PERFORMING PAST, FAST FORWARD: THE BODY IN 3D
March 9 & 10 at 7pm in Roble Gym, Studio 38 | Free & Open to the Public
Performing Past, Fast Forward: The Body in 3D features the works of two Stanford Alumni, Denae Hannah and Hope Mohr, as well as a new piece by Stanford Artist-in-Residence Robert Moses. The performance will also showcase excerpts from San Francisco based dance artist Christian Burns’ liebeslieder re./for, a commissioned work developed in collaboration with the Stanford Chorale.
Denae Hannah, a native of Fort Worth, Texas, is a performance artist, social entrepreneur, and Artistic Director and CEO of Denae Movement Theatre. Denae Movement Theatre seeks to spark conversations on culture through the development of performance pieces that employ satire and the physical collision of pop culture with high art. Hannah received her B.A. in Drama from Stanford University, M.F.A. in Performance & Choreography from Florida State University, and is a 2012 EMERGENYC artist with New York University’s Hemispheric Institute for Performance & Politics. She is a member of the DanceNYC Junior Committee, and volunteers as a board member, teacher, and media director for SWEET ENUFF, a youth outreach organization committed to diabetes and obesity prevention through dance and health coaching. SWEET ENUFF was recently recognized for its innovative programming by Michelle Obama’s Partnership for a Healthier America End Childhood Diabetes Innovation Challenge. For more information visit www.denaehannah.com
Hope Mohr founded Hope Mohr Dance in 2007 afterperforming with a number of pioneers of modern dance, including Trisha Brown, Margaret Jenkins, Lucinda Childs, and Douglas Dunn. She trained at San Francisco Ballet School, the Merce Cunningham Dance Studio, and the Trisha Brown Studio. Vertex is her fifth commission at Stanford University. Mohr is currently an artist in residence at ODC Theater.
Christian Burns choreographs, teaches and performs in United States, Europe, and Asia. He created Burns-WORK (2010), a vehicle for his choreographic investigations, co-founded The Foundry, an interdisciplinary dance company based in San Francisco, and Parsons Hall Project Space (2008), an experimental art project/research/residency hub in Massachusetts. He is a founding faculty member of the San Francisco Conservatory of Dance. Burns was awarded a 2010 Choreographers in Mentorship Exchange (CHIME) grant given by the Margaret Jenkins Dance Company, a 2008 Massachusetts Cultural Council Artist Fellowship for Choreography, the 2004 National Choo-San Goh Award for Choreography, the 2001 Paula Citron Award for Choreography for Camera (from the Moving Pictures Festival in Toronto), 1997 McKnight Artist Fellowship, and was an Artist-In-Residence at the Experimental Television Center (NY). Burns is a contributor for When Men Dance, Choreographing Masculinities Across Borders (2009), edited by Jennifer Fisher and Anthony Shay. Burns completed his formal training at The School of American Ballet. He was a guest artist with The Forsythe Company and accompanies artists Kirstie Simson, Katie Duck, Michael Schumacher, Eva Karczag, and Chris Aiken among many others.
Robert Moses has been on faculty at Stanford University since 1995 and is currently Artist-In-Residence in TAPS Dance Division as well as the director of the Committee on Black Performing Arts. He has been faculty, master teacher and/or guest faculty at UC Berkeley, UC Davis, University of Texas, University of Nevada, Mills College, San Jose State University, Saint Mary’s College, Long Beach State, Jacob's Pillow, Columbia College Chicago, the Bates Dance Festival, Colorado Dance Festival, California Dance Educators Association, and the American College Dance Festival. Moses directs his own San Francisco-based company, Robert Moses' Kin, and has also set commissioned works on Philadanco, Cincinnati Ballet, England’s Transitions Dance Company of the Laban Centre, Dance Exchange in London, and has choreographed for the San Francisco Opera. His work has been performed nationally and internationally, including in England, Italy, and Ireland. Prior to establishing Robert Moses’ Kin, Moses danced with American Ballet Theater, Twyla Tharp Dance, ODC/San Francisco, Long Beach Ballet, Walt Disney World Productions, and Gloria Newman Dance Theater among others.
April 12, 4:15-5:15pm at the Roble Gym Lounge
The Dance Division Talk Series provides insights into the work of faculty and guest choreographers. On April 12, Stanford Alumna and choreographer Hope Mohr will talk about the development of Vertex, a work created on Stanford students for the Winter Dance Concert on March 9 and 10, 2013.
April 11 and May 30, 5-7pm at Cantor Arts Center
April 11: Dancing Dreams (2010) by Rainer Hoffman and Anne Linsel
April 12: Tie It Into My Own Hand (work in progress) by Paul Festa
In conjunction with its Winter Dance Concert, TAPS Dance Division will present a Screening Series at the Cantor Arts Center Auditorium to further explore the idea of legacy, body expression, and art. The two films bring into focus how artists carry inherited knowledge into the future through the expressive conduit of their body and their art.
In their film Dancing Dreams (2010), Rainer Hoffman and Anne Linsel document how forty teenagers discover their own body expression as they learn and perform Pina Bausch’s Kontaktof. In Tie It Into My Own Hand (work in progress), artist/musician/filmmaker Paul Festa takes a violin lesson from established performing and visual artists, none of whom are violinists. In the process, the film explores the passing of knowledge, its meaning, and its purpose in practice and performance. The Screening Series in made possible thanks to support from the Cantor Arts Center, the TAPS Dance Division and SAI (The Stanford Arts Institute).