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:
One of the things that is shifting in me in response to the recent death of my friend Sharon Mussen is a re-prioritizing of friendship. I had a professor in grad school tell me once that I should never direct my friends in my projects--that the roles become too confusing. Even though I respect this professor very much, that advice somehow confirmed for me how much I operate from exactly the opposite view. I love creating experimental performance precisely because
I see the creation of each art work as a kind of birth. There's both great connection and great pain in this process, and I often forget that the magnitude of how connecting a piece is directly relates to how painful its birth can be. Last week we tried out a structure for performing a lot of the most salient material we've been developing in our Friend project. It's a difficult feat to imagine how to collage together all the
I'm often able to tell other people when they are injured how much every injury can be a teacher. When it's not me having to hold back from moving with physical abandon, I see the benefit of learning about our limitations and our vulnerability through our injuries. When I have an injury, my vision is a lot murkier and I have to wade through a lot of resistance before I come to some kind of acceptance of what happened and
We have our first work-in-progress showing for my CounterPULSE residency this coming Saturday, Jan. 15th. Even though we're still at the beginnings of our creation process, I'm very glad we have this showing to work towards. There are many reasons that I find public showings of performance works in progress useful. These include: --forcing us as artists to make some decisions about what we want to show --giving a deadline to a particular segment of our creation process --encouraging everyone
One of my favorite things about the creative process is synchronicity. I follow intuition above all else in my art making and find myself continually rewarded by the ways that relationships I never could have dreamed up appear all of a sudden. Until recently I was planning on making a piece called Don't Suck! Cycle II as part of a four month residency at CounterPULSE in San Francisco. The recent deaths of my close friend Sharon and my grandmother moved
A particularly challenging and fertile aspect of being a creator of experimental performance is that I often have to describe a project in detail many months or even years before I start on it. When working with 10 or more ensemble members and needing to plan out schedules and spaces that are accessible for dancing, instruments, wheelchairs, props, sets and more, I have to do a lot of advance planning. I joke often with my husband about how I have
Luxury Items was a super splendorific success. Besides being a fabulous production, this was also our longest running show to date, and garnered a ton of fantastic press! Go CounterPULSE, and hats off to Monique Jenkinson and everyone involved! Much love to all who came and hope you loved it as much as all of us on staff did! A few words from our awesome audiences: "Amazing. Fauxnique is awesome and the show "showed" her brilliantly. Great production. Every moment.
Last Saturday, artists and community members used the CounterPULSE stage not for dancing, but for discussion: participants in the Performing Diaspora Symposium took the day to explore the rich, challenging themes that the Festival explores. In three separate sessions, panelists and audience members articulate some of the ideas that each Performing Diaspora artists stirs up onstage. Give a listen here! Appropriation: Dilemma in Dance Panelists: Deborah Vaughan, Anne Bluethenthal, & Denise Pate Facilitated by Laura Elaine Ellis The subject of
Let the Festival begin! Last night, CounterPULSE opened its doors to Performing Diaspora artists and audience members -- check out some of the audience's reactions here!
On October 15, 2009 a group of Bay Area artists, arts administrators and audience members met at CounterPULSE for the Dance Discourse Project 7: Dancing Diaspora. Co-presented by World Arts West/ San Francisco Ethnic Dance Festival and Dancers' Group the event was a part of the Fall 2009 season of Performing Diaspora. Learn more about Performing Diaspora at www.counterpulse.org/performing-diaspora/ At the exciting event participants were broken up into small groups where they discussed a variety of pertinent issues concerning traditional
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