- December 8, 2017
- 7:00 pm
California Institute of Integral Studies
1453 Mission Street
San Francisco, CA 94103
Drawing on our university's mission of personal and social transformation, CIIS Public Programs released a call for bay area performers of all types interested in presenting new and existing work in response to the concept of Performance as Resistance. This event features two of the selected performers who applied to the call earlier this year.
In times of protest, the works artists create are often a reflection of, and contribution to, resistance efforts. This evening explores the intersection of performing arts and resistance with two short dance pieces, followed by conversations with their creators about their process, the meaning behind the movements, and more.
Hope Mohr Dance presents an excerpt from Precarious, a dance inspired by the passing of the last industrial blacksmith shop in San Francisco. The performance was created by Hope Mohr as a protest against San Francisco's gentrification boom as a threat to the city's identity as a progressive, inclusive place accessible to a wide variety of artists and artisans.
Heather Stockton presents a new dance work investigating how the body is weathered by the deluge of "emergency" and "breaking development" news stories, and the resulting questions about resistance. In this piece, she responds to the question: How is a body most effective at performing resistance in this time?
Both artists are joined in conversation by fellow San Francisco performance maker and educator Ryan Tacata.
Hope Mohr is a curator, choreographer, and writer. She trained at SF Ballet School, studied theater at Yale, and earned her BA at Stanford, where she wrote her honors thesis on the women's movement in Nicaragua. After working as an Americorps Team Leader in South Central LA, Hope moved to NYC to train on scholarship at the Merce Cunningham and Trisha Brown Studios. She performed in the companies of dance pioneers Lucinda Childs and Trisha Brown.
Passionate about pursuing both community organizing and dance, Hope earned a JD from Columbia Law School, where she was a Columbia Human Rights Fellow. In 2007, she returned to San Francisco to establish Hope Mohr Dance to create, present, and foster outstanding art at the intersection of critical thinking and the body. HMD's signature curatorial platform the Bridge Project approaches curating as community organizing to convene cultural conversations that cross discipline, geography, and perspective.
Hope has held residencies at Stanford Arts Institute, ODC Theater, Montalvo Arts Center, and the Interdisciplinary Laboratory for Art, Nature and Dance. She is a 2016 Fellow at Yerba Buena Center for the Arts.
Heather Stockton is the Artistic Director and founder of the local dance collective, Wax Poets, where she oscillates between roles as director, choreographer, and performer. Heather's choreography has been presented in the Bay Area at Joe Goode Annex, Noh Space, The Garage, Littlefield Concert Hall, Temescal Arts Center, and Lisser Theater. Outside of the Bay Area, her work has been presented in Seattle at On the Boards Theater and Velocity Dance Center as well as at Harvard University and Landis Performing Arts Center. She has contributed pieces to the dance films Everything You're Feeling is Okay, UnderCutThumb&Throat, Self Broadcasting, Blustery, and For a Time Feeler. In addition to dance films, her video work has been featured online by Slate and Jezebel.
Originally from Riverside, CA, Heather has had the honor of dancing in works by Amy O'Neal/Tiny Rage, Katie Faulkner, Sheldon Smith, Shinichi Iova-Koga, Merce Cunningham (staged by Holley Farmer), Laara Garcia (Psuedopod Interactive), and Wade Madsen. Heather received her BFA and MFA (pr) at Mills College and was awarded the EL Wiengand Foundation Award for outstanding merit in performance and choreography. Heather is a Teaching Artist with Luna Dance Institute where she is an advocate for equity and creative learning through arts education.
Ryan Tacata, PhD is a performance maker and scholar living in San Francisco. He has a BFA from the School of the Art Institute of Chicago (2007) and received his PhD in Performance Studies from Stanford University. His recent performance projects include Lolas (2017, Asian Art Museum, a performance installation in honor of Filipino grandmothers); dancing in Doggie Hamlet (2015-) by Ann Carlson (a site-specific dance with four human performers, sheep herding dogs, and 60+ sheep); For You, (2016-) with Erika Chong Shuch (a series of performances for audiences of 12); The Magical Order of ... (2014) with Julie Tolentino for YBCA in Community (a group work with young Bay Area artists); Artists Weather Television (a televisual gallery of emerging artists working with weather conditions for SF Public Access, forthcoming); and Séance (a dance work with four Spiritualist mediums, forthcoming).
He has collaborated with Leslie Hill and Helen Paris of Curious on a number of performance and teaching projects, including Writing Desires, Performing Hope (2012) with women from Hope House in Redwood City (a six-month residential alcohol and drug treatment program for women who are released from the California Department of Corrections or are homeless). He received the Diane Middlebrook Prize (2013) in recognition of his feminist pedagogy with the Hope House Scholar Program.
His academic research investigates alternative methods of archival research, performance art historiography, and experimental spatial practice. His dissertation "La Mamelle: Bay Area Conceptual Performance Art and The Alternative Art Archive" engages the La Mamelle/Art Com archive and various histories of West Coast conceptualism.
As an educator, his workshops and university classes cover a range of topics, including interspecies performance, art and climate/meteorology, practice-based research, body art, automobiles in the avant-garde, and the sporting event. He is currently a Visiting Faculty member in the the department of History and Theory of Contemporary Art at the San Francisco Art Institute and in the MFA Theater and Performance Making Program at the California Institute of Integral Studies (SF) and University of Chichester (UK).