I'm a big fan of fermented foods and drinks: sauerkraut, tempeh, kombucha, rejuvelac, kim chee, wine, beer and more. It's fascinating to me how completely new nutrients and beneficial bacteria develop when we let things settle for awhile. And then how new food and drink is created, not necessarily better than what was originally there, but different and fulfilling other needs. I'm realizing that I love fermented art too. When a project first appears to complete on closing night, I
Transitioning back to ordinary life after a performance run is difficult for me. And this particular transition out of performances of Dandelion's Friend has been particularly difficult. Ram Dass wrote and spoke about how as he began to get in touch with larger and more beautiful spiritual experiences--as he got "higher" each time--the accompanying falls afterwards became increasingly painful. These performances were especially "high" for me. I made some big breakthroughs artistically: editing more fiercely, trusting my inner feedback over
My current favorite definition of the word "dance" is: "Impermanence made visible." That seems to cover the immensity and the minutia of this slippery form. I'm particularly in touch with impermanence as Dandelion moves into our premiere of Friend tonight. It strikes me as odd how performance is what I pour my most extreme efforts and longings and strivings into--and then it's gone so quickly after it arises. This is particularly true in the experimental dance world wherein we often
I've come to love tech week--the week leading up to a performance run in which we have tech (technical) rehearsals, dress rehearsals and last minute scramblings to finish. I notice that during this time I am highly energized with a mix of anxiety, anticipation and joy. And I notice that the main thing that keeps me grounded is spending as much time as possible at the theater. I like to get to the place we're performing hours before each event,
The showings that Dandelion has been doing as part of our residency at CounterPULSE have taught me a lot. Here's an incomplete list of insights, reminders, clarifying moments that I've gathered so far from the three monthly public showings of our Friend project: 1. Public showings are crucial to the development of the kind of experimental performance we create. They force us to get things together on a deadline, to try them out and then to retreat and re-tool. There
For Dance Anywhere Day this year we performed a minimalist movement structure in Frank Ogawa Plaza in downtown Oakland. Ensemble Member David Ryther led us in an improvised piece based on a street performer he had witnessed many times in Santa Cruz. We traveled slowly around the plaza, waving and looking back and forth with a highly exaggerated and slow motion smile. There happened to be someone shouting what sounded like Fundamentalist Christian doctrines on the plaza for a good
It's been longer than I would have liked since my last post. I'm in the final stages of "birthing" our Friend project, and these past few weeks have felt like the major hump to get over. As I catch up with myself and the work, I'll be posting some eclectic reflections from the adrenaline-fueled final phase of this particular creation process. Here is a post I started two weeks ago, when I felt right in the middle of the fire,
There always seems to be surprise gifts that come from creating a performance work--things that enhance my life and/or art making that I didn't expect to receive from the project. With the Friend project, a major gift has been a reminder about the joy of making stuff. By stuff I mean visual art (sculpture, collage, installation, etc.) This gift has come at me from two sources. My friend Sharon was a visual artist at heart, always making sculptures of various
Being a person is hard work. And then being a person who is living as an artist adds a whole new layer of difficulties. A lot of the time I pride myself on being able to keep on keepin' on, no matter how hard the traveling becomes. And I am committed in my creative work to not settle for easy answers, but instead to approach challenges directly, even inviting them to come forward. Developing capacity for great emotional and physical
The following is my introductory note in the program for tonight's 2nd Annual Queer Dance Festival at CSU East Bay, followed by some related videos. This felt like an appropriate exploration to share here: Reflections on the Nature of “Queer Dance” By Queer Dance Festival Director Eric Kupers February 17th, 2011 University Theatre, CSU East Bay I want to attempt a definition of “Queer Dance,” (even though I believe that these two words are ultimately impossible to pin down.) “Queer”
I love mysteries. I love mystery novels and movies, and mysterious stories and myths. I love when spiritual teachers refer to the divine as the "Great Mystery." More and more these days I'm seeing my performance work as a series of mysteries I'm immersed in. Each new performance project at times seems like something I've conjured up with my collaborators, and at other times like something much bigger and mysterious that we are entering into. I much prefer the latter
I was reminded yesterday of how helpful work in progress showings are. I often forget that this is an experimental form we're working in, and that experimental forms need actual experiments. While performances are experiments, they are high-pressure ones, and I learn as much, if not more from showings along the way. Here's some excerpts from ours yesterday:
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Dec. 5th, 2024 @ 8:00PMEvent Detail Button
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