tradition

23 Oct, 2009

Dance Discourse 7: Traditional Dance is not a Christmas Tree

2009-10-23T17:28:58-07:00By |Categories: CounterPULSE, Performing Diaspora|Tags: , , , , , , , , |

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

23 Oct, 2009

Dance Discourse 7: How do we keep our dances from becoming museum pieces? Defining Tradition, Innovation, and Preservation in the Artistic Process

2009-10-23T17:47:02-07:00By |Categories: CounterPULSE, Performing Diaspora|Tags: , , , , , , , , , , , , , , , , , , , , , , , , |

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

26 Oct, 2009

Dance Discourse 7: “Authenticity vs. Tradition”

2009-10-26T04:58:18-07:00By |Categories: CounterPULSE, Performing Diaspora|Tags: , , , , , , , |

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

7 Dec, 2009

Dance Discourse 7: but i really love it…

2009-12-07T21:20:27-08:00By |Categories: CounterPULSE|Tags: , , , , , , , , , , , , , , , , , , , , |

scribed by Roko Kawai 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

16 Dec, 2009

Thanksgiving and Performing Diaspora …by Charlotte Moraga

2009-12-16T02:49:31-08:00By |Categories: Charlotte Moraga, CounterPULSE, Performing Diaspora|Tags: , , , , , , , , |

November.  Thanksgiving.  Well, Performing Diaspora was a thanksgiving feast of a sort, for sure.  Dishes of quiet contemplative explosions and moments of mirth filled the platter,  like when Sri did her nonplussed "boob dance" and her sexy "butt dance."  With her back to the audience, she cocked her head as if to say, "I see you, watching me, watching you."  There was Devendra's utterly charming and engrossing nautanki play, Yannis' virtuosic and athletic dance -- one moment in particular took

14 Sep, 2010

Selling It

2010-09-14T10:38:57-07:00By |Categories: CounterPULSE, Performing Diaspora, Sri Susilowati|Tags: , , , , , |

Sometimes I'm asked what village I grew up in. The answer is a little village of (what is now) 7.4 million people. The idea that I grew up in a ghetto area in one of world's largest cities seems to shock many people. How can the art that I learned and practice be from that environment and not from one of rice fields, palm trees, and poor but happy villagers? The deep origins of my technique are not from the

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