by an expanded perspective on dance, choreography, healing, ritual, witchcraft, and performance. All people welcome. We’ll consider:

  • The role of place and its histories. Can we be here? Can healing happen here? Can I be an agent of healing happening here?
  • Working poetically with elements, directions, circle, and spiral
  • Improvised dancing as spell crafting
  • Dancing with objects or sound to shift the energetic fields in multiple worlds
  • World making generated by practices of care
  • When to focus on self, when to focus on other, when to focus on community, when to lose focus
  • Healing inspired by diasporic, marginalized, queer, and hybrid wisdoms, struggles, & movement
  • Fiction, pretend, poetics, and fake to manifest heightened states of realness, authenticity, & presence

 

Keith Hennessy dances in and around performance. Born in northern Ontario, he lives in San Francisco since 1982 and tours internationally. His performances engage improvisation, ritual, collaboration, and public action as tools for investigating political realities. Practices inspired by anarchism, critical whiteness, post/Modern dance, activist art, the Bay Area, wicca, punk, contact improvisation, and queer-feminism motivate and mobilize Hennessy’s work. Keith’s 2016-17 collaborators include Peaches, Meg Stuart, Scott Wells, Jassem Hindi, J Jha, Annie Danger, Gerald Cassel, and the collaboratives Blank Map and Turbulence. Keith’s recent teaching in universities, independent studios, and festivals includes Ponderosa (Germany), FRESH (SF), HZT (Berlin), Movement Research (NYC), Impulstanz (Vienna), Portland State University, Sandberg Institute (Amsterdam), St. Mary’s, VAC Foundation (Moscow), and Warsaw Flow International CI Festival. Awards include the Guggenheim Fellowship, United States Artist Fellowship, a NY Bessie, multiple Isadora Duncan Awards, and a Bay Area Goldie. Keith’s writings have been published in Contact Quarterly, Movement Research Journal, Performance Research (UK), Society of Dance History Scholars Journal, Dance Theatre Journal (UK), Itch, Front, and In Dance. Hennessy directs Circo Zero and was a member of Contraband with Sara Shelton Mann. Hennessy is a co-founder of CounterPULSE (formerly 848 Community Space) a thriving performance space in San Francisco. He earned an MFA and PhD from UC Davis. www.circozero.org

Monday – Friday, January 15-19

10-12 ALTERNATIVA

GUT Motives

GUT Motives is an alternative contemporary dance class and ongoing research by ALTERNATIVA investigating corpo-reality and the act of motion from internal impulse to external expression. The work utilizes a hybrid of forms to encourage deep awareness and understanding of the body and the body in motion, motivated by multiple interpretations of GUT, including viscera, center of gravity, courage, instinct, intuition, revelation and vulnerability. The practice is a progression of energy cultivation, hands-on investigation, somatic improvisation, technical experiments and methods of falling, flying and inversion, culminating in dynamic, 3-dimensional phrase work. The class is an intimate, animated arena for physical and artistic exploration, deeply informed by live, original music, and cultivating sensate virtuosity, kinetic efficiency, physical perception, interactive intelligence and performance-level dancing.

1:30-3:30 Diana Thielen

MOVEMENTACTIVISM

creating a space where the investigation of biomechanics meets intersectional feminism

In the context of the Axis Syllabus, we’ll discover the lived anatomy of the human body through movement, engaged discussions, and time to embody theoretical knowledge. As dance and movement practices often tend to center form and aesthetics, the utilization of biomechanics, physics and anatomy offers a different sort of freedom in one’s own movement vocabulary and therefore enables people with a wider range of bodies and (training-) experiences to participate.

My research in Gender-Studies supports the approach that our identity is always embedded in complex power structures. In the way each workshop is working with and presenting scientific resources, my aim is to be mindful and also open for debate, to establish a constant reflection-mode. That might be complex, confusing even at first, but also enriching and heartening.

Diana Thielen is a dancer/performer, teacher of the Axis Syllabus, dedicated feminist, and student of education and gender studies, based in Berlin, Germany. She graduated from Salzburg Experimental Academy of Dance/SEAD in 2008, worked as a Vinyasa-Yoga teacher afterwards, and then moved to Berlin to study the Axis Syllabus and establish regular (AS-) classes/workshops and intensives.
Diana usually works within the sphere of dance, performance, yoga, pedagogy, artistic exchange and collaborations. As an movement activist for example, Diana is involved in organising gatherings exploring the intersection of dance and body politics, as for example the Radical Contact Spring /Sweden 2016 and its following meeting in Winter 2017. She is teaching workshop/classes/intensives in Contemporary dance, CI/partnering and Yoga in Berlin and all around in Europe. Currently Diana is collaborating with the director/performer Alisa Tretau, with whom she already worked and performed in the (queer-) feminist and sex-positive Installation “Sweet Peep Salon”, Berlin 2016. Together with performer Sarah Bouars she got invited to perform the duo “2 feminist perspEGGtives” at the International Feminist Art Festival Chouftouhonna 2017 in Tunis/Tunisia. As an on-going research Diana is following and assisting Kristin Horrigan in her exploration of Gender in Contact-Improvisation, as well as initiating own researches and activities within that field.

4-6 Sara Shelton Mann

applied compositional research from improvisation

Bring some questions, subjects, titles, or pictures

We’ll do chi-cultivation and improvise and repeat and repeat till the skin comes off the idea, till we sit in the midst of emptiness, till we stand down from positioning – till the cows come home

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

Saturday-Sunday, January 20 + 21

12:30-5:30 Brontez Purnell

When I choose to explain the curve of my path

As a multi- disciplinary artist I’m am often confronted/conflicted/forever negotiating the singularity and the one beat that drives all my practices. I am a dancer, writer, musician, and film-maker. For the purpose of this workshop we will explore the interface of my first two artistic loves- dance and writing. In moving through the world of dance- a body based practice that (basically?) more often than not forgoes the use of speech- the mode of physical expression is the emotive- to express with gesture where words may fail. I have often noticed in my practice the dance world has also given me an entire analytical arsenal in approaching the world of the written word. In this work shop will will explore/investigate/deconstruct the inescapable world of movement and the written word. Please bring a notebook and paper.

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.

Monday – Friday, January 22-26

10-12 ALTERNATIVA

GUT Motives

GUT Motives is an alternative contemporary dance class and ongoing research by ALTERNATIVA investigating corpo-reality and the act of motion from internal impulse to external expression. The work utilizes a hybrid of forms to encourage deep awareness and understanding of the body and the body in motion, motivated by multiple interpretations of GUT, including viscera, center of gravity, courage, instinct, intuition, revelation and vulnerability. The practice is a progression of energy cultivation, hands-on investigation, somatic improvisation, technical experiments and methods of falling, flying and inversion, culminating in dynamic, 3-dimensional phrase work. The class is an intimate, animated arena for physical and artistic exploration, deeply informed by live, original music, and cultivating sensate virtuosity, kinetic efficiency, physical perception, interactive intelligence and performance-level dancing.

1:30-3:30 José Navarette and Juan Manuel Aldape Munoz

Borderlines, Exodus, Corporealities: Feelings and Concepts of the Foreigner

This workshop is an exploration of documented and undocumented bodies in motion across borders. We will center our time together on the complexities and residualities of the foreign body, considering exodus, memory, culture, and belonging. We will take a disembodied approach to foreground the felt conditions that force the body to immigrate and experience the multi dimensionalities of shapeshifting in new environments. We will consider the following concerns: How do the political, social, and economic conditions of immigrant bodies impact feelings of moving and dying across imaginary and real borders? What is the physical capacity of the body when it is blocked, obstructed, removed or impeded? How are these border-realities manifested through relationships, architecture, and public spaces? An inquiry of motion, memory and borders facilitated by Juan Manuel Aldape and Jose Navarrete.

Juan Manuel Aldape Munoz is a formerly undocumented, working-class choreographer born in rural Mexico. As practitioner and researcher, his work focuses on movement, migration and mapping discourses related to undocumented bodies and choreographic processes. He is the curator and coordinator of the Festival of Latin American Contemporary Choreographers. He co-founded A PerFarmance Project, site-specific collaborations between farmers and performers researching the concept of food security from rural and urban perspectives. He is a PHD candidate in Performance Studies at the University of California Berkeley (USA). He holds an MA in International Performance Research from the University of Warwick (UK), as well as a BFA in Modern Dance and BA in Anthropology from the University of Utah (USA).

José Navarrete is a native of México City where he was first exposed to theater and dance, choreographing and performing in parks, hospitals, and children’s parties as a clown and dancer. He studied dance at the National Institute of Fine Arts in México, and has a B.A. in Anthropology from UC Berkeley and M.F.A in Dance from Mills College. José was the recipient of a Bessie Schönberg residency at The Yard, and a Djerassi residency. José is the recipient of a CHIME Across Borders fellowship with Ralph Lemon. Navarrete has taught dance and performance to youth and adults in Mexico, and in the San Francisco Bay Area at Berkeley High School, Marin Academy, Cal State East Bay, and Yerba Buena Center for the Arts. He currently curates and produces the Live Arts in Resistance (LAIR) initiative at Eastside Arts Alliance, which provides residencies and performing opportunities for artists of color in East Oakland.

4-6 Violeta Luna

The Body in Action: Paths Towards a Personal Cartography

Workshop participants will make use of important to have their personal memory and identity as the expressive territory where they will chart a vocabulary of stage actions. Drawing on their use of body, participants will also work on imagery related to their individual and social understanding of gender, sexuality and race. Some thematic threads in the workshop include: Body (fiction and non-fiction, presence and inner strength, body as subject/object;) Space (internal and external, spatial relationships, the intervention of public and private space;) Time (real-time, fictional-time, ritual-time;) Action (site-specific, action – reaction, responses to real and imagined stimuli, audience interaction, the creative accident.) Please bring one or two meaningful objects from your personal archeology.

Violeta Luna’s (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 and Secos & Mojados. She is a Creative Capital and National Association of Latino Arts and Cultures (NALAC) Fellow, and a member of The Magdalena Project: International Network of Women in Contemporary Theatre.

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