DANCE Complaining about the quality of public schools is about as ubiquitous as whining about MUNI. Admittedly, the quality of the former has a bigger impact on our future than having to wait for the N another 10 minutes. The good news is that the San Francisco Unified School District is not nearly as bad as its reputation; talk to some parents who have kids in it. While its art components are woefully underfunded, at least they exist. The yearly "Young at Art" exhibit at the de Young Museum (through Sun/20) has a selection from this year's crop.Read more »
The ODC Youth and Teen Program staged its first full performance in a fantastic collection of dances inspired by the seasons on Fri/11. Dancers twirled through the “rain” with colorful umbrellas, an ice cream hawker tapped on a sunny beach, and sweaty passengers swayed in a sardine-packed Mission bus ride.
DANCE David Zambrano: never heard of him? That just means you're not a member of the international dance community, where he is a superstar. Accolades, particularly about his teaching, flood the internet; phrases like "genius," "not to be missed," and "has changed my life" abound. The only complaint I could find was from a disgruntled student who said "the class was so full that I could barely see the teacher."Read more »
In the last few years, Los Angeles–born and San Francisco–based dancer-choreographer Jorge De Hoyos has worked with Sara Shelton Mann and Meg Stuart, traveled with Keith Hennessy’s Turbulence project, performed in Laura Arrington’s supersized SQUART marathon at Headlands Center for the Arts, and much, much more — including projects by Christine Bonansea, Sommer Ulrickson, Erika Chong Shuch Performance Project, Jesse Hewit/Strong Behavior, Pearl Marill/Pump Dance Theater, Naked Empire Bouffon Company, and Jenny McAllister. You may also have been one of the 25 or so lucky souls who traipsed after him in Golden Gate Park when he and Macklin Kowal went about in delirious Euro-drag for Bonjour le matin.
DANCE Jodi Lomask has always been comfortable with both science and art. Perhaps that's not surprising for someone who grew up with a physicist father and a visual artist mother — hanging around with his friends who would came to visit in Connecticut, and going with her to galleries and openings. Still, it's not every child who, when trying to make sense of the world, was also "making dances" in her mind.Read more »
DANCE A stiff breeze is blowing through the venerable Alvin Ailey American Dance Theater, though not enough to ruffle feathers among Ailey aficionados (of which there are millions). The troupe is not dancing better, just differently. For that, they and the audiences have to thank new artistic director Robert Battle, who has been watching and choreographing for Ailey for years, though he was never a company member. Coming to the job as both an insider and an outsider, he knew exactly what to do.Read more »
It’s easy to overlook them, two dancers, still as mannequins, positioned near the entrance to the performance space, a silent video of a wet fleshy mouth, open wide as if ready for a filling, projected onto their motionless bodies. Just before the lights go down, they disappear, as does the fleshy mouth. Onstage a much larger projection of mouth, nose, cheek, fills the back wall, as the sounds of kissing, mumbling, chewing, and lip popping create a fanfare for the two dancers (Jill Randall and Amanda Whitehead), who enter while stretching their own faces into humorously exaggerated positions. Finally, Whitehead opens her mouth normally, to recite the jumbled text of Britta Austin’s Flash Fiction “Bite Marks,” which substitutes for music in their energetic duet. Read more »
DANCE When choreographers Sue Li Jue and Nina Haft found that they shared a common interest in exploring the body's memory — of personal experience, history, origins — they decided to make a work in which their individual choreographies would take turns on the stage. Thus the problematic this.placed was born.Read more »