(Erika wrote:)
Beautiful photos! Really fun to see them!
(Erika wrote:)
Beautiful photos! Really fun to see them!
we are outing at least one of those who rip down all fliers, including ours, in Berkeley. It’s a part of the documentary Max is making. He already has footage of the dude talking about me as he rips our flier down!
In Freedom,
Frank Moore
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Frank Moore’s Shaman’s Den
Sunday, February 14, 2010
Max Good, Director
www.vigilantefilm.com
To tune into this live, video show, go to http://www.luver.com/listen.html
and click on “watch here”.
Show starts at 8pm Pacific Time
WE’LL BE KICKING IT UP SEVERAL NOTCHES THIS SATURDAY… AND IN FACT ALL YEAR LONG ! ABOUT TIME YOU CAME TO PLAY!
http://www.eroplay.com/events.html

hey pop! i got a new artist that i would like to get on your tv show. can you provide your addresse again so i can send you his cd?
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sure, son! Any friend….
Frank Moore
Inter-Relations
P.O. Box 11445
Berkeley, CA 94712
the artist should write real big on the envelope YOUR SON SENT ME!
missed you, son! Get your ass to the next performance!
In Freedom,
Frank Moore
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oh, i will be sending the cd’s. i planned on being there. when is it? at the same place?
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well, son… Since you are playing at the Temescal performance [which is great news!], you can give me the Cd there. The next performance is SatUrday, January 30, 2010 starting at 8pm [but we get there at seven o’clock to set up]. It’s at TEMESCAL ARTS CENTER, 511 48th Street, Oakland, CA 94609-2058.
AND MARK THESE DATES OFF ON YOUR CALENDAR!
2010 Dates!
Saturday, February 27
Saturday, March 27
Saturday, April 24
Friday, May 21
Saturday, June 26
Saturday, July 31
Saturday, August 28
Saturday, September 25
Friday, October 22
Friday, November 19
Friday, December 17
I am a 3rd year art student at Leeds Metropolitan university (UK). I am currently writing an extended essay on the relationship between art and magic. I am interested in what you do as it blurs the line’s between the both. I have written that art is all about transformation and the altering of perception. I wanted to ask you a few questions if that is ok?
Firstly; in regards to your performances; I was wondering what you think of your audience. Who do you attacked? an art audience or a more spiritual audience. Is there even a difference.
I have written about shamanism perhaps being masked with the word art to fit into what is more acceptable to a contemporary audience. Then again can you see a distinction between art and shamanism?
I would really love to hear you thoughts on these matters.
Many kind thoughts
SHAMANISM is the direct experience of reality.
CHERO is the physical life energy. I created the word “chero” by combining “chi” and “eros”.
MAGIC is the science/art of non-linear change. In cherotic magic, it is the practical focus of the person to reshape reality into more humane forms by using the magical dynamics of relationships.
REVOLUTIONARIES are the mutations of evolution … most “fail” … but even in failure, change and new possibilities are created.
ART is that process of creating change and new possibilities.
these seem to relate to what you are asking. shamanism came from the time before things [life] was fragmentated into ART, POLITICS, PSYCHOLOGY, SPIRITUALTY, SCIENCE, etc. so what I am working with is going back to the original unity.
but you are quite right. What you call what you do effects how people relate to the work. If you label the work as POLITICAL, it puts the work into a very rigid frame. People know how to deal with it, how to dismiss it, how to deball it. But if you label it as ART, the frame is much more flexible, the possibilities are more dangerous, less easy to control or to absorb into the Combine.
I don’t see it as attacking the audience [I don’t really see them as “the audience “]. I am leading a journey outside of boxes of comfort zones [which seems to be the latest buzz phrase for uptight!] if that attacks, shocks, offends, whatever, I’m willing to deal with it. But that is not my intention [except when somebody asks for it!.
You are quite right. there are words which attract people to the work. They keep changing as the culture changes. There was a time when nobody had heard of performance art. But they were in to PERSONAL GROWTH and RELATIONSHIPS. So I presented the work in that context. When PERFORMANCE ART hit, it was performance art. When SHAMANISM was the fad, goddamn if it wasn’t shamanism! I’m flexible! But really the work has stayed rooted to the core. It always has rubbed the frames the wrong way, pushing beyond taboos.
you are also right to ask about how the people who think of themselves as artists and /or spiritual in some formal sense fare in the altered transformation realities within the performances. Typically historically these two groups have a much harder time than the normal Joe /Jane who just came in to play with no idea of what that means. Artists and “spiritual” people tend to have pictures coming in of who they want to be seen as, of what SHOULD happen, etc. And they can’t give up those pictures even temporarily for the performance! But old Joe and Jane can…. Which of course freaks the glamorous types out even more.
have you read my ART OF A SHAMAN at http://www.eroplay.com/Cave/ArtShaman/artsham.html ? In it I go into these issues more deeply.
please tell me what you think… And ask more questions!
In Freedom,
Frank Moore
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

Alyssa tagged 4 photos of you in the POW! group.
To see the photos, follow the link below:
http://www.facebook.com/n/?photo.php&pid=2996868&op=1&view=all&subj=533426553&id=638487751&mid=1a9f2d0G1fcb7179G47cf4bcG5
To see the group, follow the link below:
http://www.facebook.com/n/?%2Fgroup.php&gid=41717929135&mid=1a9f2d0G1fcb7179G47cf4bcG5
Thanks,
The Facebook Team
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great, Alyssa!
In Freedom,
Frank Moore
Thanks Frank.
How the heck did you find THIS interview?!
Hope it works out for you at CSC, so I can see your show. I’d better be in town!
Annie
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Radman, one of the first LUVER djs, keeps his eyes out for this kind of thing!
And damn right you better be in town!
In Freedom,
Frank Moore
Hi Frank – looking forward seeing you on the 14th – I went to a temple dance tonight and we all got naked …it was quiet fun — have you heard of csc – i could imagine you doing a performance at one of their events….
I also saw you mentioning Shelley cook in an e-mail (calling her a snob)-I met her couple of years ago and her name appeared in my dream last night – I thought of reconnecting with her because of it. Sending you many bleassings and einen guten rutsch ins neue jahr….(a good slide into the new year) Nicki
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MMMMM… We have you coming on TUESDAY THE TWELFTH. Is that right?
Yes, I know about CSC. Annie Sprinkle just recommended it to me for a possible performance space. And Nellie Wilson, who is a sexuality teacher connected to CSC and has been to quite a few of the Temescal performances, is working on getting me a performance there.
Ah, Shelley! A good performer. But frankly a bitch! I have had her in my casts going back to the early eighties when I started touring. I used her in my first Los Angeles performances. Then took her to N.Y.C. when I was doing a big production. In Los Angeles she was a deva, but she came through with a lot of work. But in N.Y.C., she was a snob! I had Annie Sprinkle [and something like twenty other people who I had not even met before] in my cast. Annie was still in the porn world. My performance was her first adventure into the performance art world. Annie was great, warm, etc. I told her she would be great artist. She did not believe me [they never do!]. But something was rotten at the rehearsals. It turned out that Shelley thought she was too good to even talk to a porn actress. I had to do things to save the five hour performance. A year later Annie was the talk of the Art world!
In Freedom,
Frank Moore
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