Tag Archives: Cid Pearlman dance

Cid Pearlman Dance Performance “All Joan Show”

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Laurie says:
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Photo Beau Saunders

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My daughter Cid Pearlman will present the All Joan Show, a retrospective of dances made in collaboration with remarkable San Francisco-based cellist and composer, Joan Jeanrenaud. (She was a 20 year member of the Kronos Quartet until she went on to solo work.) Shows are in San Francisco (Sept. 21st and 22nd) and Santa Cruz (Oct.19-21st).

As Claudia Bauer said in making the show her dance pick for the San Francisco Chronicle: Longtime collaborations yield rich rewards for choreographers and musicians, who can play off each other’s evolving ideas, talents and interests. The dances created over time can be just as fruitful for audiences, who get to contemplate their transformations and indulge in more work by artists who intrigue them.

I’ve watched Cid develop these works over time. I am continually impressed by both the aesthetics of her work, it’s strong and subtle social messages, and the quality of her dancers.

She is celebrating her long collaboration with Joan in an evening of three works: Strange Toys, small variations and Your Body is Not a Shark. Cid said that…I think Joan is one of the most extraordinary musicians and composers of her generation, and I feel lucky to have the opportunity to continue working with her.

In revisiting these old works, I’m conscious of making a place for the dancers to be themselves inside the dance. These works are not frozen records from my archive. I see them as living things because dancers are not interchangeable. And if the works have a handmade feeling, that’s by design. I want the selvage edge to show, for the seams to be visible, with threads waiting to be snipped off.

The earliest piece on the program, Strange Toys, a 10-minute duet for two women, had its New York premiere at the Joyce Soho in 2004. It was nominated for two Los Angeles Horton Awards,.

small variations premiered as a 30-minute sextet in 2006. For this program Cid is adapting the work for four female dancers. “In this reimagining of the work, the women are doing the lifting that the men originally did, and it’s exciting to see how they adapt this choreography to their bodies,” she said.

Finally, Your Body is Not a Shark, an evening-length work, premiered at ODC Theater in San Francisco in 2013. Four sections of the nine-part whole will be presented on this program, with the role of the author [poet], originally performed by Denise Leto, shared by the dancers.

The Santa Cruz dates will include a 10-minute world premiere for the full ensemble with a new score by Jeanrenaud. (The music for this and for all the works on the program will be played from studio recordings.)

The All Joan Show runs September 21 to 22 at the Joe Goode Annex in San Francisco, before moving to Santa Cruz for a three-evening engagement at Motion Pacific, October 19 to 21. All performances start at 8 p.m. Tickets, $15 to $25, may be purchased online at joegoode.org/box-office and motionpacific.com.

Cid and Joan will take part in a pre-show talkback with the audience at [7:30 p.m.] on September 21

Economies of Effort: 3/Cid Pearlman and the Year of Free

Laurie and Debbie say:

six dancers rehearse Economies of Effort 3

We’ve written before about Laurie’s daughter, Cid Pearlman, who is a choreographer in Santa Cruz, California. Right now, she’s putting together the third part of her “Economies of Effort” triptych, for performance in Santa Cruz and San Francisco, and she’s raising money here. (She has just a week left to raise the funding she needs.)

This isn’t an everyday (or every year) dance company fundraiser. This is Cid’s “Year of Free.” Every 2016 performance: in San Francisco, in Santa Cruz, whether it’s “Economies of Effort” or her annual “Looking Left” festival of dance and performance, will have no admission charge.

Why a year of free?

Our goal is to reach out to folks who can’t afford to participate in dance/art experiences, or who don’t feel able to take the financial risk of buying a ticket. In fact, all performances we produce in 2016 will be free to audiences.

It’s more than that. The “Economies of Effort” triptych is about making and building, about “the idea that we derive power and agency from making things.” The events are not just free admission, but also free form. If you attend, you are not just an audience member: you move through the space “choosing your own path and creating your own narrative.”

EoE2
The “year of free” is deeply exciting to us, because it represents Cid choosing her own path, creating her own narrative, not just through the dance world, not just through choreography and built environments, but through the social conversation about income inequality, about value, about what we care about, what we pay for, what we appreciate.

If you are at all interested in cutting-edge dance, you will be delighted with Cid’s work for the choreography (“intelligent, sensual” says the San Francisco Bay Guardian), the dancing (“big-boned, unself-conscious and full of personality” says the San Francisco Chronicle). And you should see “Economies of Effort” for the integration of the art, design and installations by Robbie Schoen.

If you are able to contribute, you will be helping her not just to make dance, or to make interactive dance/art installations, but to affect the conversation about what it means for something to be free.