Portal de Periódicos da CAPES

San Francisco Innovators and Iconoclasts: Dance and Politics in the Left Coast City

2007; Taylor & Francis; Volume: 30; Issue: 2 Linguagem: Inglês

10.1080/01472520701422283

1532-4257

Stacey Prickett,

Sport and Mega-Event Impacts

Click to increase image sizeClick to decrease image size Acknowledgments Research for this essay was supported by an Arts and Humanities Research Council Small Grant in the Creative and Performing Arts award and by Roehampton University's Central Sabbatical Fund. I would like to thank the readers for their insightful feedback and all those who gave graciously of their time in interviews and numerous emails. The staff at the San Francisco Performing Arts Library and Museum also provided invaluable assistance. Notes Notes 1. Eric Hellman, “Raw Emotion,” S.F. Weekly, April 4, 1990, p. 18. 2. Ann Murphy, “The Spin Room,” Dance View Times, October 25, 2004, http://www.danceviewtimes.com (accessed March 5, 2005). 3. Joanna G. Harris, emails to author, March 25–27, 2007. 4. Margaret Lloyd, The Borzoi Book of Modern Dance (New York: Knopf, 1949), pp. 204–6. 5. Joanna G. Harris, email to author, March 25, 2007; interview with author, October 18, 2005. Harris' book, Beyond Isadora: Bay Area Dancing, 1915–65, is forthcoming from Cambria Press. 6. Eleanor Rachel Luger, “Taking Care of Business,” Dance Magazine, January 1977, p. 26. 7. Kenneth Rexroth, quoted by James Brook in “Preface,” in Reclaiming San Francisco: History, Politics, Culture, ed. Chris Carlsson and Nancy Peters (San Francisco: City Lights Books, 1998), p. x. 8. Chris Carlsson, “The Progress Club: 1934 and Class Memory,” in ibid., pp. 67–88. 9. Randy Shaw, “Tenant Power in San Francisco”; Rob Waters and Wade Hudson, “The Tenderloin: What Makes a Neighborhood,” in ibid., pp. 287–300 and 301–16. 10. Richard A. Walker, “An Appetite for the City,” in ibid., p. 13. 11. Tyche Hendricks, “Rich City, Poor City,” San Francisco Chronicle, June 22, 2006, A-1, http://www.sfgate.com (accessed November 8, 2006). 12. James Miller, Democracy Is in the Streets: From Port Huron to the Siege of Chicago (reprint, with a new preface, Cambridge, Mass: Harvard University Press, 1994), p. 87. 13. Anna Halprin, Moving Toward Life: Five Decades of Transformational Dance, ed. Rachel Kaplan (Middletown, Conn.: Wesleyan University Press, 1995), p. xi (emphasis in the original). 14. Ibid., p. 11. 15. James T. Burns, “Microcosm in Movement” (orig. pub. 1969), ibid., p. 166. 16. Janice Ross, “Anna Haprin's Urban Rituals,” The Drama Review, Vol. 48, No. 2, 2004, pp. 49, 51. See also Janice Ross, Anna Halprin: Experience as Dance (Berkeley: University of California Press, 2007). 17. Janice Ross, “Bay Ways: A Climate for Free Spirits,” Dance Magazine, January 1980, pp. 78–85. 18. Interview in Austin Forbord and Shelly Trott, Artists in Exile: A Story of Modern Dance in San Francisco, documentary film (San Francisco: Rapt Productions, 2000). 19. James Armstrong, “In Contact with Mangrove,” Dance Magazine, December 1977, p. 43. 20. Cynthia Novack, Sharing the Dance: Contact Improvisation and American Culture (Madison: University of Wisconsin Press, 1990), p. 187. 21. Rita Felciano, “A Rich Diversity,” Dance View Times, July 2003, http://www.danceviewtimes.com/dvw/features/2003/bayareasurvey.html (accessed December 29, 2006). 22. Janice Ross, “Living on the Edge with Margaret Jenkins,” Dance Magazine, May 1984, pp. 136–9; Janice Ross, “The End of the Beginning: The Margaret Jenkins Company at Twenty,” Dance Magazine, June 1994, pp. 34–9. 23. Ross, “The End of the Beginning,” p. 34. 24. Michael Palmer, “Crossroads/Collaboration Part 2,” The Poetry Society Journal, http://www.poetrysociety.org/journal/articles/collaborations/index.html (accessed January 7, 2007). 25. Deborah Jowitt, quoted in Janice Ross, “Living on the Edge with Margaret Jenkins,” Dance Magazine, May 1984, p. 136. 26. Margaret Jenkins, quoted in Ross, “The End of the Beginning,” p. 34. 27. Ross, “Living on the Edge with Margaret Jenkins,” p. 136. 28. Anna Kisselgoff, “When Fate is in the Driver's Seat,” New York Times, April 1, 1999, http://www.nytimes.com (accessed December 27, 2006). 29. Rita Felciano, “San Francisco Report: Floods, Faults and Loneliness,” Dance View, Vol. 14, No. 1, 1996–97, p. 26. 30. Rita Felciano, “Multi-angle magic: Margaret Jenkins Dance Company gets Kaleidoscopic with ‘A Slipping Glimpse,”’ San Francisco Bay Guardian, May 23, 2006, http://www.sfbg.com (accessed December 28, 2006). 31. Michael Palmer, quoted in Octavio Roca, “Jenkins choreographs 30 years of magic into spectacle,” San Francisco Chronicle, October 23, 2001, p. E-1, http://www.sfgate.com (accessed December 27, 2006). 32. Octavio Roca, “The ‘Questions’ of Human Relationships: Jenkins' new piece has magic, challenge,” San Francisco Chronicle, October 23, 2001, p. E-1, http://www.sfgate.com (accessed December 27, 2006). 33. David Gere, “Center for the Arts at Yerba Buena Inaugural Fall Season,” Dance Magazine, March 1994, p. 88. 34. Department of Homeland Security, http://www.dhs.gov/xinfoshare/programs/Copy_of_press_release_0046.shtm (accessed December 28, 2006). 35. Rachel Howard, “Margaret Jenkins Dance Company, Danger Orange,” Voice of Dance, http://www.voiceofdance.org/, October 21, 2004 (accessed December 28, 2006). A videotaped excerpt of the dance as part of KQED's Spark in Education documentary series is accessible online at http://kqed/arts/spark. 36. Janice Ross, “San Francisco's Joe Goode: Working hard to be the bad boy of modern dance,” Dance Magazine, January 1989, pp. 46–50. 37. Joe Goode, interview with author, October 18, 2005. 38. Maria Junco, “Choreography Through Inner Mapping,” Dance Teacher Now, October 1998, pp. 53–9. 39. A filmed version was broadcast c. 1989, Alive From Off-Center series, program #510, KTCA/TV, Minneapolis. See Stacey Prickett, “Subversive Others: Humor and Gender-Bending in the Joe Goode Performance Group,” Society of Dance History Scholars, Border Crossings, conference proceedings, Toronto, Canada, 1995, pp. 125–31, and “Blurring Edges of Difference in Performance and Society,” Border Tensions: Dance & Discourse, conference proceedings, University of Surrey, Guildford, 1995, pp. 239–44. See also David Gere, “29 Effeminate Gestures: Choreographer Joe Goode and the Heroism of Effeminacy,” in Dancing Desires, ed. Jane Desmond, (Middletown, Conn.: Wesleyan University Press, 2001), pp. 349–91. 40. Gere, ibid.; David Gere, How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS (Madison: University of Wisconsin Press, 2004), pp. 206–27. 41. Joe Goode, interview with author, October 18, 2005. 42. Elizabeth Zimmer, “Joe Goode's Wild Ride,” Inside Arts, Vol. 3, No. 2, June 1991, p. 38. 43. Goode, interview with author, October 18, 2005. 44. Janice Ross, “Joe Goode Performance Group,” Dance Magazine, October 1996, p. 103. 45. Octavio Roca, “Goode Mines Maverick Strain for Beauty, Pain,” San Francisco Chronicle, May 25, 1996, pp. B-1, B-3. 46. Joe Goode Performance Group website, http://www.joegoode.org (accessed January 17, 2007). 47. Rachel Howard, “Joe Goode finds a safe place to end trio in Hometown,” San Francisco Chronicle, June 13, 2005, http://www.sfgate.com (accessed January 13, 2006); Rita Felciano, “The Home Inside,” Dance View Times, June 17, 2005, http://www.danceviewtimes.com (accessed January 16, 2007). Additional analysis is drawn from recordings of Hometown, Folk, and grace provided by the company. 48. Joanna Haigood, Picture Powderhorn Project, Director's Notes, http://www.zaccho.org (accessed October 8, 2005). 49. Invisible Wings program notes, 1998. 50. Jennifer Dunning, “Hope and Sanctuary on a Tortuous Journey,” New York Times, August 27, 1998. 51. Ahimsa Sumchai, “Put Your Head in it!” in The Political Edge, ed. Chris Carlsson (San Francisco: City Lights Foundation, 2004), pp. 159–67. 52. Joanna Haigood, interview with author, October 14, 2005. 53. Haigood, Picture Powderhorn Project, Director's Notes. Joanna Haigood provided videotaped excerpts of Picture Powderhorn performances. Unless otherwise indicated, descriptions of the Picture Projects are drawn from analysis of videotape. 54. Ann Murphy, “Joanna Haigood,” Dance Theatre Journal, Vol. 11, No. 2, 1994, pp. 18–20. 55. Rita Felciano, “Ghost Architecture,” Dance Magazine, May 2004; see the Ghost Architecture Project page, http://www.zaccho.org (accessed January 7, 2007). 56. Apollinaire Scherr, “Dancers Run Away to a Home in the Circus,” Dance Magazine, August 2000, p. 50. 57. Dennis Harvey, “Movement Matriarch,” SF Weekly, December 26, 1990, p. E-25. 58. Kate Regan “Contraband: It's the Animal in Them,” San Francisco Chronicle, November 9, 1987, p. C-95. 59. Paul Parish, “San Francisco Season,” Ballet Review, Vol. 15, No. 2, Summer 1987, p. 92. 60. Sara Shelton Mann, interview with author, October 19, 2005. 61. Jess Curtis, telephone interview with author, February 23, 2006. 62. Shelton Mann, interview, October 19, 2005. 63. Janice Ross, Contraband review, Dance Magazine, October 1991, p. 85. 64. David Gere, “Contraband premieres elegant ‘Mira’ excerpts,” The Oakland Tribune, April 2, 1990 (clipping). Unless otherwise noted, all other analysis derives from viewing the dances in performance or from watching videotape at the San Francisco Performing Arts Library and Museum. 65. Eric Hellman, “Raw Emotion,” SF Weekly, April 4, 1990, p. 18. 66. Mann, quoted in Kate Regan, “Contraband Dancers Show a Subtle Side,” SF Chronicle-Examiner, Datebook section, March 6, 1988, pp. 33–4. 67. Ross, Contraband review. 68. Unless otherwise noted, the analysis of Mandala is based on the author's attendance at performances and later viewing of the videotape at the San Francisco Performing Arts Library and Museum, October 2005. 69. Clyde F. Smith, “Mandala and the Men's Movement(s),” 1999, http://www.culturalresearch.org/mandala (accessed October 9, 2005). 70. Keith Hennessy, email to author, February 15, 2006. 71. Clyde F. Smith, “Graduate Students' Conference Paper, Ohio State University,” http://www.culturalresearch.org(accessed October 9, 2005). 72. Jess Curtis, telephone interview with author, February 23, 2006. 73. Publicity material on entertainment for the apocalypse (1997), San Francisco Performing Arts Library and Museum, clipping file on CORE. 74. Gere, How to Make Dances in an Epidemic, pp. 51–63; Rachel Kaplan, “Spit your way to the Holy Land,” Contact Quarterly, Vol. 15, No. 1, 1990, pp. 36–9. 75. Keith Hennessy, email to author, July 25, 2006. 76. Keith Hennessy, email to author, March 5, 2006. Circo Zero's CD, Circle: The Songs of Circo Zero (2003), is available from CounterPULSE, http://www.counterpulse.org/. 77. Arnold Aronson, American Avant-theatre: A History (London: Routledge, 2000), pp. 54–5. 78. Analysis of the Revolutionary Nutcracker Sweetie is taken from a videotape of the 1992 production. 79. Sima Belmar, Dance Brigade review, Dance Magazine, April 2002, http://dancemagazine.com (accessed May 19, 2006). 80. Ann Murphy, “Wise Bird,” SF Weekly, January 16, 2002 http://www.sfweekly.com (accessed May 19, 2006). 81. Krissy Keefer, quoted in Allan Ulrich, “Dissent and the Dance Brigade,” Dance Magazine, June 2003, p. 32. 82. Keith Hennessy, email to author, March 5, 2006. 83. Rita Felciano, “Best Wishes—and curses,” San Francisco Bay Guardian, October 20–6, 2004, http://www.sfbg.com (accessed January 13, 2006). 84. Murphy, “The Spin Room.” 85. Krissy Keefer, interview with author, October 10, 2005. 86. Felciano “Best Wishes—and curses.” 87. Quoted in Debbie Lemmam, “Art, Activism & Magic: Krissy Keefer in Her Own Words,” Gilded Serpent, n.d., http://www.gildedserpent.com (accessed May 20, 2006). 88. Apollinaire Scherr, “Space: The Final Frontier,” Dance Magazine, April 2000, pp. 60–3. 89. Margaret Jenkins, quoted in Allan Ulrich, “Margaret Jenkins—a Solo Success,” San Francisco Chronicle, September 10, 1996, http://www.sfgate.com (accessed December 27, 2006). 90. Neva Chonin and Dan Levy, “No Room for the Arts,” San Francisco Chronicle, October 17, 2000, p. A-1, http://www.sfgate.com (accessed June 25, 2006). 91. Steven Winn, “Survival Stories,” San Francisco Chronicle, October 18, 2000, p. C-1, http://www.sfgate.com (accessed June 26, 2005). 92. Ibid. 93. Sam Whiting, “Groups that Keep the Heat On,” San Francisco Chronicle, October 18, 2000, p. C-1, http://www.sfgate.com (accessed June 25, 2006). 94. Keith Hennessy, email to author, March 5, 2006. 95. Keith Hennessy, “Hype or Revolution or What?,” in More Out Than In: Notes on Sex, Art and Community, ed. Keith Hennessy and Rachel Kaplan (San Francisco: Abundant Fuck Publications, 1995), p. 3. 96. Ibid. 97. Jessica Robinson, interview with the author, October 14, 2005. 98. Ibid. 99. Luger, “Taking Care of Business,” pp. 26–7. 100. CHIME Pilot Final Report, http://www.mjdc.org (accessed March 17, 2007). 101. Rachel Howard, “Dancing in the Bay Area: Dance Guide A-Z,” San Francisco Chronicle, p. PK-14, January 29, 2006, http://www.sfgate.com (accessed June 2, 2006).