Category: news / announcements (Page 16 of 25)

Re: hey, ruth!

Frank,

Thanks for keeping in touch. Yes, I keep seeing him as well. Chuck and I watched a movie about Iraq (documentary, I don’t remember the name) and there was Jim Fallows.

I will try to find the Colbert report you mentioned.

I wrote an email, but I don’t think they would have included that. Mr. Haight was a great influence on my life. One huge part of that was getting to know you and to learn to see the real you inside.

Have a wonderful year.

Ruth

* * * * *

ah, Ruth! I am just recovering from last Sunday’s memorial for Mr. and Mrs. Haight. I don’t think his sons really saw him or his real effect. they had copies of Jim Fallows’ write-up in THE ATLANTIC about Mr. Haight out on the table. But they were clearly puzzled by why he wrote it… And by why they got so much response from former students, etc. Not that they didn’t love him. Clearly they did [although the older son didn’t attend without an explanation]. But it was obvious that they saw him as a quirky, lovable character… Almost like Columbo… Taking forever to get to the point, always forcing them to do street theater for losing causes… A mild mannered even tempered guy until he was pushed too far, and then watch out! Obviously they had experienced that point.

Most of the Speakers were friends of Mrs. Haight who saw Mr. Haight as fun to be around, but…

Unfortunately one of the sons wanted to read my piece for me [Linda usually reads my stuff]. What could I do? Well, he absolutely murdered it! So it made no sense at all!

there was one Redlands student who told a story about when Mr. Haight gave her a subject to debate five minutes before class. She didn’t know anything about the subject, but she was getting the class convinced of the bullshit. So Mr. Haight had to stop her. He told her obviously she has an ability to convince people. So it was her responsibility to make sure what she was saying was right! [And he had trouble getting to the point… I don’t think so!] She lived her whole life on that!

But that was totally undervalued there. It was rough being there!

http://jamesfallows.theatlantic.com/archives/2009/12/raymond_haight.php

Raymondthat Jr. (updated)

15 Dec 2009 02:07 pm
In the public schools of Redlands, California, I had a number of truly outstanding teachers. I think they would have been seen as such in any setting, but of course I can’t compare. Mathilda Phillips, in English; Jack Nagasaki, in chemistry; William Cunningham, in physics; Gertrude Baccus, in speech and debate — and that’s just a few from high school. (Update: How could I have forgotten Lois Gregory, in French?) This was back during what seems in retrospect California’s golden age, the time of big ideas, big ambitions, big possibilities, and of course big budgets, for the state’s schools, parks, universities, and freeways. Now….

One of the most memorable was Raymond Haight, the history and social-studies teacher who was really my first contact with the world of politics and public affairs. I was sitting in his 10th-grade world history class when news came of John F. Kennedy’s assassination; he talked about what that would mean, in ways that stood up very well over the years — including what might become of the early commitments Kennedy had made in Laos and Vietnam. I learned long afterwards that “Mr. Haight” — in his early 40s then — represented a strain of California culture that was unusual in our very conservative small town in California’s southern “Inland Empire.” During the 1964 election, he raised questions about the locally-popular “Proposition 14,” designed to overturn a “Fair Housing” act and, in effect, legalize racial discrimination in real estate sales and rentals. (Prop 14 passed but was then declared unconstitutional by the California supreme court. Too bad the disastrous Prop 13 never met the same fate.) Barry Goldwater was also locally very popular, and Mr. Haight had a few of us read Goldwater’s Conscience of a Conservative analytically (rather than as a holy text) and debate its strengths and weaknesses. The point is not that he was more liberal than the surrounding community, though that was so; rather, that he urged teenagers to think their way toward independent conclusions.

Most students at the high school had at best one generation of college attendance behind them. (Ie, many but not most of my classmates had a parent who had gone to college. Very few had college-grad grandparents.) Raymond Haight’s great-grandfather, Henry Haight, had gone to Yale before the Civil War and became one of California’s first governors. He signed the act creating the University of California and helped establish Golden Gate Park; the Haight district of San Francisco is named for their family. Soon after I went away to college, Mr. Haight and his family moved back to central and then northern California. He launched a quixotic campaign for governor in 1970, running as an anti-Vietnam War candidate. He came in well down the list for the Democratic nomination; the nominee, Jesse Unruh, went on to lose big to Ronald Reagan, running for reelection.

Because he’d moved away, I didn’t see him on my visits to my home town, but I have often reflected on how much difference he made in my life. I learned just recently that he and his wife, the writer Mary Ellen Jordan Haight, had died this fall, within weeks of each other, at 88 and 82 respectively. I mention them to honor their memory, achievements, and influence; as testimony to what the public schools meant at that time; and as a counterpoint to the news this week of another round of teacher layoffs in my hometown’s school system, as a result of California’s budget disaster. His life made a difference. The picture below is from the high school yearbook, the Makio, when he was chosen “Teacher of the Year” in his late 30s, via the Redlands Daily Facts obit.

In Freedom,
Frank Moore

Re: Artists and the Recession Survey Results (Keith Hennessy) II

Crippled yuppies, indeed!

I wholeheartedly agree with your insightful assesment

Which means, fuck yeah… Now to the studio for more artmaking

keith

* * * * *

a great name for a punk band… CRIPPLED YUPPIES!

Hey, I am doing a monthly performance series in Oakland at the Temescal art center. Come and dance with me!

•••

REALITY PLAYINGS:
experiments in experience/participation performance
CRITIC’S CHOICE: East Bay Express

Frank Moore, world-known shaman performance artist,
will conduct improvised passions of musicians, actors, dancers, and audience members
in a laboratory setting to create altered realities of fusion beyond taboos.
Bring your passions and musical instruments and your senses of adventure and humor.
Other than that,
ADMISSION IS FREE!
(But donations will be accepted.)

Sartrday, January 30, 2010
8pm

TEMESCAL ARTS CENTER
511 48th Street
Oakland, CA 94609-2058
For more information
Call: 510-526-7858
email: fmoore@eroplay.com
http://www.eroplay.com/events.html
http://www.temescalartscenter.org/

In Freedom,
Frank Moore

Re: Artists and the Recession Survey Results (Keith Hennessy)

Dear Frank & Pow Pow artists

Here is how I responded to the survey

Keith

Keith Hennessy responds to the Artists & the Recession Survey Results
(scroll down for info)

That is, an artist responds to the Survey’s startling revelation that artists are usually low-income and less likely to have health insurance than the general population. Additionally, the survey discovered that if we don’t quit, we tend to thrive in times of crisis. Oh yah and we prefer money to buying stuff and networking.

No personal offense intended to the individual human workers who receive this, but…

The following survey highlights are so ridiculously obvious that the money spent is a rude joke at the expense of art, not in service of art. The consulting fees that paid to find collect this info could have supported my next project, which has been rejected by five granting organizations and is now a dead idea. Probably several projects could have been funded.

Of course artists hold other jobs, have low incomes and don’t all have health insurance! You spent time and money to find this out? Again?

Do you know how insulting it is just to keep filling out these surveys every year or two?And then have the most tired news come back as a highlight.

Of course we think the arts are valuable. That’s why we put up with these conditions.

And yes art thrives in crisis, financial and ethical. Reagan was great for art. An AIDS pandemic during Reagan’s tenure was fucking amazing for art. Calling that an opportunity to collaborate and experiment is just another kind of poke in the eye with a sharp stick.

During the dotcom crash and the artspace crash, many artists lost space and funding streams they’d briefly enjoyed. But the art and non-profit consultants during that time continued to get paid at rates that most artists will never experience. How many art consultants and survey designers don’t have health insurance? You’re not the enemy, but your work could improve if you would hire artists as consultants – not as free survey fillers – to coach you on transitioning to a more activist or criminal pursuit that might end up with more artists getting more money. Yes criminal. I’m imagining Robin Hood. Whether slowly stealing from the organizations you work for doing some spectacular grand thefts, your talents would be much more likely to result in more money going to artists if you stole than if you surveyed.

How many studies do we need to prove that artists and small businesses are better economic stimulants than any government program or corporate appropriation of artist bodies (of work)?

Really. How many?

* * * * *

it took me so long to answer this because of an explosion of performance possibilities, both public and private. And I thought things would slow down when you get old! Maybe blame it on the recession!

Keith, I totally agree with you. Historically we here have done well during recessions on every level. True, some of our sources of money have been cut and cut and cut again just this past year…. And there is no “cost of living increase ” because THEY have determined that the cost of living went down this year. [in what reality do they live?] But us artists know how to do things without a lot of money. We here pool our resources together for both living and art making. We are doing reasonably well in both.

Artists have to be adaptable. Most of us live on the edge anyway, so recession is just another thing we have to deal with. On their site, they say artists are underpaid! what are they talking about? A lot of us pay for the doing of the art… Art is an addiction. These people don’t understand that. They think art is a moneymaking career that somehow don’t make money! They are extremely linear! Most of us have day jobs. Are they saying those jobs are underpaid? True. But most of us don’t do those day jobs as ARTISTS, but as art addicts! We get paid not as ARTISTS at Burger King, but as burgers flippers! I think artists should be funded to do whatever art they do. But art is not a moneymaking career! And these crippled yuppies are just spreading distractions!

In Freedom,
Frank Moore

Re: Mini Butoh Festival – BBBP 16 and Workshops

Dear Friends and Colleagues,

We are happy to start 2010 off right with a MINI BUTOH FESTIVAL consisting of two workshops taught by out of town guest artists, and two amazing performances, all on the SAME WEEKEND.

First, the performances:

BARE BONES BUTOH PRESENTS 16
A Benefit for a member of the community who wishes to remain nameless.

WHEN:
Friday Jan 8, and Saturday, Jan 9, 2010 (yep, that’s this coming weekend!)
Both performances are at 8:00 pm

WHERE:
Studio 210
3435 Cesar Chavez St
San Francisco, CA 94110
Studio 210 is located in the former Sears Building, inset from the corner of Cesar Chavez and Valencia Street. Accessible by BART – 24th St Station; and MUNI – #27, #12, #14, #49.

TICKETS:
$5-$20 sliding scale. No one turned away for lack of funds.
Additional donations are graciously accepted and gratefully appreciated.

WHO:
This time around: Christina Braun (Sat only), Cheryl Burns, Shelley Cook-Contreas, Michael Curran (Fri only), Mark Deutsch (Sat only), Jennifer Hicks, Dorine Hoeksema, Henry Kaiser, Mateo Lugo, Luku (Fri only), Martha Matsuda (Sat only), Ri Molnar (Fri only), Jeffrey Alphonsus Mooney (Sat only), Shawnrey Notto (Sat only), Liz Roncka, Liz Saari-Filippone, Sharoni S. Seigel, Bob Webb, and Daniel WrightAbigail.
Surprise guest artists may well also be performing. There are often last minute additions (local, national, and international artists) to the programming, it’s that kind of show.

Bare Bones Butoh Presents is a performance showcase for local and International artists working in the areas of Butoh, Performance Art, and/or Ritual Performance. It exists for artists to try out new material, show works in process, hone improvisation chops and redo or revisit previous material. Bare Bones Butoh Presents employs the grassroots ethic of working together to sustain an artistic culture.

The minimal fee the audience pays at the door allows Bare Bones Butoh Presents to function as a fundraising platform which supports local Butoh and Performance Artists. Every Bare Bones Butoh Presents show has been a Benefit Performance for an individual or group within the Butoh/Performing Arts community in need. Bare Bones Butoh Presents 16 is no exception. All proceeds from these performances go towards a member of the community who wishes to remain nameless. Please feel free to donate freely, it’s a good cause.

Bare Bones Butoh Presents is community building and performance all smushed together into two evenings.
We hope to see you there.

For further info on the performances, or to register for the workshops, please contact: Bob Webb
bobwebb20@hotmail.com
415-821-7124

And now, the workshops:

Workshop #1
Syzygy Butoh Workshop
Taught by Nathan Montgomery
Saturday, Jan 9, 2010
2:00-5:00 pm
Studio 210, 3435 Cesar Chavez (@Valencia)
San Francisco
$35

In this workshop we will focus on recovering and cultivating physical dignity in the body and expression. Syzygy Butoh proposes a dance training in which we develop energetic presence in order to liberate our impulses and learn to work with all our energetic qualities. We start by exploring the empty body, or corpse body. From there we move into progressive explorations of standing, walking, running, twisting and jumping. By focusing on these simple physical actions we can recover basic energetic principles of presence in the dance. We then move into improvisational explorations that challenge us to reach beyond our normal movement patterns and explore our connection to multiple dimensions of body, space, time and content. For example, we may explore what the quality of stone has to teach us in dance, or the quality of paper, flower, wind, water, etc. Come with a beginners mind. No previous dance training necessary.

Nathan teaches and performs throughout the United States. He has studied Butoh for over ten years with Diego Pinon, as well as spent time in Japan with the Ohnos. He works in collaboration with such groups as Human Nature in Arizona and the CarpetBag Brigade of San Francisco. He co-created TinHouse Experimental Dance Theatre in Boulder, CO, and continues to base his productions there . In classic proscenium, on mountaintops, or in the town junkyard Syzygy performs in diverse venues. and settings. For Nathan, while the work is originally connected to the seed of Japanese Butoh, Syzygy grows as an American Butoh.

Workshop #2
The Poetic Body
Butoh: connection, spirit and form
Sunday Jan 10, 2010
12:00-3:00 pm
Studio 210, 3435 Cesar Chavez (@ Valencia)
San Francisco
$35

The Poetic Body is a movement laboratory for those interested in traveling deep into movement consciousness in the context of dance/theatre. Topics of exploration toward choreography may include personal memory, embodying imagery, awareness training, translating poetry to movement, puppetry techniques for the body, meditation, physical stamina training and choreography/designing space. Splicing metaphors and specificity of form, we become the worlds and carry its atmospheres. Exercises range from slow internal focus to chaos. The physical and energetic body transforms through birth, influence and letting go, revealing a new relationship to imagery, the audience, and body/mind. Combining movement imagery with space, shape, time, gesture, relationship and kinesthetic delight. Spirit, space, atmosphere, partner exercises meet though form.

Ms Hicks believes form must go hand in hand with spirit for the theater, not one chancing the other. We will explore pure kinesthetic joy of moving and finding connection to space, self, others and spirit as well as finding a repeatable form. We will work with form/technique letting spirit erupt from inside. We dance from metaphors and experience, colliding worlds open to a river of thoughts and feelings. We move from earth, from emptiness, from strength and from turmoil. From specificity, we create, through spirit we dance. Students will work as a group, solo and in partners.

Jennifer is of the 3rd wave of butoh artists which began dancing in the United States in the late 1980’s/early 1990’s. She has studied with many Japanese Butoh Masters, but her main mentor is Katsura Kan. She has also been influenced greatly by her study with Maureen Fleming and early training in butoh with artists such as the Tamanos at the San Francisco Butoh Festivals. Her other influences include modern dance, Body Mind Centering, Yoga, The Viewpoints, Shintaido and Trancedance. These aspects are taught in unique combination creating an ongoing investigation into how one is to take Butoh, as a viable performance technique, into the next century. Let’s talk, dance, and share ideas.

Basic class structure: brief meditation – warm-ups to unify the group, stretch and train the body/mind – dynamic group, partner or solo exercises designed to build spirit, energy and focus – work with butoh kata or forms – combine into dance/set in space and time – closing.

Once again, to sign up for these classes, or for further info on the performances, please contact:
Bob Webb
bobwebb20@hotmail.com
415-821-7124

Thank you

* * * * *

hi, bob! I want to invite you guys to come and dance at my performance!

In Freedom,
Frank Moore

Adaptive Use Musical Instruments | DEEP LISTENING INSTITUTE

thanks, Pauline! I will test it out!

Pauline, Jane Vincent runs [is that the right verb, Jane?] a technology resource center here in Berkeley. She has turned me on to Aurora word prediction software which has cut my typing work by at least seventy percent!

So Jane is a good person to know about this ! http://www.deeplistening.org/site/adaptiveuse

so, Pauline, when are you coming out again so we can jam together again?

In Freedom,
Frank Moore

New show on LUVeR! Open Mind Dead Sound System Show!

LUVER keeps adding great original shows!

* * * * *

Every Monday at 7pm pacific.

Starts Monday, January 4, 2010 at 7pm pacific
http://www.luver.com/openminddead.html

Isaac and Champ play lots of local music, some new music and they talk about local bands and sometimes they divulge other people’s secrets. They have guests play live sometimes and have a bunch of people help them get the ball rolling, otherwise, they’ll just forget what they are doing. They play all kinds of shit but most of all they always drop a wild card in the mix -so tune in and don’t be surprised to hear a sample of Lindsay Lohan having a breakdown once in a while.

For archived shows visit the website:
http://onlyfortheopenminded.com/wordpress/?page_id=1520

BY POPULAR DEMAND

Friday, Jan. 1, 2010

I am staying here in the LUVER studio, continuing my Marathon of SPINNING HOT WAX for at least until the wee hours of Monday morning!

And we are preparing a new series, THE ROCKABILLY UNDERGROUND!

In Freedom,
Frank Moore

Re: Jesse Beagle and J.C. read at Nefeli Caffe January 8th, 2010

From: Dale Jensen
Subject: Jesse Beagle and J.C. read at Nefeli Caffe January 8th, 2010
Jesse Beagle and J.C. will read their poetry at 7 pm on Friday, January 10th, 2010, at Nefeli Caffe, 1854 Euclid Avenue, a little north of Hearst, in Berkeley, as part of the Last Word Reading Series. Cafe phone (510) 841-6374.There is also an open reading.

Jesse Beagle is a well-known poet, musician, singer, and composer. She is one of the best jazz poets around, composed the award-winning musical Timber, and has played and sung with many prominent blues and jazz musicians. For years she coordinated poetry reading series at Spasso Coffeehouse in Oakland and at the Beanery in Berkeley. Her poetry has been published in many magazines and journals and ranges from political to autobiographical to some of the most beautifully lyrical jazz poems anywhere. Her songs have been recorded and performed by many. Her music is a unique blend of classical, blues, jazz, and Broadway and is always true to itself. Finally, after decades of writing and performing, her first book of poetry, Poetry in Jazz, is being published in early 2010. This reading will be in celebration of her new book, and is a special event for anybody who knows Jesse or her work.

The poet JC, native California born, has been writing poetry, short stories, plays, and screenplays since the age of 16. He is probably the most unrecognized professional writer in the world, due to his independence from groups, academia, and cliques, and
lack of willingness to submit his work. JC is not stuck on any one subject or style in his
poetry, due to his extensive travel, and self education, and the many vastly different trades in which he has partisipated. JC also has a seriosu background in music (SF Boys Chorus, rock bands and folk groups), acting, dance, painting, and photography.
He has compiled two books,Wildlife in the Redwoods and Awake in a Fog (the latter to be published in 2010), and has appeared in many anthologies, journals, and magazines. He is a consummate adventurer, outdoorsman, and body surfer.

The Last Word Reading Series is presented by Nefeli Caffe, a café/restaurant that serves dinners, tapas, coffee drinks, beer, wine, and more in a beautiful and colorful atmosphere. Dinner here is wonderful and should not be missed. Admission is free. Dale Jensen, Ralph Dranow, John Rowe, Diana Q, Grace Grafton are co-hosts.

* * * * *
Actually I think I was very dismissive of Jesse when I was in San Francisco (in what seems a lifetime ago). There were many things about those two trips what made me feel uncomfortable. Australia and California are very different cultures, I felt very out of place and shrunk from Jesse’s generous attempts to make me the centre of attention at some small gathering – however briefly. I apologise.

Tony

* * * * *

mmmmmm!

In Freedom,
Frank Moore

Re: The Shaman’s Den in January

I’m sorry about the sad news Frank, of course it’s more than understood; as far as my side of things, there is no schedule conflict with moving the show to Jan. 17th.

My deepest condolences, and warmest thoughts to you in this time,

Jon

* * * * *
thanks, Jon. We have penciled it in until we hear if the band can do January seventeen.

he was my high school world Cultures teacher… And the one who gave us access to the mimeograph for our underground paper. He was picketing against the Vietnam war in 65 before it was fashionable to do so. He is one of my role models. The high school was in Redlands in southern California. His name is Raymond Haight. Apparently Haight Street was named after his grandfather who was a governor of California. I love how he loved life and people in a deep and lusty way. He taught how to have both an open mind and deep passions, and how to talk to others without limiting judgments.

In the mid- eighties, I ran into him up here in San Francisco. He was tickled at how my life had developed. At the time, I was trying to make my first film. He wanted to give me a couple of grand for it. But right then he lost his job and had to use the money for a biking tour of Europe with his wife. This made perfect sense to me! That is why he is my role model!

In Freedom,
Frank Moore

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