ENCOUNTERS OVER 60
As our community grapples with the ongoing impact of COVID-19, we are exploring how Encounters Over 60 will evolve in 2021 in order to continue supporting artists as effectively and responsibly as possible during this time. With incredible support from the Hellman Foundation, we are confident that Encounters Over 60 will continue in 2021, supporting our community at a time when it is most needed.
Once we are able to solidify plans for 2021, we will share them here and with our email list, which you can join via the form on our homepage.
The Margaret Jenkins Dance Company introduces Encounters Over 60, a new program amplifying the visibility of elder dance artists through two week-long residencies at our Margaret Jenkins Dance Lab. In a medium so often focused on the young and upcoming, Ms. Jenkins is particularly aware of the disappearance of voices from women over 60. Artists Vicky Shick (Budapest/New York) and Merián Soto (Puerto Rico/ Philadelphia) will perform their solo work as well as new work developed with local dancers, and share their rich body of artistry and experiences through in-depth classes and workshops for both the professional dancer and those who simply enjoy moving with like-minded curious adults.
We at the MJDC value cross-generational exchange and the importance of transmitting the wisdom and experiences that artists learn at all points in life. We encourage dancers of all ages – whether you’re 20 or 70 – to join us for these activities and celebrate this spirit of intergenerational sharing.
February 7 - 12, 2020
Wed, February 12 @ 7pm
February 29 - March 5, 2020
Thurs, March 5 @ 7pm
Margaret Jenkins Dance Lab
301 8th Street, Studio 200
San Francisco, CA 94103
Walk ups are welcome, but to guarantee a spot please RSVP in advance.
We anticipate some activities may fill up and we want to make sure there's a space for you!
All Encounters Over 60 activities are pay-what-you-want, and no one will be turned away for lack of funds.
Daily, Feb 7-12, 10a-12p
In this morning class we will warm up, ease our bodies, and energize ourselves as we work toward dancing together. We ready ourselves, beginning with a straightforward warm-up emphasizing physical mechanics, alignment, and clarity, with space for feedback from our bodies. We want to stimulate our awareness, articulation, and focus as we collaboratively uncover the intelligence in our bodies and arrive at dancing together. In phrase work, we hone our skills and deepen our physicality. All levels welcome, but some dance experience needed.
Sat, Feb 8, 1-4pm
In this workshop we will practice different ways to arrive at making work. There will be opportunities for solo exploration, as well as for duets and small groups. We will use improvisation to get started and to see if we can rid ourselves of expectations and judgment as we build movement. Of course we will watch each other and offer comments and questions. I hope to embrace our individuality, rigor and focus, and leave room for play. All levels welcome, even
Performance and Q&A
Wednesday, Feb 12, 7pm
Vicky Shick will perform solo work as well as new work developed with local dancers, followed by a conversation with Margaret Jenkins and a Q&A with the audience.
Blindfold Dance: Adventures in Partnering and Touch
Sun, March 1, 12:30-2p
Somatic educators well know the value of working with eyes closed as a way of expanding sensory awareness and supporting focus on somatic processes. This immersive workshop will explore the Blindfold Dance. Working in pairs, participants will take turns leading someone who cannot see, and being led while blindfolded. Movement explorations will be followed by short discussions: what is the role of touch in partnering/kinds of touch, how/what does one follow/ respond, how does one lead effectively, responsibly, what are possible applications of this practice in choreography and performance? All levels welcome, even non-dancers.
Letting the Body Stretch Itself and Other Joys
Tue, March 3, 6-8pm
This workshop will serve as an introduction to foundational movement practices by Judson Dance Theater and somatic practices pioneer, Elaine Summers. Letting the body stretch itself is an improvisational somatic practice created by Elaine Summers. Moving slowly while scanning through the body with the mind’s eye, one allows/notices movement travel sequentially through the body. For experienced dancers.
Performance and Q&A
Thursday, March 5, 7pm
Merián Soto will perform solo work as well as new work developed with local dancers, followed by a conversation with Margaret Jenkins and a Q&A with the audience.
About the Artists
Vicky Shick (Budapest / New York)
Vicky Shick has been involved with the New York dance community since the late 70’s - performing, teaching and making dances. During her six years with the Trisha Brown Company, she received a Bessie Award for performance. Shick has been making dances since the mid-eighties, many in collaboration with visual artist Barbara Kilpatrick and sound designer Elise Kermani. Shick and Kilpatrick received a Bessie for their work together. Shick has created pieces with students at several colleges and universities, including Arizona State, Barnard, Bryn Mawr, George Washington, Hunter and the New School. She teaches at several institutions in the NYC area mostly at Movement Research, for the Trisha Brown Company and for fifteen years at Hunter College. Over the years, Shick’s choreography has been presented by venues including The Brooklyn Museum, Danspace Project, Dance Theatre Workshop, The Kitchen, Movement Research at Judson Church, PS 122, Sundays on Broadway, The West End Theatre, and internationally at Project Art Centre in Dublin, the Verbier Music Festival in Switzerland, and at Trafó Theatre in Budapest. She was a two-time Movement Research Artist-In-Residence, a grant recipient from the Foundation for Contemporary Arts, a Guggenheim Fellow, and a DiP grantee at Gibney Dance Center.
Merián Soto (Puerto Rico / Philadelphia)
Dance, video, and improvisation artist Merián Soto, is the creator of aesthetic-somatic dance practices and methodologies, Branch Dancing and Modal Practice. She has collaborated extensively with visual artist Pepón Osorio on works such as Historias (1992-99); and Familias, (1995). She is known for her experiments with Salsa, in critically acclaimed works such as Así se baila un Son (1999) and La Máquina del Tiempo (2004). Since 2005, Soto has developed Branch Dancing, a meditative movement practice with branches and the Branch Dance Series, which includes dozens of performances on stage, in galleries, in nature, as well as video installations, and year-long seasonal projects. Numerous grants and awards include a Bessie Award, Greater Philadelphia Dance and Physical Theater Award ROCKY, a Pew Fellowship in the Arts, and most recently a Doris Duke Fellowship in Dance. Since 1999, Soto teaches Dance at Temple University, where she is Curator of the Institute of Dance Scholarship’s Reflection/Response Choreographic Commission. Her writings on dance have been published in Choreographic Practices, Heresies Magazine, Movement Research Journal, and Contact Quarterly. Current projects include Modes, a performance, exhibition, and scholarship project summarizing Modal Practice; and Rompeforma ¡Fenomenal! 1989-1996, a documentary on the celebrated Latinx performance festival.