Justin Ebrahemi

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 in hand and a makeshift barricade constructed, the protesters grasped their phones and tweeted #techsploitation and #scootergate in what seemed like self-aware irony.  Many were

Fractured geographies—                                                                                                                                                 invisiblized. The legacy of redlining Black communities

Inverse worlds, similar dialogue. It wasn’t until I was living in the redwoods that I noticed something was off. Amidst bluegrass festivals and chants to “save the trees!”, there was a curious trend in the crowds. Surrounded by pale faces throughout my peregrination of environmental work, my fervor eclipsed critical inquiry into the causes we supported. Sitting in our yurt, we discussed ecofeminism while smoking pot that was illegally irrigated by white hippies, water diverted from Native American reserves. As

CounterPulse is launching into a mind-bending spring season with a series of performances that activate cultural pluralism through human-scale movements and bodily resistance. In spring 2018 we navigate through interplanetary time as lovers and cultural vanguards. Kicking things off in February, the legendary Kei Takei returns to San Francisco for a rare three nights of iconic performances that connect earth and tribe. Next, James Graham Dance Theatre will tantalize the stage with Dance Lovers 7: Duets by Couples, Crushes, and

How do you conjure queer ancestry through a dance performance? How can we form and unform psychic territories held through our lineages? Randy Reyes’s new work borrows Chinese Energetics and systems of improvisation to weave queer ancestral lineages throughout an elaborate number. Lxs Desaparecidxs—created in collaboration with performers Jose Abad, Emelia Brumbaugh, Gabriel Christian, Felix (Sol) Linck Frenz, and Stephanie Hewett—is a work that seeks to inquire more than answer. Randy embarks on the rigorous process of asking around displacement, assimilation,

My Path: My career trajectory seems foreign to my family. “You’ve been studying water for 2 years and now you’re at a dance organization?” Well, not quite. You see, I got my Masters in a social science research program entitled Environment & Community, where I interrogated the disparate cultural themes surrounding water management in search of policy solutions. Thesis Defense at Humboldt State University In school I advocated for equitable water rights for disadvantaged communities. At CounterPulse I

CounterPulse is launching into an electrifying fall season with a series of performances that seek virtual bodies, radical bodies, quantified bodies and missing bodies through movement. We face extinction and environmental toxicity while finding resilience in community, pleasure, and corporeality. We'll kick things off with new works from Combustible, CounterPulse's newest residency program that synthesizes body-based art and creative technology. Residents Freya Olafson and Yagiz Mungan, and Kinetech Arts (Weidong Yang and Daiane Lopes da Silva), have created bold new

As technology complexifies with increasing vigor, it’s easy to overlook perhaps the most complex (and intimate) technological system: the human body. At the intersection of dance and creative technology, projectors illuminate dancers; beneath the canvas/dermis exists a intricate network of blood vessels channeling through bones that protect our organs that keep us alive. The projector and body respond to one another in an infinite debate of free will versus determinism. Chicken or egg. Does artificial technology dictate our organic movement?