Performing Arts Classroom

another amazing year - 2011

2011-05-30T11:41:00.000-07:00

I feel so honored to be a part of these artists lives and an integral part of the faculty at SF School of the arts! 900+ seats sold-out night after night at the SF Palace of Fine Arts. These artists DO NOT DISSAPOINT!

and this time in the theater with A BABY!! Noki made it through the whole dress rehearsal without even a fuss!

Here guest artist and former student, Zach warming up the dancers at the palace of fine arts.

Surrender, with music by Jami Sieber

2011-05-13T11:49:00.000-07:00

Tributes to Great Choreographers from History -Final 2010 Assignments

2010-12-02T20:46:00.000-08:00

Choreography final assignment 2010

1) Dance Compostion in the style of your chosen choreographer - all group members must participate to get credit
2) costumes for all to accompany your dance
3) music appropriate to that of your chosen choreographer's style and taste.
4) 2 page written assignment: the Life of your Choreographer

-History of their life and work; where were they from, when did they work, etc.
-Who were key mentors/teachers in their development as artists
-What was their style and how did it develop? What kinds of things were important to this choreographer (politics, landscapes, abstract, chance, music, etc)
-How has what you've learned above influenced your assignment

This project was fantastic - all the groups worked so hard and thoughtfully and came up with some wonderful pieces. Here they are:

A tribute to Martha Graham

more to come!

Tribute Assignment - Katerine Dunham & Doris Humphry

2010-12-01T23:57:00.000-08:00

A tribute to Katherine Dunham

A tribute to Doris Humphry

Tribute Assignment- Merce Cunningham & DeniShawn

2010-12-01T21:39:00.000-08:00

A tribute to Merce Cunningham

A tribute to Ruth St.Denis and Ted Shawn

Tribute Assignment- Jerome Robbins & Serge Diagilev

2010-12-01T00:03:00.000-08:00

A tribute to Jerome Robbins

a tribute to Serge Diaghilev

New work begins

2010-11-20T12:30:00.000-08:00

Let's begin our new piece together by collecting imagines and ideas.

Looking forward to digging in deeper to our piece - pls begin to muse on the ideas that we've been discussing thus far about the transformation and development of a volcano.
If anyone finds some good peotry or imagery, please send it my way and we can start sharing with the group.

I have never seen "Volcanoes" --
But, when Travellers tell
How those old -- phlegmatic mountains
Usually so still --

Bear within -- appalling Ordnance,
Fire, and smoke, and gun,
Taking Villages for breakfast,
And appalling Men --

If the stillness is Volcanic
In the human face
When upon a pain Titanic
Features keep their place --

If at length the smouldering anguish
Will not overcome --
And the palpitating Vineyard
In the dust, be thrown?

If some loving Antiquary,
On Resumption Morn,
Will not cry with joy "Pompeii"!
To the Hills return!
--Emily Dickinson

Gentry Article - Sota Seven

2010-11-16T18:05:00.001-08:00

http://mydigimag.rrd.com/publication/?i=48310
Check out this link to the October issue - Pages 110-111

SOTA's got SPIRIT!

2010-10-31T20:20:00.000-07:00

Happy Halloween!!

Trolley Dances 2010 - annual field trip

2010-10-16T19:54:00.000-07:00

SOTA CLASS - October 2010Kim Epifano's Epiphany Productions presents Trolley Dances- and SOTA goes on a field trip every year!

Here's some impressions from the afternoon along the sunny san francisco N Judah train line.

"you just have to let the soft animal of your body LOVE WHAT IT LOVES!"

Kim Epifano's closing piece at the Botanical Garden's in Golden Gate Park

Thank you to Kim and her entire cast and crew for such a great day and lasting impressions for all my students!

Workshop with Chimene

2010-10-08T13:40:00.000-07:00

Students had a super modern choreography workshop with Chimene Pollard today - updates to come! http://www.chimenepollard.com/

Workshop with Kim Epifano

2010-10-01T19:13:00.000-07:00

In prep for our annual field trip to Trolley Dances each year, the SOTA students get a workshop with Artistic Director, Kim Eipfano! Tons of fun ensues each year - take a look!

Interview with Jessica Goldman, Gentry Magazine

2010-07-23T16:09:00.000-07:00

RE: SOTA Seven dancers who performed with dance ceres

1. How long have you worked with these particular students? Just this year or have they been in your class since entering high school?

I teach the school of the arts choreography class, which has all students in the dance department (directed by the acclaimed, Elvia Marta) together in one class on friday afternoons. There are roughly 40+ kids -- freshman to senior and beginning to advanced dance levels. The rest of the week they are split up into their dance level, so i feel very fortune to get to all of them for 4 years! I usually choreograph a group piece for them all to open their annual spring concert each year - but this year i had another opportunity for a smaller project. This was the first time i'd worked with any of these dancers outside the classroom. Three of them were new to me last year and the others i'd had in class for a couple of years already.

2. I know (from my wonderful experience with you) that you work with student groups a lot in a professional capacity. Can you tell me more about the impact you think an experience like this has on a developing dancer?

You are sweet! ;) I think that this particular occasion gave them a little taste of what it's 'really' like to get started as a modern dance professional. (They get to dance on the cowell stage to 400+ family and friends each year, which is pretty cool but nowhere near where you start out...) this project with dance ceres was a very small work-in-progress based performance in a black box theater downtown san francisco. If they pursue choreography in the next few years - no doubt they will spend some time in small venues workshoping material before it gets to a main stage!

3. Have you had students work with Dance Ceres in the past? If not, how and why did you decide to create the collaboration this year?

I have never invited students to perform with dance ceres in the past as i feel very strongly that audience members who go see professional dance should get professional dancers on stage. That said, i did invite a graduated senior to intern with the company and perform during a summer program a couple of years ago. She was an exceptional dancer and had an excellent academic record.

This project again, was different from any of my past works. I was specifically studying the flow of a river, with all that it encompasses and collects along its way. I was trying to unwind why we as people get stopped by things in our way (emotionally and physically), while the river simply flows around. I wanted to recreate situations wherein one could inevitably get stopped, yet instead, though the physicality of the movement, would continue on – either with the help of another or by making a choreographic choice. More on that later—

Just as a river has many tributaries, I thought it a relevant experiment to work with several groups, feeding into the same overarching project… to get multiple experiments in the same pool. From the most youthful stream to the collision of all the rushing characteristics at the intersections. I also worked with a quartet at Stanford on the same themes and they performed in the showing as well. So, in all – we had ages on stage ranging from 15-35! Here’s some basic writing on the work that we are continuing to develop:

“The river continues-- it does not sleep, but it devours ravenously. It nurtures, but it does not care. It simply exists in the thoroughness of movement. There is no judgment, only growth and functionality. Is it ruthlessness, inconsideration, oblivion? Or is it forgiven in its naturalness, in its inevitability? Maybe we understand the endlessness because there is no mechanism for stopping. In contrast, the damage we create is from decision, not biological unavoidability. We are destructive to one another on purpose, for even the slightest difference, not inevitably… or is it inevitable? Human fear and confusion facilitates destruction, yet the river knows nothing of judgment or difference. Wash out the human in me and let me be like the river.”

Columbia Chasing, studying the defining differences between the flow of a river and the fluidity of the individual, will highlight our strengths as a dance company as we draw from many ages and experience levels. Through the process of abstraction, blending personal confusion to propel healing, regardless of logical understanding, we reveal the stab of shock and the spark of surprise are one in the same action. Whether through devastation or elation, the immediate state of disbelief renders us motionless. Our work celebrates the things that profoundly surprise us. The body knows when it is finished grieving. It becomes lighter. It flows again."

4. How involved in the choreographic process where the SOTA students?

I directed and choreographed all of the work outside of one collaborative section that was quintessential to the theme of the work-in-progress:

With each group (SOTA, Stanford, dance ceres) I set out to create sections of current wherein the dancers would have to react to each other over time. I described it to each group a little differently each time to see if it made a difference – sometimes I used actual characteristics of different rivers around the globe and other times I gave simply instructions like this: each group had a 2-4 minute section wherein they would rotate through this format until everyone had been the leader 2 or 3 times.

1. one was the leader for “a move or short series of movements in a direction”

2. a second dancer(s) was a follower – or attempted from their angle and space on the stage to do nearly the same thing as the leader

3. a third dancer(s) was a compliment to the first two – reacting in a way that ‘went with’ the others but was not the same – like a set of complimentary colors

4. a fourth dancer was then the agitator – or reacted to the leader in a way that was contrary or dissonant to the leader and served to break up any symmetry that may have developed.

These sections took a long time to make, but were ultimately very interesting. And technique wasn’t really an obstacle because I wasn’t dictating the movement outside of the intent, so all of the dancers looked great together – and though it wasn’t pedestrian based, it was action/reaction based and each movement therefore became essential. And the current sections flowed through just like a bend in the river – tumbling over and through, dragging across the stage space in fluid falls and manipulated angles. There was a leader and an agitator each time but they too were caught up in the current to the outside eye.

5. How did you pick the lucky seven?
They were exceptional in their attendance, classwork and homework in the previous semester and had shown an extra interest in choreography. I will only work with students who show a solid effort in learning. It is my opinion that dedication is much more important than talent at that age and it should be rewarded – luckily each of these dancers are also incredibly talented and captivating, already as their young ages! They were also willing to commit to extra rehearsal time (which can be pretty tricky with teenagers!) I usually try to spend an extra 30 minutes after class with the students who really want to dig into choreography, helping them with outside projects or more specific assignments.

6. How has the experience affected/influenced the Dance Ceres Dancers?
For this particular project, all of the dancers were new to me, as I’d had an audition only a few months before. So actually, I’d spent more time with each of the students than with the dance ceres dancers this time around…

7. How has the experience affected/influenced you as a teacher? As a choreographer?

It was quite overwhelming for me, actually – to have all aspects of my professional life in the same room. Had I had a couple of my choreographic mentors there (Diane Frank, Tarin Chaplin, Jean Isaacs) – that really would have been full circle! ;)

I enjoyed giving myself the permission to take an idea and really beat it into the ground from multiple angles. Sometimes these works go by so fast – conception, rehearsal, performance, done (sometime within as little as 3 months times). And I don’t really feel like I’ve gotten to fully investigate what I wanted – or it changes half way through and I honestly can’t take the time to follow the new trajectory. With this project – I got to work simultaneously with different groups and was therefore able to distill the work to its essentials much more quickly. Now as we’re in the final phases of rehearsal, I know what worked and what didn’t and with a little distance, I can easily cleave the sections away that aren’t going to help the final piece really shine.

As a teacher, I’m always looking for new techniques to unlock movement ideas to help my students develop a language beyond that which they’re familiar from their technique classes. I enjoyed the structural work we did in question #4 and felt it lent itself to more authentic opportunities for movement.

Thank you Brittany. And please keep me updated on performances as I would love to see your students and your dancers live and in person. Also, the article will be in the October issue, so if there are any events for SOTA or Dance Ceres you would like me to include that are happening in Oct-Dec, let me know.

We’ll be premiering Columbia Chasing (which will include some of the choreography from each of the student sections) at the West Wave Dance Festival on Monday, November 8th, 2010 at the Cowell Theater, Fort Mason. The piece is currently being reworked/finalized with our material from the spring and will feature a duet by Yukie Fujimoto (formerly of ODC dance) and Roel Seeber (of Bandaloop and formerly of the Limon Company in NY). For tickets: www.westwavedancefestival.org

And for more info on dance ceres: www.danceceres.org

SOTA 7 performs with Dance Ceres

2010-06-02T13:26:00.001-07:00

Seven of my students - all different levels and experiences joined together to make a smaller version of our class piece for performance in a showing of work with dance ceres (www.danceceres.org). Big Thanks to Caitlin, Molly, Julianna, Erin, Emily, Katie & Ocean!

here's some of the great stills by the wonderful photographer: Elazar Harel

absolute beauty!

2010-05-16T20:25:00.001-07:00

congratulations my angels!!! your are such an incredible group of artists and i (we, all of your teachers) are so proud of you.

Intentions - this weekend

2010-05-10T09:17:00.000-07:00

Dear Friends and Fans,

You don't want to miss this fantastic performance!
Tickets are on sale now for
San Francisco School of the Arts High School (SOTA) Annual Dance Concert

Intentions
May 14-15-16, Friday & Saturday 8pm and Sunday 2pm
at the Cowell Theatre in Fort Mason Center in San Francisco.

Tickets can be purchased:
- at the Cowell Theatre box office,
- or on-line (http://www.fortmason.org/boxoffice )
- or by phone 415 345-7575

Tickets are $16 for students 18 and under and seniors 65+, $23 for adults. Bring your friends and family and enjoy an amazing performance of these talented young men and women, dancing pieces choreographed by students, staff, and guest artists especially for this inspiring group of young artists.

This is a popular show and will sell out, so now is the time to get your tickets. We would love to see you there. General seating, all 437 are good in this professional venue.

Looking forward to seeing you at a great event.

final rehearsals

2010-04-30T10:35:00.000-07:00

final rehearsals

2010-04-30T09:45:00.001-07:00

a picture is worth a thousand words.

The sincerity and graciousness, passion, power and fearlessness with which these young people perform is truly breath-taking! Even for someone who has spent decades in the theater and seen every kind of talent - this group is very special and I am so honored to learn from them as their teacher.

WORKSHOP with KT Nelson of ODC/SF dance

2010-03-06T17:14:00.000-08:00

KT started by explaining the the ODC style of dance is a combo of Ballet, Modern and Pedestrian movements or everyday life! The artistry comes into play as your try to blend those very different styles. She continues to explain "just by doing something pedestrian 'in unison', formalizes it. and if you play with timing or dynamics, you can abstract it even further". Context is a good thing in abstract dance - we live out there in the world and things inflitrate our consciousness andshow up in our work. How do we take these everyday things and make them into dance phrases, shapes and gestures?different physical relationships can create new landscapes with the body. AND -when you have to solve a problem -- the true voice of the artists comes out!
KT is a gracious and energizing mentor - and an incredible choreographer. Our students are so fortunate to learn from such a master teacher and we thank her and all of ODC for their participation in our class.

Heidi Landgraf wksp- based on the teachings of Anna Halprin

2010-02-26T14:32:00.001-08:00

Students today got a workshp by Heidi Landgraf-- meditation, drawing, sounding, laughing, dancing through the questions: who have I been?who am I now? Who am I becoming? Heidi had an enthusiastic and reassuring command of the classroom. The breadth of her knowledge base and the passion with which she lead the class made for a safe and expansive student awakening. While mediating, I could see my students minds starts to open; their awareness was mental, physical and spiritual. As they spent the first good hour with their eyes closed (something I never actually thought capable) the transformation of their physicality was breath-taking to me. They were no longer dictating to their bodies what to do, which typically created familiar shapes from technique class; they were listening to their bodies, hearing a unique rhythm and calling that came from their individual depths. I would whole-hearted recommend Heidi to teach in any classroom in need of pulling back from the hustle of performing. Her class reminded my students of the undeniable core in each of us, from where we cultivate our artistry.

“I loved class today! It was incredible. I feel like the class not only got closer but I know that I and others discovered another bit of ourselves. From post class discussions I know that most if not all of the dance department got something out of the class. It was a great experience.” – Molly, Junior/SOTA

It might be sensitive or messy-- beautiful or frustrating-- just listen to the dance your spine is telling you to do, said Heidi.

ceres studio

2010-01-23T10:33:00.000-08:00

set up a new studio video channel to document rehearsals... http://www.youtube.com/ceresstudio
its not too pretty, but at least it helps everyone review when we're on a short rehearsal schedule!

Phrase work

2010-01-09T12:54:00.000-08:00

interpret these individual words or phrases into movement- one at a time and build them up together into a phrase:
touch the wet
float
swirl
swirl up
sharp bend
bend
tumble
swallow
fold
fall through your fingers
hallow out
swirl
swirl up
sharp bend
bend
tumble
soften
hiccup
hop forward
curious
Build momentum:
rush - ing
shifting methodically
isolate and pool
ripple
splash
sneaking
splash
reeasing and retreating
swirl
swirl up
bend tumble
isolate and pool

bring this movement phrase to class.

embarking -- 2010 work in progress

2010-01-09T12:42:00.000-08:00

What an exciting dialogue about the beginning of a new work with the students! our thought to open class was "wash out the human in me and let me be more like the river"

Here are some of their thoughts on that:
Bound by self vs free flowing
the river is constantly flowing - whereas we are bound by our own emotions and sometimes they hinder us from moving forward. we get so tied up in our emotions that it hinds us - we get too involved that we get in our own way.
our feelings get in the way of reality.
there are things in the way of the river - rocks etc. but it doesn't care. it's out of control and thats okay.
with water small grooves are created, which eventually lead to huge string rivers. maybe the idea is that we shouldn't control WHERE we go, but once the path is laid, one should commit to that flow fully.
the river is the ideal way to lead your life - fully, forward, without inhibitions or impedments, at pease perfect in its own way.
the river doesn't care. it has not control, so it simply lets go.
Does it have a choice? does the river choose?
humans have limits, yet the rivers are endless and expansive. - expand yourself
the spirit of the river represents the spiritual side of us.
the river experiences its whole life all at once - it is its beginning of a mtn spring, the fullness of the widened dam and the thrusting of its falling to the ocean all at the same time.
the river gives back.

Fascinating! we started with swirl duets by height and then created 6's float.

latest quote

2009-12-14T16:52:00.000-08:00

“The work of art must seize upon you, wrap you up in itself and carry you away. It is the means by which the artist conveys his passion. It is the current which he puts forth, which sweeps you along in his passion. The pain washes away, but the beauty remains” - Pierre-Auguste Renoir

Workshop with Kate Weare

2009-12-14T15:24:00.000-08:00

Wow - it was a great class last week. It is such a treat to watch my students work under someone else's guidance. Especially when they are super engaged - and boy were they!

2009 princess grace choreogrpahy award winner, Kate Weare and her dancers joined us for class. http://www.kateweare.com/ - A great little partner phrase enthralled the kids, as they were asked to learn adn then re-order the material. Just a lot of fun to interject before their finals this week!

SOTA at Trolley Dances 2009 - PIX!

2009-10-23T11:49:00.000-07:00

We had another great year at Trolley Dances - This year on the J Church line out to Balboa park! We even saw some syncronized swimming! thanks Epiphany Productions!

Trolley Dances 2009

2009-10-09T12:45:00.000-07:00

Dear Parents,

In conjunction with our on-going study of choreography, SOTA choreographer class will be attending 2009 Trolley Dances for the fifth year in a row. Trolley Dances is a free event, featuring local modern dancers and choreographers.

This October, climb aboard as the acclaimed San Francisco Trolley Dances takes a step into the present and travels along the J-Church line for an exciting day of modern dance in the streets of San Francisco. Train fare is all you need to see the best show in town as Kim Epifano's Epiphany Productions takes audiences on a ride in the company of "tour guides", you will travel to four different outdoor performance sites to view the performance. This year, Trolley Dances will be traveling "Park to Park" from Mission Dolores Park to Balboa Park along the J Church MUNI Metro.

In preparation for our field trip, the students will participate in a workshop led by director, Kim Epifano in class on Friday, Sept 18. As always, you are welcome to come and enjoy watching class on that day (or any day, for that matter!)-- I welcome your involvement anytime.

We will not be going to the ODC Dance Commons on Friday, October 16th, but will meet at the site at 1:00pm to start the tour: at 19th & Dolores Street. The tours are starting in the middle of Mission Dolores Park at the statue of Miguel Hidalgo near 19th & Church.

Please remind your student to bring 75Cents for the fare, dress weather-appropriate, as the event is outdoors and to wear comfortable shoes for walking. Of course they should also always bring a notebook and writing utensil to class to take notes on what they see.

Please feel free to join us if you’d like – we always have a great time.

Sincerely,
Brittany Brown Ceres
Choreography class teacher
www.danceceres.org

DETAILS
WHAT: Trolley Dances - a freewheeling San Francisco festival of modern dance!
DATE: Saturday and Sunday, October 17-18, 2009
WHERE: The J Church MUNI line - beginning at Dolores Park.
TIME: 2-hr guided tours leave every 45 min. beginning at 11 a.m. 6 performances each on Saturday and Sunday. Start times: 11 a.m., 11:45 a.m., 12:30 p.m., 1:15 p.m., 2 p.m. and 2:45 p.m.
COST: FREE with MUNI Fast

What other artists say...

2009-10-09T12:30:00.000-07:00

each day we start class with a brainstorming session on some related topic and meditate on the topic for two minutes. having a time to brainstorm, free associate, contemplate, draw connections and conclusions that were previously elusive helps evote the creative mindset for the rest of the class. -- Choreography and dance are not just about flying or feeling or being the best- it's about thinking, sharing, refining and clearly seeing. An artist not only makes thing but an artist sees things differently, knows it is possible to see the world in a slightly different way.
Do you believe me? Why?

Last year we used single words to trigger ideas, sensations in the body and relationships to each and each other. This year we are using things that other artists say about art. For instance:
"Art can not stand still in the face of change"
"those who dance are consiered insane by those who can't hear the music" (G. Carlin)
"ballet technique never becomes easy, it becomes possible" (A. deMille)

there is always a very interest conversation that follows to begin our creative process! Can't wait to hear what Emily and Kevin bring into discuss today!

We Have Come to Be Danced

2009-08-03T11:06:00.000-07:00

This is a poem that reminds me of tarin and what she invited in and from me. Thank you to Fran for passing it along to all of us!

We have come to be danced
Not the pretty dance
Not the pretty pretty, pick me, pick me dance
But the claw our way back into the belly
Of the sacred, sensual animal dance
The unhinged, unplugged, cat is out of its box dance
The holding the precious moment in the palms
Of our hands and feet dance.

We have come to be danced
Not the jiffy booby, shake your booty for him dance
But the wring the sadness from our skin dance
The blow the chip off our shoulder dance.
The slap the apology from our posture dance.

We have come to be danced
Not the monkey see, monkey do dance
One two dance like you
One two three, dance like me dance
But the grave robber, tomb stalker
Tearing scabs and scars open dance
The rub the rhythm raw against our soul dance.

We have come to be danced
Not the nice, invisible, self-conscious shuffle
But the matted hair flying, voodoo mama
Shaman shaking ancient bones dance
The strip us from our casings, return our wings
Sharpen our claws and tongues dance
The shed dead cells and slip into
The luminous skin of love dance.

We have come to be danced
Not the hold our breath and wallow in the shallow end of the floor dance
But the meeting of the trinity: the body, breath and beat dance
The shout hallelujah from the top of our thighs dance
The mother may I?
Yes you may take ten giant leaps dance
The olly olly oxen free free free dance
The everyone can come to our heaven dance.
We have come to be danced Where the kingdoms collide In the cathedral of flesh
To burn back into the light To unravel, to play, to fly, to pray
To root in skin sanctuary
We have come to be danced! We have come.

~ by Jewel Mathieson, from This Dance: A Poultice of Poems

In Memorium: L. Tarin Chaplin, 1941-2009‏

2009-05-27T12:41:00.000-07:00

L. Tarin Chaplin (1941-2009)-- mentor, teacher, choreographer, author (The intimate Act of Choreography), caretaker of the earth … my dear friend – you are deeply missed and we will carry your vision forward. Tarin died as she has lived these last many months, with grace, and grit, and gratitude. Her spirit shall live on in me, and shall forever inform those among us whose lives she touched. In my remaining time, I teach in hope to be one small piece of what she was to me, to one of my students... shalom, namasté, blessings. (photos by Lara's friend)

Dazzling!

2009-05-14T10:43:00.000-07:00

Don't miss this weekend's performance of work by these amazing teens! Thursday, May 14-Sunday, May 17 8pm at the Cowell Theater, Fort Mason, San Francisco!

Our work from choreography class, entitled 'Below' features all 36 dancers, with music by Lisa DeBenedictis (ccmixter).

Come out and support young artists!

back stage with ODC Dance

2009-03-11T11:15:00.001-07:00

SOTA students were invited to spend class last week with Artistic Directors Brenda Way & KT Nelson of ODC Dance. ODC heads to Yerba Buena theater this week for their annual season, Dancing Downtown. We got to learn a solo from Way's "Unintended Consequences" taught by two of the dancers and then we got to watch the piece live (with a sund score by Laurie Anderson), in the ODC studio theater where they rehearse every day. We ended class with a brief Q&A discussing the importance of the dancers awareness and presence onstage - the individuality of the lives of each dancers as experienced through the face is very important and unique - something that ODC strives to showcase.

history books

2008-11-17T16:40:00.000-08:00

In light of this election and the great injustice done to many gay families i want to talk a bit about history and how its recorded. This is nation of free people and it is built on a tradition of personal liberty and equality.

Chapter headings in history books do NOT read: "the day we worked really hard to keep things exactly the same." (however, the dollars spent on this one will likely be listed in a side bar!) The Chapter titles highlight moments in our world's history when we made a massive break-through, when we righted a terrible wrong, when we took a giant step forward for all mankind.

This election is one more step in the progress of civil rights. It is not definitive and it will be over-ruled. People eventually come to understand that it is not good for their own hearts to judge others. We must treat others as we wish to be treated, in every case.

We've yet to finish the chapter on gay marraige in the subject study: Civil RIGHTS!

SOTA goes to Trolley Dances

2008-10-27T14:16:00.000-07:00

2008 - our fourth year field-tripping to Epiphany productions' Trolley Dances! here's some fun pix! "The educational value of the university research building transcended into the dance, which was also centered on learning and intellectual vitality. This year’s Trolley Dances was my perfect last installment of SOTA’s annual field trip. Each year’s dances are always different and unique, offering new viewpoints and demonstrating innovative ways for dancers to interact with surroundings. " - SOTA Senior

Watching Kim Epiphano's piece at the genetech building, UCSF Mission Bay Campus

Traveling with Jean Issacs' San Diego Dance Theater.

Student groups making their own site-specific pieces before the tour began.

one student said: "I would definitely watch Trolley Dances again because one time is not enough to look at these beautiful works of art. The scenery and sites were just right and so was the T-line. Thank you to all the teachers, volunteers, choreographers and coordinators for making this awesome field trip possible."

get your ideas on paper - create a visual map

2008-09-24T10:14:00.000-07:00

In expressing your frustration in the world right now, let's describe some of the techniques to get movement out of the pain and anger.

Let's think about the overall arch of the piece: can you write a brief outline of the key expository info (who, what ,why, where, when), happenings (events) and feelings.

using your outline above - create a grid to diagram each potential section (we'll do a lot of editing, but let's start with everything you can think of wanting to express.) on your grid, create sections for: event: dynamic quality, # of dancers, length, example music quality, possible other elements

EXAMPLE: saw the news: billowing stillness from shock, 1 dancers with echoing chorus of 3, 2 minutes, steely music/tin, dissonant and atonal, repetative video of Danielle repeating on line looped with newscaster repeating one line...

bring these visial representations to class.

being a teenager

2008-09-24T10:07:00.000-07:00

I can't imagine having to be a teenager in the world right now, and I am so proud of how you all are articulating your understanding of your life right now. Whether you want to dance or choreograph doesn't really matter - it's that you find what really really feeds you and helps you articule your experiences in the world. I am thrilled that you are starting to see the breath of a career in dance and understand that each experience can be further understood through movement. Following your passion is often times easier said than done. You might have experienced conflicts over the years and fought with confidence or injuries - but those are the experiences that build who you are. they are not better or worse than anyone else's. Its like i always say - "why do we continually question and judge the bad things that happen to us and take for granted all the good. - each of these experiences play an important roll in the shaping of us as individuals" blah blah blah - BUT, SOTA is a training institution and there are many ways to be an artist in the world. and you get to define your very own - that's what you're here to do.

palin: wrong woman, wrong message

2008-09-19T12:36:00.000-07:00

As an American woman, High School teacher and artist, I do not support Sarah Palin as second-in-command for our nation because she is fundamentally against the health and progress of our country - and our world. I will never endorse or respect her archaic and barbarian views on abortion, LGBT issues and the rights of women, nor can I even understand her ignorant denial of the environmental devastation we face as a planet. Equality for all people and conservation of all natural resources is the only way to move forward and if she does not support these things, then I do not support her. I cannot fathom another four years wherein the world views of my 15yr old students are twice as enlightened than the narrow views of our nation’s leaders. McCain/Palin suddenly claiming ‘Change’ – they represent change alright – change for the much much worse!
Check this out http://womenagainstsarahpalin.blogspot.com

comp shop 08-09

2008-09-19T11:44:00.001-07:00

STARTS TODAY!
Comp Shop: after school continued study program
Fridays 3:30-4:30pm
–Want to work on a piece of choreography but need an outside eye?
–Have an idea, but don’t know how to start?
–Comp shop meets for 30-60 minutes after each class to review new material, dissect phrases, discuss composition and assist student choreographers at all stages of development.

Goals of the Performing Arts Classroom

2008-09-18T04:43:00.000-07:00

prepared mindset for creativity

...in a time of crisis in the Mission District, SF

-to abandon surface, subjective judgments in order to instill trust and safety while pursuing an honest environment. This open environment provides a stable foundation from which the student is encouraged to take risks in order to gain knowledge of themselves as a multi-leveled individual.

-to respect art as a discipline, with the definition that art is a celebration and therefore the appreciation of life and its lessons.

-to strive to understand the history of the chosen art form, as well as complimentary disciplines to view each intersection as a potential for collaboration. Knowledge of the history of dance, music, visual art, film, stage/prop craft all add to deepen the journey to the stage and the stage experience itself. This knowledge also assists and supports choices that the artist makes within each discipline.

-to find the satisfaction that comes with accepting the process of learning as a journey without demanding or expecting a definitive final product. Maintaining humility is essential; knowing that acquiring skill in any field requires time, interest, focus and energy.

-building character should be a part of every lesson (again- encourages risk taking) and therefore laughter and failure should be present every day to experience. Awareness of spontaneity and flexibility are of key importance.

-to awaken all the senses through a thorough awareness of the body, in communication with the mind. Neither is shut off, nor should either carry more daily weight, instilling the idea of a whole functioning being: Alive and Passionate.