Rita Felciano

SCUBA with Catherine Galasso and Salt Horse

Reality and fantasy collide and cooperate
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PREVIEW Two years ago Catherine Galasso appeared at the WestWave Dance Festival in Gnome Trouble, based on the Grimm brothers' fairy tale Snow White and Rose Red. Freud would have loved to bite into that story of sibling rivalry. Even though Galasso's piece wasn't that successful, it somehow stayed in memory. Apparently she likes folk tales. She is back with another one, The Improbable Reign of Norton I, Emperor of the United States. In fact Norton was a 19th century San Franciscan, eccentric to say the least. Read more »

In bloom

At 88, choreographer Anna Halprin's spirit of dance continues to grow and spread
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a&eletters@sfbg.com

Next time you plop in front of the TV because you're just too tired for anything else, remember the sociologists who tell us that the country is aging, and that we should plan for it. Landscape architect Lawrence Halprin and dancer-choreographer Anna Halprin may not be your average "senior" couple, but we could do worse than to admire the most recent gift this long-lasting personal and professional relationship has given the Bay Area. At the very least, it should get us off the couch.

Lawrence Halprin is 92; Anna Halprin is 88. Read more »

Paul Taylor Dance Company

Joyously celebratory in one piece and so mordantly corrosive in the next that it leaves you shivering
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PREVIEW Let's send a libation or some other such thing in the direction of Terpsichore — the muse of dance — because Paul Taylor Dance Company is back. For five consecutive years, we've had an opportunity to gain a perspective on Taylor's 50-plus years of dance-making. Then the money ran out. Thankfully San Francisco Performances found a way to have these remarkable dancers return with another set of three different Taylor programs. The earliest, the very dark Scudorama, which was thought to be lost, dates back to 1963. Read more »

Jacinta Vlach/Liberation Dance Theater

Dance is a way to explore personal values in the face of the overwhelming odds created by unequal power relationships
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PREVIEW Choreographer-dancer Jacinta Vlach grew up and trained in San Francisco, and her commitment to what she calls "my home" runs deep. What turned her into an arts activist, however, is that "the people I grew up with are not represented in Bay Area dance." Having gone through the city's public school system, she considers herself part of the hip-hop generation and has always been immersed in world music and culture. Although of mixed Latina-caucasian background, she has most identified with the country's African American heritage. Read more »

Storytelling

Janice Garrett and Charles Moulton's latest collaboration
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Last year choreographers Janice Garrett and Charles Moulton added a professional component to their 14-year personal relationship. They co-created StringWreck, a whimsical yet highly sophisticated collaboration between Janice Garrett and Dancers and the Del Sol String Quartet. Read more »

Liz Lerman Dance Exchange: "Small Dances About Big Ideas"

The primary function of dance is to heal and create communities
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PREVIEW Liz Lerman is one gutsy woman. Early in her career she decided that there is more to dance than working with highly trained performers for an audience that wants to be entertained. "There was a time when people danced and the crops grew," she told a conference of arts presenters 15 years ago. "They danced, and that's how they healed their children." For Lerman, the primary function of dance is to heal and create communities. Read more »

Dance cocktail

Eve's Elixir performers mix far-flung styles and genres with an open mind
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If you asked a member of the dozens of ethnic dance groups that make their home in the Bay Area (103 of them auditioned in January for the yearly San Francisco Ethnic Dance Festival) why they are willing to rehearse many hours and perform for little or no money, they'll tell you that they like the dances. But of almost equal importance is the sense of community these ensembles create. No doubt nostalgia for a better and simpler world may be factors as well. Read more »

Move(men)t: A Men's Dance Festival

Ten choreographers in all will show their chops in the tiny but hopping Garage performance space
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PREVIEW In the history of dance, the male of the species occupies a curious position. In some cultures only men were allowed to dance in public. In Western aristocratic education, dancing was a requirement for a future courtier. But until fairly recently, ballet choreographers consistently undervalued male dancers, and it was women who pioneered modern dance. In the 1930s, however, Ted Shawn's all-male ensemble did much to break down the prejudice against men in dance. In the Bay Area, every decade or so brings about a refocusing on masculine performances. Read more »

John Jasperse Company

Created in 2007 with a zero budget for design, Misuse had an inkling for the rough waters the country was about to enter.
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PREVIEW When New York choreographer John Jasperse presented his company in its local debut in 2004, the severe and pared-down choreography of his multimedia piece California looked more New England Puritanism than California hedonism. Good for him, I remember thinking, for not having bought into popular stereotypes. Still the omnipresent leaf blower and the dancers' self-involvement needled me. No such hint of a cultural disconnect is likely to trouble his Misuse liable to prosecution, which takes its name from the milk crates we use to store and move our belongings. Read more »

Body language

Jess Curtis/Gravity and skin's sculptural temptations
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In watching Jess Curtis/Gravity in The Symmetry ProjectStudy #14(re)Presentation, it becomes immediately clear why sculptors from Michelangelo to Maillol to Moore couldn't keep their hands off the human figure. There is a tactile quality to skin — whether it has the silken gleam of white marble in Maria Francesca Scaroni or Jess Curtis' scuffed cragginess — that is irresistible. Read more »