Here at YBCA we are thinking a lot about A NOTE FROM We are keenly aware that the WELCOME TO the role of institutions in our increasingly THE CURATOR Bay Area is a hyper-current petri dish for YERBA BUENA anxious democracy. Amidst volatility and market-centered innovations. In this 50th division, we believe arts institutions in MARC BAMUTHI JOSEPH anniversary of the “Summer of Love,” the particular have a vital and unique role CHIEF OF PROGRAM AND PEDAGOGY Bay Area is also this country’s longstanding CENTER FOR ground zero for socially progressive radical to play in delivering on the democratic performance. Transform adopts the city’s THE ARTS promise by restoring the importance of the soulful history and adapts its big thinking public sphere in society. These are, after present within a two week, and design all, the institutions that were founded to festival that challenges us all to consider a cultivate creativity and to fuel individual singular thematic question: Why Citizenship? and collective inquiry and imagination. These are institutions that have the Over the course of two weekends, YBCA invites capacity to lead culture. 7 choreographers and their respective dance companies each to create world premiere works in response to the question “Why Through the visual and performing arts, Citizenship?” Additionally, each choreographic film, and arts-driven civic engagement, team will also be contending with the YBCA embraces its mission to be a cultural challenge of locating these new works within catalyst and a citizen institution. In a site specific built environment as imagined addition to the making and sharing of by renowned MIT-trained designer Giacomo leading edge contemporary art, YBCA is Castagnola. Beyond the scope of these diverse committed to being a place of convening movement based meditations, a select group and coalition and an incubator for game of YBCA Fellows will populate our lobby with changing creative ideas. We invite you pre and post performance programming based on their own critical responses to our to participate as audience members, as festival’s foundational point of inquiry. The fellow instigators, and as co-provocateurs. result is a platform that exercises some of YBCA isn’t at liberty to YBCA’s primary strategies for cultural shift: Through powerful art experiences, deep disconnect art from innovative art, serious inquiry, new models and challenging content, and genuine of audience centered convening, and the opportunities to engage in public life, we impact. Aesthetic display of long incubated projects by a curated are committed to kindling inclusive culture group of Fellows. Transform is not a festival that cultivates empathy, awakens personal excellence is our legacy, for passive observation. The curation of the and societal transformation, and reaches but cultural movement festival is intended to reveal our artists as for a world fueled not by hate and fear but accountable agents in service of civic impact. is our mission, and as The question at the center of this work by inspiration. This is the urgent now and appears to be rhetorical, but the stakes of our YBCA is prepared. such our programs should social landscape don’t afford us the luxury of suggest both the speed witness without personal implication. YBCA is We are so glad that you are here, we are in the midst of a programming evolution, one grateful for your cultural participation, and of the urban fray and the where the curatorial lens of the performing we hope you will come back and enjoy all arts is newly foregrounded as a true leader at that YBCA has to offer. time stopping courage the intersection of Bay Area arts and activism. of inspired creativity. Transform is the opening salvo of an extended, aggressive attack on prior conventions. It re- Warmly, Transform is a deliberate orients familiar tropes within a future facing , demanding participants and content response to these makers to wrestle with the urgent question of DEBORAH CULLINAN impulses. More than a citizenship, aspiring to beauty, and embracing CEO of YERBA BUENA the complex journey it takes to get there. CENTER FOR THE ARTS festival length showcase of local artists, it is a surge forward among YBCA’s curators in our attempt to locate art as a strategic asset within our civic design. 2 3 EMBODIMENT PROJECT & JESSE HEWIT THU, SEP 14 & FRI, SEP 22

RAWDANCE & FAUXNIQUE FRI, SEP 15 & SAT, SEP 23 Photo: David DeSilva

AMY SEIWERT’S IMAGERY, LARRY ARRINGTON/ SANDRA LAWSON NDU/MINOOSH ZOMORODINIA, & FOGBEAST SAT, SEP 16 & THU, SEP 21 4 5 director of the Embodiment Project. The San TIGRE BAILANDO is a multidisciplinary artist Francisco Chronicle has called her work “a born and raised in Philadelphia, now based bit like taking a defibrillator jolt to the soul.” out of Oakland. Bailando performs interactive Klaymoon is currently a resident artist at ODC mask theater on city streets across the world Theater, and a recipient of the Headlands and teaches mask making and performance Center for the Arts residency and the Gerbode techniques to students from preschool to and Hewlett Foundation’s Commissioning adulthood. Bailando is a core member of the Choreographers Award. Klaymoon currently butoh-inspired performance company Bad Unkl teaches a company class at Dance Mission and Sista. is a dance professor at the University of San Francisco. embodimentproject.org TERRENCE PASCHAL is a Stockton native who discovered his love of dance as a turf dancer Thank you YBCA, MAP Fund, California Arts eight years ago. He believes in the medicine Council, Zellerbach Foundation, CA$H Grant, inherent in dance and hopes to share it in an San Francisco Arts Commission, ODC, honest way with others. Intersection for the Arts, Destiny Arts Center, Dance Mission Theater, Shakti Butler, Ericka AMBER JULIAN is a native of the San Francisco Huggins, Rick Butler, Brenda Way, James Bay Area. She was blessed to have discovered Bell, Julie Potter, Svea Soll, Doug Hill, Cindy her passions at a very young age. She believes Shearer, Stella Adelman, Jennifer Norris, Dr. that art is all about exchanging deep-rooted Nadine Burke Harris, Nayo Bradbury, and Aaron energy in order to make change. Ashé. Thornton for your incredible contributions to EMBODIMENT PROJECT the development of this work. XOA is best known for her deep, earthy cosmic Photo: David Wilson rhythms and experimental twists on classic ARTIST BIOS and contemporary styles. In the Spring of 2015, she recorded and produced two EPs, Fire SABELA GRIMES, a 2014 United States Artists and Water, a follow up project from her debut ANCIENT CHILDREN color, adverse experiences at home are then Rockefeller Fellow, is a transmedia storyteller, album, Amble (2013). Shortly after, she began compounded by the cumulative effects of sonic ARKivist, and movement composer. On focusing on collaborative projects that use Artistic Director and Choreographer: systemic racism. faculty at USC’s Glorya Kaufman School of performance art and music to heal, inspire and Dance, he continues to cultivate Funkamental empower others. Nicole Klaymoon in collaboration with “The truth about our childhood is stored up performers MediKinetics, a movement system he created in our body, and although we can repress that focuses on the methodical dance training DRE “POKO SOUL” DEVIS is a born-and-raised Collaborating Director: d. Sabela grimes it, we can never alter it. Our intellect can and community-building elements evident in hip- SF Pinay, emerging from matriarchal roots. be deceived, our feelings manipulated, and hop, black vernacular, and forms. Poko moves with the foundation of competitive Collaborators: Shakti Butler, Rick Butler conceptions confused, and our body tricked gymnastics, martial arts, aerial dance, and with medication. But someday our body will MEENA MURUGESAN is a choreographer, hard-hitting animalistic synergy. Video Art: Meena Murugesan present its bill, for it is as incorruptible as a dancer, video artist, and arts educator based child, who, still whole in spirit, will accept no in . She creates experimental, GEORGE “WUKONG” began his dance career Costume Design: Kyo Yohena, Mira Blackman compromises or excuses, and it will not stop nonlinear narratives with moving images at in Taipei, Taiwan. In addition to his work at UC tormenting us until we stop evading the truth.” the intersection of live performance, video Berkeley, where he received a BA focused on Poetry written by: Nicole Klaymoon - Alice Miller​ art, and activism. She is currently designing art and social change, he has judged battles, taught, performed, and battled internationally. Sound Edits: XOA and Valentino Pelizzar multichannel video installations for live Ancient Children investigates the school- performance with choreographers Marjani JOHNNY HUY NGUYEN AKA “JOHNNY RAWKIT” Live Sound Design: XOA to-prison pipeline in which children of color Forte-Saunders, Sita Frederick, d. Sabela are funneled from schools into juvenile grimes, and D’Lo. is originally from Canada and now based in San Music Credit: Pacifika by DJ Cecil Feat. Tama incarceration, jails, and prisons. This pipeline Francisco. In addition to Embodiment Project, Waipara and the state collude to strip these individuals Medicine Woman GINA BREEDLOVE is a singer, he is a member of Bay Area vogue crew House of their citizenry; rather than living as free, songwriter, and sound healer from Brooklyn. of Prolific and Lenora Lee Dance Company. As Mask Art: Tigre Bailando participating members of their communities, She tours the world with her music that well, he is involved with the Global Street Dance they become citizens of the prison industrial she calls folkSoul, and holds sound healing Masquerade. Sound Healing Ritual: complex, which is inherently dehumanizing. circles in every city she visits. She will be Medicine Woman gina Breedlove releasing her third CD, The Star, this year, with SAMMAY is a choreographer, producer, This work draws on Shakti Butler’s new film a release party at Yoshi’s in December 2017. and interdisciplinary performing artist of Ancient Children explores how we treat children Healing Justice, which explores restorative ginaBreedlove.com, VibrationofGrace.com Kapampangan, Ilokano, and Bikol. She is and what childhood trauma illuminates justice as a solution to the school-to- the founding artistic director of URBAN x about our collective culture. Many children— prison pipeline. Ancient Children asks how KEISHA TURNER has Chicago and Brooklyn INDIGENOUS and recently returned from an regardless of background—experience multiple documentary film can be transposed onto roots, and is based in Oakland. She is a former inter-island tour through Hawaii with an early adverse experiences at home. These the stage and intersected with movement to touring member of the critically acclaimed intercultural contemporary artist collective, traumas have real implications on health, methodize “documentary dance theater” as a dance company . She has and a solo immersion tour through her longevity, brain structure, and, according to new art form. also performed with House/Full of Blackwomen, ancestral land, the Philippines. Dr. Nadine Burke Harris, “even the way our Afro-Urban Society, ABD Productions, Notoriety sammaydizon.com DNA is read and transcribed.” For children of Nicole Klaymoon is the founder and artistic Variety, and many others. iamearthchild.com 6 7 curates, writes, teaches, and currently serves ROBBIE BEAHRS (sound) is an JESSE HEWIT various communities as curator of Aggregate ethnomusicologist, sound artist, and Space Gallery’s Friction/Function series acoustic ecologist. His fieldwork in Russia, (Oakland), and as program manager for ODC Mongolia, Kazakhstan, and the United States Theater (San Francisco). Hewit’s performance links archival research with collaborative work and writing have made the rounds, and ethnography, voice-driven performance he is grateful to have a practice, a friend or practice, filmmaking, and soundscape art. His two, and a serious itch to scratch around the current research projects explore genealogies importance of equity, absurdity, and political of throat singing in the Altai Mountains of abstraction. Inner Asia, interspecies listening and voicing in western Mongolia, and vibrational sensing with DONALD HANSON (video) is a technologist Russian cosmonauts and American astronauts working between art, design, and creative during long-duration space flight. Beahrs coding. His work explores interactive has collaborated with performance makers at aesthetics, live projection, internet FlyTrap Studios (Oakland); Yerba Buena Center technology, glitch art, and parameterizing for the Arts, CounterPulse, and Z Space (San chaos. Recent experiments involve reverse Francisco); Los Angeles Live Arts; and Dock 11 engineering file formats, building self-altering (Berlin). robeahrs.com websites, and creating computer-controlled video synthesizer patches. He is the creator of gifSlap, a visual performance tool used by artists and VJs around the world. In 2010 he cofounded the record label Gridwalk Media, which is nearing thirty releases of instrumental electronic music by California artists. He is currently collaborating on the design for a worldwide alternate-reality puzzle game called Ubiquitous City.

Photo: Robbie Sweeny

TIDES TIDES TIDES toy, two ghosts from a simple moment, a video, all of you/the room/poetry, and a Concept, Scenic Design, Text, dancing thing. and : Jesse Hewit Bless the blessed fight and its fighters. Video: Donald Hanson Always thanks to Isabel/Claire/Bamuthi/Jodi/ Sound: Robbie Beahrs Martin, Clarice Lispector, Maria Irene Fornes, Donna Haraway, Sara Shelton Mann, Amara With adapted text from Mud Tabor-Smith, Ed Mock, and Ross Lefebvre. by Maria Irene Fornes This is a series of proposals about what citizenship could feel like. It centralizes ARTIST BIOS practices of psychosocial exchange that might almost seem apolitical, but they’re really not JESSE HEWIT (concept, scenic design, text, at all. This is a futurist stab at tectonic cultural choreography) is a dance and visual artist shift. The citizens here tonight are an inspiring currently living in San Francisco, originally from Orlando and . He makes artwork, Photo: Robbie Sweeny 8 9 at festivals on four continents. In addition to SURABHI SARAF (composer) is a media RAWDANCE theatrical performances, Smith and Rein are artist, composer, and performer based in committed to bringing dance directly into the San Francisco. She is the recipient of a 2015 public sphere, increasing access to the art. Fleishhacker Foundation Eureka Fellowship The company has performed in public spaces Award and the Djerassi Resident Artist award, throughout the city, including UN Plaza, Union and was nominated for the SFMOMA SECA Square, Yerba Buena Gardens, City Hall, the Art Award in 2012. Saraf has performed at Westfield Mall, and art galleries. Furthering Soundwave Biennial ((5)) and ((7)); Thessaloniki efforts to engage the community, RAWdance Contemporary Art Biennial, Greece; Currents launched the biannual CONCEPT series, an International New Media Festival, Santa Fe; informal and intimate salon of contemporary San Francisco Electronic Music Festival; and dance. Named “The Best Way to Sample SF’s Max Mueller Bhavan Goethe Institut, Mumbai Scene” by SF Weekly, the and New Delhi, among others. She has had CONCEPT series has presented the work of 86 solo exhibitions at Galerie Mirchandani + artists to date. Steinruecke, Mumbai, and Hosfelt Gallery, San Francisco. Her work has been featured in the The creation of Brilliant Alarm was made New York Times, Time Out Sydney and Mumbai, possible thanks to support from Grants for the San Francisco Bay Guardian, Blouin Art Info, the Arts, the Kenneth Rainin Foundation, Art Practical, and KQED Arts. ODC Theater’s Resident Company program, and generous individuals, in addition to the RYAN SMITH (co-artistic director, performer) multifaceted support of YBCA. received his BA in theater arts from . Since moving to San Francisco, he has worked with artists such as Alma Esperanza Cunningham and Stephen Pelton, ARTIST BIOS and was a member of the Margaret Jenkins CARLY JOHNSON (performer), a California Dance Company for 12 years, performing in native, received early training at the age of several national tours as well as internationally two. She continued her studies at SOTA and in India, Japan, China, and Israel. Photo: Margo Moritz LINES , and completed her NICK WAGNER (performer) is a Seattle native BFA at SUNY Purchase Conservatory of Dance. and a graduate of Chapman University, Johnson has had the opportunity to travel to with a BFA in dance performance and BRILLIANT ALARM our culture and our government is an activist China to perform at the International Children’s a minor in kinesiology. Throughout his choice. When we’re trapped in the cycle, what Arts Festival and has performed works by studies, he developed a particular interest Choreography: Wendy Rein and Ryan T. Smith, does it mean to be an informed and engaged Ja’Malik of Ballet Boy Productions, Carmen in the intersection of the human body and with the performers citizen? Rozestraten, Nelly Van Bommel of NØA Dance, contemporary movement. Since moving to San Sidra Bell, Andrea Miller of Gallim Dance, Robert Francisco, he has pursued his passions as a Performance: Carly Johnson, Aaron Perlstein, RAWdance is an award-winning contemporary Moses’ KIN, and Tanya Bello’s Project.B. contemporary dancer and a massage therapist. Wendy Rein, Ryan T. Smith, Nick Wagner, dance company known for transforming Katerina Wong theaters and public spaces with intellectually AARON PERLSTEIN’s (performer) formal KATERINA (KATIE) WONG (performer) has and emotionally layered performance. Through training began with Alonzo King LINES Ballet performed and presented work in New Jersey, Music Composition: Surabhi Saraf the unique partnership of artistic directors and Alvin Ailey American Dance Theater. He New York, Beijing, and San Francisco. Since Ryan T. Smith and Wendy Rein, the company spent four years as a company member of graduating from Princeton University, she Production Assistance: Alda Tchochiev has earned a reputation for its visually striking, ODC/Dance, and three years touring the has danced with RAWdance, Printz Dance kinetically charged works that consistently works of Alwin Nikolais in Europe with the Recurring cycles of a reverence for intellectual Project, PUSH Dance Company, LEVYdance, push into exciting territory. SF Weekly dubbed Ririe-Woodbury Dance Company. Perlstein is a Concept o4, and others. She choreographed prowess followed by a blinding fear of the company’s work “edgy, sexy inventive fitness instructor for the Dailey Method in San intellectual thought comprise far too much of two evening-length works with dance theater fare designed to speak to audiences.” Critical Francisco and began dancing with RAWdance company Brickabrack, was the resident our global history. From the Spanish Civil has described it as “experimental in 2012. to the Khmer Rouge in Cambodia, the Night of choreographer of PUSH Dance Company from work done brilliantly.” And the San Francisco 2014 to 2016, and was FACT/SF’s 2016 JuMP the Long Batons in Argentina to China’s Cultural Chronicle heralded the artistic directors’ WENDY REIN (co-artistic director, performer), Revolution, that fear has led to horrendous a native New Yorker, has been dancing and Commissioned Choreographer. Wong’s work “genuine partnership, one of the more thrilling has been presented at Z Space, ODC Theater, acts of mass violence against academics, in Bay Area dance.” breaking furniture since age three. After journalists, and artists as well as to more receiving a BA from Brown University, she CounterPulse, Dance Mission Theater, Joe subtle manipulations of cultures to create worked with Misnomer Dance Theater before Goode Annex, Fort Mason, PianoFight, the A resident company of ODC Theater, RAWdance Cutting Ball Theater, and more. She is also the divides across nations or peoples. has been supported through residencies at moving west and cofounding RAWdance. In San Francisco, Rein has had the privilege of digital strategist at Alonzo King LINES Ballet. Ucross, Marble House Project, Djerassi, and katerinawong.com In 2017, it sometimes feels like we are living on CounterPulse. The company has performed dancing with artists such as Amy Seiwert, the precipice of the demise of rational thought. through commissions and festivals in Asia and Deborah Slater, Alma Esperanza Cunningham, Science and facts have lost their meaning; across the United States, as well as throughout and Nancy Karp, and has worked on dozens of intellectuals are branded as elitist; and the the San Francisco Bay Area. RAWdance’s 2013 dance film projects with RJ Muna. act of questioning, or critically engaging, with short dance film since you went has screened 10 11 as a forceful, vulnerable, and subversive TRAVIS SANTELL ROWLAND (QWEEN) is FAUXNIQUE act. She performs locally, nationally, and an interdisciplinary performing artist, internationally in various contexts, from choreographer, and arts educator. He holds theaters to museums to nightclubs. She made BA degrees in drama and dance from San herstory as the first cis-woman to win a major Francisco State University. B‘‘y invitation drag pageant, was a fellow at San Francisco’s Rowland has performed with the San Francisco de Young Museum, a Goldie and winner, Opera, California Shakespeare Theater, SF Weekly’s “Best Performance Artist,” and one Magic Theatre, and Curran Theatre, and has of 7x7 magazine’s Hot 20. choreographed for ACT’s Young Conservatory. A dancer for twenty-nine years, GIAMAICA MR.​ DAVID is a legend as a world-class ZEIDLER began combining her technique and couturier and drag superstar Glamamore. His bendiness with her sense of camp in the San creations regularly decorate and elevate the San Francisco drag scene four years ago. Recent Francisco drag community and recently filled roles include Seymour Krelbourne in Drunk Drag the de Young museum with 24 Years of More! Broadway: Little Shop of Whores and Velma and store windows across the city during Pride. Kelly in Chicago: The Drag Experience. She is currently playing Eliza Schuyler in Hamilton: PHILLIP ANDREW LEWIS is an artist working The Drag Experience. in a variety of media, including photography, video, objects, and sound. His creative MISS RAHNI NOTHINGMORE has been a staple in research often responds to historical events, the Bay area drag scene for 7 years and holds psychology, and phenomenology. This work the titles Miss Gay Northern California, Miss consistently examines duration, perceptual Trannyshack Star Search 2009 and Champion limits, and attentive observation. Lewis is Photo: RJ Muna of Stoli’s Dancing with the Drag Stars. She actively involved in collaboration with artists performs for crowds from the Castro and and various groups. Mission to SOMA and Tenderloin, and continues OhMyEarthGoddess as someone/something that does not belong. her one-woman show, My Book Vol. 2. But I remember that the artificial is still of the Choreography/Creation: Monique Jenkinson in earth. Plastic sequins and polyester gowns collaboration with the performers come from chemical reactions and petroleum from prehistoric fossils. As a woman who Performers: performs as a drag queen I am also an outsider, an invasive species. But I am that from which Giamaica Zeidler drag is made. I am feminine performance. As Fauxnique, I proclaim my use of artifice Miss Rahni NothingMore (Sep 15) and reclaim drag from female impersonation Qween (Travis Santell Rowland) (Sep 23) to embody a larger idea of the feminine. I ritually perform an idealized experience of our Fauxnique (Monique Jenkinson) collective femininity. As a feminist witch and also an American descendant of colonizers, I Costume: Mr. David want to ritually offer myself to the earth to be swallowed up, but I know that in my finery I will Video: Phillip Andrew Lewis be blatantly rejected. Drag resists. Music Arrangement: Katy Stephan. Includes This work was made possible in part with the Amos, Bush, Faithfull, Mitchell, Parton support of Headlands Center for the Arts. OhMyEarthGoddess falls into the feminist Many thanks to YBCA, Headlands Center for the arc of my current body of work, and also Arts, and all of my collaborators. considers the tensions between authenticity and artifice. What makes someone a real Special thanks to Sonya Smith. woman, a real American, a real drag queen? Inspired by clichéd ideas that essentialize (capital-W) Woman, and also by my very recent residency at Headlands Center for the ARTIST BIOS Arts, I imagine landscape as an allegory for FAUXNIQUE is the drag queen alter ego of the feminist and queer resistance and use my artist Monique Jenkinson. Informed both by performance practice to reenact the audacity a tradition of radical queer performance and of that resistance. By placing my practice of theory and by classical ballet training, her work artifice among the trees, grass, and hills of a always comes from a physical place and uses national park, I draw attention to my fakery, I drag to consider the performance of femininity highlight my position as an invasive species, Photo: Phillip Andrew Lewis 12 13 as ours where these rights are said to be the Sacramento Ballet, Sacramento Music guaranteed, can be viewed as the right to have Circus, the Metropolitan Opera Ballet, and the a voice in the conversation. Radio City Christmas Spectacular in New York. Locally, she for the San Francisco Opera The Degree to Which You’re Free is inspired by Ballet, Oakland Ballet, Ziru Dance, and Imagery. protest songs that remain from past struggles and continue to inspire. The title is taken from BRETT CONWAY is a former dancer of Alonzo a quote by the great orator Utah Phillips, who King’s LINES Ballet (2002–10, 2015–16) and claimed that the degree to which you resist Nederlands Dans Theater (2010–15). He has against those who would oppress is the degree worked with renowned choreographers Alonzo to which you are free. The seed of the idea for King, Jiri Kylian, Paul Lightfoot and Sol Leon, this piece came when Darren played Victor Mats Ek, Crystal Pite, and Ohad Naharin, among Jara’s El Derecho de Vivir en Paz (The Right to others. He is currently a San Francisco–based Live in Peace) on his trumpet at the Women’s freelance artist and on faculty with the LINES March. The entire street became silent, heard Ballet educational programs. his song, and erupted in cheers when he was done. It gave me chills. In these difficult times, JAMES GILMER of Pittsburgh was trained sometimes being an artist doesn’t feel like at Pittsburgh Ballet Theatre School and enough, but in that moment, art nourished the the Pittsburgh School for the Creative and struggle on a rainy night. –Amy Seiwert Performing Arts. After graduating in 2011, he joined the and worked with Amy ARTIST BIOS Seiwert as a soloist in I Think of You Often. Gilmer danced with the Cincinnati Ballet for six seasons AMY SEIWERT’s collaborations with artists and has been an artist with Imagery since 2013. of other disciplines and commitment to This fall he will be joining ODC/Dance. experimental work from a classical base make her a unique voice in the Bay Area dance SCOTT MARLOWE is a dancer and actor. From community. She was named one of “25 to 2005 to 2015 he created and performed Watch” by Dance Magazine and has received with LEVYdance as a company artist and the a Goldie from the San Francisco Bay Guardian. company’s associate director. He is currently Currently the artistic director of Imagery and collaborating with Imagery, Risa Jaroslow and choreographer in residence at Smuin Ballet, Dancers, and [detour dance]. Marlowe has she was recently named artistic director received Izzie nominations for Outstanding designate of Sacramento Ballet. Achievement in Visual Design for his 2014 evening-length work Soar, and for Outstanding DARREN JOHNSTON, Canada-born trumpeter/ Achievement in Individual Performance for his improviser/composer/songwriter, has entire 2015–16 season. collaborated and recorded in an extremely AMY SEIWERT diverse cross-section of musical contexts. KELSEY MCFALLS is from Syracuse, Photo: David DeSilva He has written for small jazz groups, big New York. She worked with DTSF, Milissa bands, and string quartets, and for a Payne Project, Company C, San Francisco multigenerational choir with songs derived Symphony, Peninsula Ballet Theater, American THE DEGREE TO WHICH YOU’RE FREE I tend to view things very literally, so my from a collection of immigrant letters. He has in Los Angeles, and immediate reaction to the question of “Why written for dance companies such as Imagery, American Repertory Ballet in Princeton, New Choreography: Amy Seiwert citizenship?” was informed by my relationships Deborah Slater, AXIS, Robert Moses’ Kin, and Jersey. During her summer studies she with my Canadian husband, my Trinidadian Liss Fain as well as for dance films. attended ABT, LINES, and Nutmeg Conservatory. Dancers: Sarah Cecilia, Alysia Chang, Kelsey sister, and my Colombian cousin, who are McFalls is the COO of an educational McFalls, James Gilmer, Scott Marlow, Laura all now US citizens. When my husband first SARAH CECILIA is a classically trained, technology company, developing technologies O’Malley, Brett Conway started going to school in the United States he creatively inclined dancer and movement to maximize human potential through machine was only sixteen. He didn’t become a citizen artist. Born in Colombia and raised in the learning and theoretical neuroscience. Music: Direct Action by Utah Phillips with Ani until his thirties, and consequently never United States and Argentina, Cecilia has DiFranco; El Derecho de Vivir en Paz by Victor voted in a major election until that time. He danced all her life. She has performed with LAURA O’MALLEY was born in Phoenix and Jara; Pie in the Sky by Joe Hill; Masters of War wasn’t able to truly participate. Darren had , San Francisco Opera, attended the Kirov Academy of Ballet in by Bob Dylan; Literally the End of the World by only a green card as the US invasion of Iraq Oakland Ballet, and , Washington, DC, on a full scholarship. She Holcombe Waller; De Colores recorded by Joan was ramping up, and felt limited in terms of among others. She joined Imagery in 2010 and has danced with , the Stuttgart Baez; Ain’t Gonna Study War No More, We Shall how boldly he could make his call for peace was nominated for Isadora Duncan Awards in Ballet, the , Hubbard Not Be Moved and social justice heard, for fear of arrest 2012 and 2016 for her work with Imagery. Street Dance Chicago, Post:Ballet, Alonzo King and deportation. Now he steps into acts of LINES Ballet, and SFDanceworks. O’Malley is Trumpet: Darren Johnston protest and civil disobedience without such ALYSIA CHANG, born in Berkeley, is a freelance currently a freelance performer, and teaches fears, and can even risk arrest if that seems dancer based in San Francisco. She holds a and choreographs for LINES Ballet’s education truly necessary. Citizenship, in a country such BFA in dance and a minor in arts management programs. from SUNY Purchase. She has danced with 14 15 Atlas, who in addition to working on their own music have recently started writing original music for the WNYC Snap Judgment tour.

GENEVA HARRISON (performer) is a percussionist/drummer, session musician, and private teacher based in Oakland. Most recently Harrison wrapped up the 2016–17 national touring season of WNYC’s Snap Judgment with her band, Bells Atlas, which acts as the touring band for the program, live-scoring all original music. Notable national performance credits include Requiem for Katrina with Terence Blanchard, Sonya Tayeh’s You’ll Still Call Me by Name, the Bengsons’ Hundred Days, Undercover Presents: A Tribute to Björk’s “Homogenic” (musical director), and more. Harrison has written for and been featured in Tom Tom magazine and holds a BM degree from the University of Miami.

LARRY ARRINGTON (co-creator) is a dance artist working in hybrids of idea and practice. Her work in dance (time/space/body/whole) pivots around a desire to orient toward the capacities in us all that can glimpse unseen and unutterable horizons. Her body is her life LARRY ARRINGTON and her life is her work.

Originally from Puerto Rico, RAUL TORRES (performer) began his dance training at age seven in ballet, jazz, hip-hop, and social styles like salsa and bachata. Growing up in a culture SANDRA LAWSON-NDU in which dance is a valuable form of social interaction allowed Torres to recognize the MINOOSH ZOMORODINIA importance of connecting with other members Photo: Margo Moritz of the community through movement. He moved to San Francisco in 2015, and became a member of Aguas Dance Company that same -OPIA- belonging as well as our sharpest strikes of recipient of several awards and residences, year. He has also collaborated with Presidio separation? In their retelling, what magic such as an MFA fellowship from the San Dance Company, Sarah Bush Project, and opia sparks and what fear flourishes? Francisco Art Institute; she was a finalist for Catherine Turocy in the opera-ballet Le Temple noun combining form the Tosa Award; and she participated in the de la Gloire. Recently he was accepted into the 1: condition of having (such) vision Work supported through generous sponsorship Affiliate Program at Headlands Center for the Rhythm and Motion training program. 2: condition of having (such) a visual defect from Joe Goode Dance Annex and the Dancers’ Arts. Her work has been exhibited locally and Origin- from Greek ōps, ōp- “eye, face” Group Ca$h Grant Program. internationally in Iran, the United States, SAMMAY (performer) is a choreographer/ pi·a ma·ter Finland, Romania, South Korea, Canada, producer and interdisciplinary performance artist of Kapampangan, Ilokano, and Bikol /pēə ˈmädər,ˌpīə ˈmādər/ ARTIST BIOS England, and Mexico. Noun ANATOMY descent who envisions a future in which our noun: pia; noun: pia mater MINOOSH ZOMORODINIA (co-creator) is an SANDRA LAWSON-NDU (co-creator) is an indigenous traditions coexist with(in) our the delicate innermost membrane enveloping Iranian-born interdisciplinary artist who Oakland-based musician. As a vocalist and urban landscapes. She invokes performance the brain and spinal cord employs video, photography, installation, and songwriter, she has contributed to and ritual as a chosen intersection of space and Origin: late nineteenth century: from medieval performance to make visible for audiences collaborated on a number of live and recorded time in which the body is activated as a vessel Latin, “tender mother,” translating Arabic al- the emotional and psychological reflections of projects, including works with DJ Center for intercession and believes her role as kinetic storyteller and healer is ancient medicine ’umm ar-raḳīḳa her mind’s eye, inspired by nature. Her work (Everything in Time LP) and Nomadic Wax exposes and experiments with humanity’s (Diaspora Mix Tape Volume 2). She helped passed down from her maternal lineage. We approach this question of citizenship relationship to the natural world. She earned found and organize the Trinity International SAMMAY is the founding artistic director of through a kaleidoscopic lens to challenge the her MFA in new genres from San Francisco Hip Hop Festival. She has been invited URBAN x INDIGENOUS and is presently a resident myopic gaze that often holds the question Art Institute, and holds a master’s degree in to participate in both the Zoo Labs artist artist with API Cultural Center. in a grip. What stories are we calling on, and graphic design and a BA in photography from residency and Revolutions Per Minute Artist sammaydizon.com how do they shape our sweetest desires for Azad University in Tehran. She has been the Lab. Currently she is co-leading the band Bells

16 17 ARTIST BIOS and teach in the Bay Area and internationally as a company member with the Joe Goode MELECIO ESTRELLA has been a Bay Area Performance Group, BANDALOOP, and Scott performing artist, director, and teacher for Wells and Dancers. Ward cofounded Fog Beast the past eighteen years. He is co-artistic with Melecio Estrella in 2010. director of Fog Beast, associate artistic director of site-reactive dance company PATRICIA WEST is a dancer, choreographer, BANDALOOP, and a longtime member of the and educator. She obtained her BA at UC Joe Goode Performance Group. His recent Berkeley and her master’s degree from San engagements include making dances on the Jose State University. West has worked and cliffs of the Tianmen Mountain in China’s Hunan performed with the dance companies Robert province, Yosemite, Art and About Sydney Moses KIN, Alayo Dance Company, and Zaccho Australia, Gabon Africa, Kirkenes Norway, the Dance Theater. Currently she performs with Kennedy Center, and creeks, living rooms, and and serves as an education coordinator for Joe backyards around the Bay Area. As a performer Goode Performance Group. During the school Estrella has appeared with the San Francisco year, West is the K–8 dance teacher at Bentley Opera, Faye Driscoll, Rachael Lincoln, Scott School in Oakland. Wells, and Damara Ganley, among others. BEN JUODVALKIS composes original music for ANDREW WARD is co-artistic director of a variety of industries. He has created more Fog Beast. He was first introduced to dance than fifty scores for dance companies across and performance through the vibrant and the United States, in addition to composing supportive program at Berkeley for film, museum installations, and theater. High School. Upon graduating, he attended Juodvalkis works from his studio in San UC Berkeley, where he continued studying Francisco as well as on location with his mobile and performing modern dance while earning custom-built electronic instruments. a degree in peace and conflict studies. After graduating in 2007 Ward went on to perform

FOGBEAST

Photo: Jessica Swanson

HE’S ONE OF US Led by Melecio Estrella and Andrew Ward, Fog Beast uses body-based practice and Performers: Melecio Estrella, Ben Juodvalkis, performance to illuminate the modern Patricia West trappings of the human animal. With roots in dance theater, site-specific performance, live Direction: Andrew Ward, Melecio Estrella music, and athletics, Fog Beast approaches physical and aural curiosities with a wide range Made by: Andrew Ward and performers of tactics. Staging Direction: Damara Ganley Fog Beast is a fiscally sponsored project of Dancers’ Group. Musical Direction: Ben Juodvalkis Fog Beast especially thanks Marc Bamuthi We came on a slave ship, we came on a military Joseph and the staff at YBCA, Shawl-Anderson vessel, we crocheted bedspreads, we died in Dance Center, Mo Miner, Kara Starkweather, war, we learned to play the piano, we got free, Ann Woodhead, Bandaloop, Joe Goode, Jessica we bought a house, we bought a seat at the Swanson, Krystal Harfert, Carrie LeRosenblanc, conference, we networked, we had kids, we Fog Beast Donors, our ancestors, and our danced, we made a show. children.

Photo: Jessica Swanson 18 19 AESTHETIC EXCELLENCE IS OUR LEGACY, BUT CULTURAL MOVEMENT IS OUR MISSION, AND AS SUCH OUR PROGRAMS SHOULD SUGGEST BOTH THE SPEED OF THE URBAN FRAY AND THE TIME STOPPING COURAGE OF INSPIRED CREATIVITY. TRANSFORM IS A DELIBERATE RESPONSE TO THESE IMPULSES. MARC BAMUTHI JOSEPH CHIEF OF PROGRAM AND PEDAGOGY

RAWdance Photo: Andrew Weeks 20 21 ARTIST BIO: CONTRIBUTERS

GIACOMO CASTAGNOLA GIACOMO CASTAGNOLA works in architecture, SET DESIGNER design, furniture, and public interventions. YBCA PRODUCTION STAFF LIST In San Diego/Tijuana he established a studio Jodi Feder, Director of Production STAGE FOR SOCIAL CHOREOGRAPHY of architecture and design, Germen Estudio, Martin Barron, with a focus on exploring and learning from the Associate Director of Production For this commissioned “informal” city and its urban growth without June Higginbotham, Production Manager stage design, design, resulting in organizational structures Chris Griffin, Production Manager which invited 7 through processes of urban sedimentation in Thomas White, Theater Head Technician choreographers time. Castagnola, originally from Lima-Peru, Cedric Lathan, to respond to the currently works between Mexico City and San Theater Head Audio Engineer Francisco in architecture for exhibitions that question of “Why investigate new ways to present material Greg Wilson, Forum Head Technician Citizenship?” I based culture and art archives, applying different my design approach on construction systems and modular devices YBCA PERFORMING ARTS the concept of social that hack the body of the visitor and put them PROGRAMMING STAFF choreography, which in a different bodily relation to space, breaking Marc Bamuthi Joseph, helped me merge my the formal status of how one needs to behave Chief of Program and Pedagogy interests of dance and in an exhibition, without any signage or labels, Isabel Yrigoyen, citizenship. In the book Move. Choreographing just choreographing the body in a more casual Associate Director of Performing Arts You – Art and Dance since the 1960s, Stephanie manner. The aim is to disturb the tacit policies Claire Shoun, Rosenthal described social choreography that exist in contemporary museum spaces Performing Arts Programs Manager that give one the feeling of being in a bank as “choreography focused on degenerated, or in a church: do not touch anything; stand artificial, or manipulated patterns of behavior. behind that line; we know that you would not LIGHTING DESIGNER The choreography became the image of our understand; if you understand something, Jose Maria Francos own world, with its external powers controlling good for you; please keep walking; do not stay. the physical, psychological, and spatial aspects In his projects, the body is invited to stay. STAGE MANAGER of our actions. It thus became a mirror of Patricia Mahoney socio-political structures and mechanisms of Castagnola has produced numerous manipulation.” 1 architectural exhibition projects, including Reverberaciones / Reverberations – Arte y YBCA 2016-2017 BOARD OF DIRECTORS I am interested, not solely in the design of sonido en las colecciones del MUAC in the the dance area, but also in an immersive Museo Universitario de Arte Contemporáneo participatory experience. How to express those (MUAC); Modernidad Pirateada / Pirate BOARD CHAIR power structures that control our spatial Modernity at the Museo Universitario del Rekah Patel patterns of behavior and actions as citizens? Chopo, Mexico City; Anarchist Design project How to create awareness of the politics that for La Casa del Hijo del Ahuizote: Archive/ exist in our own bodies as an audience, as Museum/ Print shop, Mexico City; a flexible EXECUTIVE COMMITTEE individuals, as groups, and as a community at platform for presentation of archival material Berit Ashla large? I created diverse seating formations to for inSite: Wandering Position, University Diana Cohn expose the political connotations that impact Museum Of Contemporary Art (MUAC), Mexico Erik Mayo the body using congregations of different City; As well as art projects such as Common types of chair and seating formations that Trades: Urban Metabolism of Knowledge L.A MEMBERS Catalina Ruiz-Healy create spatial configurations and group’s Version at the Armory Art Center in Pasadena, Peter Bransten Paul Ryder shapes that generate different dance spaces. CA; Tunnel Project: Instant Herlev Institute, Amy Eliot Diane Sanchez Denmark; and Slow Trans Anyang: Bicycle Elna Hall, Ph.D Vicki Shipkowitz In addition, due to the diverse approaches Station and Mobile Devices for Anyang Public Meklit Hadero Meg Spriggs of each group, I developed a family of mobile Art Project (APAP), Korea. Kevin King Marc Vogl devices such as ladders on wheels, stage D.J. Kurtze Vinitha Watson platforms, and mobile tables and structures Jocelyn Lamm Zak Williams that give the choreographers diverse stage Startz Johann Zimmern and spatial possibilities that can be deployed, Laura Livoti arranged, and activated as the choreographers Mark Miles EMERITUS wish. Sabrina Riddle Helen Sause

1. Stephanie Rosenthal, Move. Choreographing You, Art and Dance Since the 1960, The MIT Press, London, 2011, p. 17.

22 23 YBCA DONORS National Endowment for the Arts Leslie and Merle Rabine in memory of Bea Wahl Laura Livoti The Bernard Osher Foundation Catalina Ruiz-Healy and Jonathan Kevles Nick Martinelli and Alicia Miao The Creative Work Fund, a program of the Walter Srinija Srinivasan Kim A. and Ian Morton and Elise Haas Fund also supported by The Mitchell and Kristen Yawitz Diana Nelson and John Atwater A WARM THANK YOU TO YERBA BUENA CENTER William and Flora Hewlett Foundation Samia Rashed FOR THE ARTS’ CONTRIBUTORS! Theatre Communications Group Dr. John P. Ryan and Mary Lou Jepson Verizon Anthony St. George and Joel Evans Wells Fargo Foundation $1,000 AND ABOVE Neal Strickberger and Melissa Alexander Thank you to our contributors for Yerba Buena Community Benefit District Djinnaya Stroud and Jason Bradford enthusiastically supporting YBCA’s Institutions Avery Ucker and Sophia Poirier programs. YBCA gratefully acknowledges Individuals Adobe Matching Gifts Program Elise Van Middelem Anonymous Apple Matching Gifts David Joseph Weber and Renu Agrawal contributions from our FY17 partners, and Council on Foundations Forest Young and Jane Brown contributions and in-kind donations of Gaia Fund In memory of Christian Zimmern $300 or more received between August 1, $10,000 - $19,999 2016 and July 31, 2017 Individuals Institutions Verda Alexander and Primo Orpilla $300 AND ABOVE Bessemer Trust Berit Ashla and Aron Cramer Special thanks to the City of Dolby Laboratories Orit Atzmon and Yoav Shoham San Francisco for its ongoing support. Knight Foundation John Bankston and Robert C. Goodman Individuals Meyer Sound Jennifer and Matias Duarte Kathryn Arnold The Sato Foundation Colin Eykamp Ricardo Bressanutti Zellerbach Family Foundation Gloria and Saul Feldman Chris and Lorrie Breshears Randi and Bob Fisher Yvette Chalom and Paul Fogel Individuals Mary and John P. Grossman Fahrettin Cirit $100,000 AND ABOVE Alvarez Family Foundation Michael Harrington and Amanda Michael M. Quinn Delaney and Wayne Jordan Paul Connolly James C. Hormel and Michael P. Nguyen Barbara Deutsch Institutions Carla and David Crane Kaitlyn and Mike Krieger Francis Djabri The William and Flora Hewlett Foundation Erik Mayo Richard Laiderman and Jung-Wha Song Francesca Eastman and Edward Goodstein Institute of Museum and Library Services Mark Miles Joonho Lee and Kiyoung Nam Atomic Elroy The James Irvine Foundation Matt Mullenweg Eileen and Peter Michael Thomas and Mary Foote Mellon/ACLS Fellows Program Ned Topham in memory of Cathy Topham Lois E. and R. Duke Miller Family Foundation Matthew Goudeau The Andrew W. Mellon Foundation Karen H. Wickre JS Plank and DM DiCarlo Family Foundation Nina and Claude Gruen National Endowment for the Arts Mike Wilkins and Sheila Duignan Jesse A. Salmon D.J. Kurtze Panta Rhea Foundation Zak Williams and Alex Mallick Diane Sanchez Linda Lucero de Moisa and Ray Moisa Surdna Foundation Anonymous Petra Schumann and Rob Wullenjohn Jim Newman and Jane Ivory The Andy Warhol Foundation for the Visual Arts Vicki Shipkowitz Keenan Norris Steve Smart and Javier Barreto Larry Pettit Individuals Lava Thomas and Peter Danzig Dr. Michael Pivovaroff and Rebecca Elmes $5,000 AND ABOVE Anna and Richard E. Gardner Revocable Trust Marc and Megara Vogl Mathieu Reeves Harvey and Leslie Wagner Foundation Peter Rigano Institutions Charles and Cheryl Ward Richard Smith Abundance Foundation Amanda Spector $50,000 AND ABOVE May Yip Grosvenor Steve Sullivan Heron Arts Institutions California Arts Council Walter & Elise Haas Fund Individuals $500 AND ABOVE GIFTS IN-KIND Kenneth Rainin Foundation Mary L. Bianco Salesforce.com Peter Bransten and Leela de Souza Bransten Institutions Airbnb Hanmin Liu and Jennifer Mei Anglim Gilbert Gallery Bixbee Rekha Patel Individuals The Cultivist The Growlery Jean-Pierre L. Conte Pincus Family Fund Doran & Associates Meyer Sound Kevin King and Meridee Moore Rebecca and Alan Ross Thendara Foundation Pietisserie Meg Spriggs Jennifer Redmond Esq. Jocelyn and Paul Startz Individuals United Airlines Jeff Whipps and Susan Greenleaf Jerry Bailey $20,000 AND ABOVE Anonymous Heidy Braverman and David Skinner

Jenene M. Castle and Zachary Daulton GIFTS IN MEMORY OF PAUL M. CONNOLLY Institutions Stuart and Barbara Cianos Cushman & Wakefield Dr. Daniel Coming and Dr. Elizabeth Widman Bessemer Trust The Kimball Foundation $2,500 AND ABOVE Leah Edwards Rodney Christopher The MAP Fund, supported by the Doris Duke Amy T. Eliot Matthew Foster Charitable Foundation and the Andrew W. Mellon Institutions Marcia Feitel George Lightbody Foundation Adobe Foundation Namrata and Ashish Gupta Diana Nelson and John Atwater New England Foundation for the Arts’ National Shelley Harrison Murray Stoltz Dance Project and National Theater Project, Individuals Wayne Hazzard Marc and Megara Vogl with lead funding from The Doris Duke Rena G. Bransten Lawrence Li and Philip Tran Anna White Charitable Foundation and The Andrew W. Mellon Elna Hall, PhD David Liff Foundation, with additional support from the David Packard and M. Bernadette Castor 24 25 YERBA BUENA CENTER FOR THE ARTS IS GRATEFUL TO THE CITY OF SAN FRANCISCO FOR ITS ONGOING SUPPORT.

YBCA Programs in 17–18 are made possible in part by: The James Irvine Foundation.

Additional Funding for YBCA Programs 17– SPRING 2018 18: National Endowment for the Arts, Abundance Foundation, Grosvenor, and Members of Yerba Buena Center for the Arts. PERFORMANCE FESTIVAL MAY 8-19, 2018 The 17–18 Performance Season is made possible in part by: Doris Duke Charitable Artists converge for two weeks in an international spectrum of Foundation, The William and Flora Hewlett performance, inspiring the public imagination. Headliners include Foundation, and Panta Rhea Foundation. music wiz DJ Spooky, the visually stunning dance-cirque company Capacitor, the inventive Campo Santo theater ensemble with actor Roger Guenveur Smith, plus the stunning West Coast theatrical debut of Okwui Okpokwasili’s Poor People’s TV Room and Lars Jan/Early Morning Opera’s Additional Funding for YBCA Performances 17–18: Surdna Foundation, Salesforce.com, New The Institute of Memory (TIMe). PLUS MORE... England Foundation for the Arts, and Zellerbach Family Foundation.

YBCA Exhibitions 17–18 are made possible in part by: The Andy Warhol Foundation for the Visual Arts, Panta Rhea Foundation, American Council of Learned Societies Public Fellows Program, Meridee Moore and Kevin King, and United Airlines.

Engagement and Education Programs in 17–18 are made possible in part by: Institute of Museum and Library Services, the California Arts Council, The Andrew W. Mellon Foundation, Walter & Elise Haas Fund, The Bernard Osher Foundation, Wells Fargo Foundation, The Kimball Foundation, TICKETS ON SALE JAN 2018! 27 28