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Cynthia Ling Lee
About This Artist
Cynthia Ling Lee (concept and choreography) instigates postcolonial, queer, and feminist-of-color interventions in the field of experimental performance. Trained in North Indian classical kathak and US postmodern dance, she is committed to intimate collaborative processes and foregrounding marginalized voices and aesthetics. Cynthia’s interdisciplinary performance work has been presented at venues such as Dance Theater Workshop (New York), REDCAT (Los Angeles), Painted Bride Arts Center (Philadelphia), Links Hall (Chicago), SZENE Salzburg (Salzburg), Taman Ismail Marzuki (Jakarta), and Chandra-Mandapa: Spaces (Chennai). Cynthia was the recipient of a Thomas J. Watson Fellowship, an Asia-Pacific Performing Arts Exchange Fellowship, a NET/TEN grant, and a Taipei Artist Village Residency. Influential teachers and mentors include Simone Forti, Eiko & Koma, Judy Mitoma, Pallabi Chakravorty, Bandana Sen, Kumudini Lakhia, Anjani Ambegaokar, and the contact improvisation community. Cynthia is an assistant professor of dance in the Department of Theater Arts at UC Santa Cruz and a member of the Post Natyam Collective, a transnational, web-based coalition of dance artists whose work triangulates between art-making, activism, and theory. www.cynthialinglee.com
Shyamala Moorty (direction) is dedicated to collaborative and transformative art making practices drawing from dance, theater, multimedia and community engagement. A founding member of the Post Natyam Collective (www.postnatyam.net) and the Dancing Storytellers (www.dancingstorytellers.com), Shyamala has toured her solo and collaborative work across the U.S. as well as to Canada, Europe, and India. Her work was acclaimed as a “tour de force” by the Los Angeles Times, and applauded for “that special kind of healing that art can accomplish” in the book Contemporary Indian Dance by Ketu Katrak.
Anna Friz (sound design and composition) is a Canadian sound and media artist. Since 1998, she has created and presented new audio art and radiophonic works internationally. She also composes atmospheric sound works and sonic installations for devised theater, contemporary dance, film, and solo performance that reflect upon public media culture and historical memory, political landscapes and infrastructure, the body and signal space, and critical speculative fictions. She has worked with choreographers such as Ame Henderson of Public Recordings, Dana Gingras of Holy Body Tattoo/Animals of Distinction, and Gerald Casel Dance and is a regular collaborator with Toronto-based Public Studio on multi-channel film installations. Friz is Assistant Professor in Film and Digital Media at UC Santa Cruz.
Scott Trafton (dramaturg) is a cultural historian specializing in American racial and ethnic history, critical race theory, performance studies, and archive research. He has provided dramaturgical research ranging from nineteenth-century Asian American communities in California to twenty-first African American performance art and the works of William Shakespeare. He holds a Ph.D. from Duke University and has held teaching, research, and fellowship positions at the University of South Carolina, George Mason University, the National Museum of American History, the Smithsonian American Art Museum, and the Library of Congress.
About this Project
Lost Chinatowns is a multimedia dance-theater work exploring the destruction, lost vibrancy, and historical erasure of Santa Cruz’s Chinatowns from 1860-1955. Santa Cruz, now known for being the ultra-liberal “leftmost” city of the US, was once the center of virulently xenophobic anti-Chinese racism in California in the late 19th and early 20th centuries. Lost Chinatowns aims to make connections between the historical othering of Asian bodies and current xenophobic regimes in the era of Trump as an act of interracial solidarity between people of color; the work is being developed in part through Borders Resurfacing, a transnational creative exchange by the Post Natyam Collective.
Cover photo by Crystal Birns
July 26, 2018
The future is terrifying, but that’s never stopped us. Welcome to Fall 2018 at CounterPulse. Our season launches in rejoice as we celebrate the Turk Street Mural with our Tenderloin community and Twin Walls Mural Company. We then kick off our intrepid performance season with year two of Combustible, with Deborah Slater Dance Theater & […]
A look inside “In Civility Pt. 2: Outrage Machine” by Deborah Slater & John Fesenko Last May housing activists obstructed over a dozen buses ferrying tech workers in the Mission District of San Francisco. Their weapon of choice were e-scooters, a proclamation that shared scooters are treated better than the city’s homeless. With yellow signs […]
TecTonic Shifts is a performance piece exploring psychosocial symptoms in cities interacting with technology and vice versa, an especially pronounced relationship in the San Francisco Bay Area, where urban form and social migration is constantly shifting. In unpacking how displacement can be exacerbated by tech, TecTonic Shifts processes a number of themes including the criminalization […]