“[A] phenomenal celebration of West Coast post-modern dance, bringing together four powerhouse choreographers in a single program.”
the rise of curatorial activity goes hand in hand with the rise of collaboration as the dominant mode of making
“The democratization of curating is emblematic of our culture of networking and networks. More than ever, people are conscious of their position in a web of artistic relationships. Contemporary influence is not only linear. People are not only influenced by historical icons; they are also deeply influenced by their colleagues. The rise of curatorial activity also goes hand in hand with the rise of collaboration as the dominant mode of making.”
-Hope Mohr, in conversation with Marie Tollon, Four Postmodern Solos in Conversation, tripledogdare, Sept. 22, 2014
HMD’s Bridge Project featured in the S.F. Chronicle’s Fall Arts Preview.
[T]ransparent [dances] because of the clarity and intensity that these fabulous dancers brought to their tasks. Their presence burnt itself into your retina and your soul…..[ridetherhythm] approached pure music in the way fractured language rose into a chorus to retreat again into individual voices… It’s rare that dancers become truly expert at delivering words and movement; Mohr’s troupe was first-rate in both.
-Rita Felciano, “Think Again: Three Provocative Premieres,” S.F. Bay Guardian, April 16, 2014
Mohr continues to subtract the layers of inherited models in order to articulate her artistic voice. In her many roles as a writer, performer and choreographer, she questions the process of art making and the essence of an artwork with a rigorous dedication to the choreographic craft. Her dances offer spare but meticulous compositions where both body and space become a laboratory for research and inquiry about what it means to make art and how it relates to our lives.
-Marie Tollon, “Dance as a Vehicle for Questioning,” tripledogdare, April 3, 2014
Expect a blend of shrewd concepts and innovative, improvised movement in the metrics of intimacy, a collaboration between choreographers Christian Burns and Hope Mohr. If this sounds like some stuffy, high-art performance piece, think again. Burns’ work is intelligent, accessible, and often surprisingly funny. His unique combination of impulsive performance quality and calm confidence make him and his company, burnsWORK, one of the most original dance voices in the Bay Area. He choreographs and performs the metrics of intimacy alongside Hope Mohr, artistic director of Hope Mohr Dance, whose focus on the creative process is highly experimental and consistently refreshing. Both Burns and Mohr have backgrounds in classical ballet (Burns trained at The School of American Ballet in New York City and Mohr, a San Francisco native, trained at The San Francisco Ballet School) which gives their work a certain clarity that can often be undervalued in contemporary dance. The results are choreography that’s both poignant and viewer-friendly. The work is performed at The Garage, an underground venue so cozy you might end up practically sitting on someone’s lap — the perfect place to observe the capabilities of the human body.
— Laura Jaye Cramer, S.F. Weekly, December 3, 2013
“In plenty of dance theater, it’s common for performers to move and speak. It’s hard to do well and it’s a complicated relationship. I’m interested in the nuance of it, the details of it, what makes it work or not work. There’s a moment of individuation that happens when we learn to speak. It’s a pivotal moment in the development of us all.”
-Wallace Baine, “San Francisco Dance Troupe Explores Language and Movement,” Santa Cruz Sentinel, Sept. 25, 2013
Full article here.