Conversation with Netta Yerushalmy, Ishmael Houston-Jones, Anya Cloud, and Kristianne Salcines
Friday, March 26 at 6-7:30pm EDT
*Join these artists for classes on Saturday, March 27
ABOUT THE EVENT:
This conversation, facilitated by Jennifer Nugent, is open to the public. No registration required. Click on the Zoom link below in our footer to join. In an effort to encourage spillage, sharing, and questioning, all FESTIVAL teaching artists participate in public conversation with the other artists scheduled to teach on the same day as them.
Sliding scale $0-50.
ABOUT THE ARTISTS:
Netta Yerushalmy is a dance artist based in NYC. Her work aims to engage with audiences by imparting the sensation of things as they are perceived, not as they are known, and to challenge how meaning is attributed and constructed. Yerushalmy was awarded fellowships from Guggenheim, Princeton University, Bogliasco, Foundation for Contemporary Arts, National Dance Project, LMCC’s Extended Life, and New York Foundation for the Arts. She was a Research Fellow at the New York Public Library for the Performing Arts, and at the Center for Ballet and the Arts. Her work was presented by venues such as ADF, Jacob’s Pillow, Joyce Theater, Danspace Project, Wexner Center for the Arts. Netta performed with Pam Tanowitz Dance, Doug Varone and Dancers.
Ishmael Houston-Jones is a choreographer, author, performer, teacher, and curator whose improvised dance and text work has been performed world-wide. In 1984 Houston-Jones and Fred Holland shared a New York Dance and Performance “Bessie Award” for their Cowboys, Dreams and Ladders. His second “Bessie” was won in 2011 for the reimagining of THEM, his 1986 collaboration with composer Chris Cochrane and author Dennis Cooper. Houston-Jones shared his third “Bessie” with Miguel Gutierrez, Nick Hallett, and Jennifer Monson in 2017 for Variations on Themes from Lost and Found and Other Works by John Bernd. Houston-Jones curated Platform 2012: Parallels that examined Black dance makers and Postmodernism. Four years later he co-curated Platform 2016: Lost and Found – Dance, New York, HIV/AIDS, Then and Now with choreographer Will Rawls. Both platforms were held at Danspace Project in New York. Ishmael Houston-Jones’ essays, interviews, and performance texts have been anthologized in numerous books, magazines and journals. His first book, FAT and Other Stories was published in 2018 by Yonkers International Press. Houston-Jones teaches at New York University’s Tisch School of the Arts and at University of the Arts in Philadelphia.
Anya Cloud is originally from Alaska. She practices, performs, and teaches internationally within Contact Improvisation, improvisation, experimental contemporary dance, and somatics. Collaboration is central to all of her work. As a queer, female, white person she orients her work through questioning, sensitizing, and intersecting to cultivate radical aliveness as an activist practice. Anya believes in dancing with the bodies that we have as the people we are. Important collaborators include Sara Shelton Mann, Karen Schaffman, Eric Geiger, Kristianne Salcines, Justin Morrison, Rebecca Salzer, Jesse Zarrit, and the amazing CSUSM students among others. Anya is committed to making/supporting/producing social justice oriented experimental dance wherever she lives. She is trained in the Feldenkrais Method® and is currently Assistant Professor of Dance at CU Boulder.
Kristianne Salcines: Dancer. Maker. Collaborator. Facilitator. Salcines is a queer Filipino born and raised in the Philippines. Their choreographic work explores their cultural heritage and gender representation. To integrate their culture and non-western ideologies in their artistry, they incorporate the epistemologies of Filipino Martial Arts and other Southeast Asian movement practices including Qigong, Taiji, and Kung Fu. Their practice also includes: Contact Improvisation, Martial Arts, Improvisation, and Contemporary Dance. Currently, their research focuses on queer identifying people of color and ways of developing survival strategies to cope with current socio-political realities. They examine how these strategies can be translated into communal physical practice as a catalyst for creative healing. How can they create a community that functions beyond identity while honoring identity?