The Pieter’s Dancemakers Grant grant aims to subvert the discriminatory hierarchical pyramid model of dance in America.
The grant stands opposed to the prevailing values of the patriarchy, where women are frequently socialized to take supporting or submissive roles in their respective fields, to feel ashamed of their bodies, and experience further marginalization as they age. Giving woman-identifying choreographers over 40 visibility, credit, and support, the grant serves as an antidote to the many institutions and foundations in dance that continue to allocate resources and power to more men than women, whether they be choreographers, presenters, curators, or funders.
Two grants, each $7000, will be awarded in addition to 50 hours of studio time at Pieter. Recipients will select a three-month period – between September 2019 and September 2020 – to use the allotted 50 hours of studio space. Along with their studio time at Pieter, it is required that grantees organize one public engagement with their work, in the form of a showing, a workshop, or an artist talk.
Application Available: Monday, May 6, 2019
Applications Due: Monday, July 8, 2019 by 11:59pm PST
Grants Announcement: Friday, August 31, 2019
Grant period: September 1, 2019 – August 31, 2020
For questions about the application, contact firstname.lastname@example.org
The awardees of the inaugural Pieter Dancemakers Grant were Maya Gurantz and Julie Tolentino.
Maya Gurantz (b. 1977, Oakland, CA; based in Los Angeles). In performance, video, installation, social practice and writing, Maya interrogates social imaginaries of American culture and how constructions of gender, race, class and progress operate in our shared myths, public rituals and private desires. Cycling between intuitive and academic research, the intimately personal and political, Maya adapts, re-enacts, fictionalizes, and re-choreographs history to force viewers to encounter, viscerally, how their most intimately held beliefs belong to a complex lineage of social construction.
Most recently, Maya’s work has been shown at the Grand Central Art Center (solo), Museum of Contemporary Art Denver (solo), Greenleaf Gallery (solo), Utah MoCA, the Oakland Museum of California, Pieter PASD (solo), High Desert Test Sites, Navel LA, Angels Gate Cultural Center, Beaconsfield Gallery Vauxhall (curated Jane Mulfinger), Autonomie Gallery, and Movement Research at Judson Church, among others. Recent social practice commissions include A Hole in Space (Oakland Redux) for The Great Wall of Oakland (with Ellen Sebastian Chang), The Field Experiment ATL, and Gunworlds (with Liz Goodman, Media Design Practices Summer Research Residency, ArtCenter College of Design). Maya’s writing has been published in The Los Angeles Review of Books, This American Life, Notes on Looking, The Frame at KPCC, ACID-FREE, The Awl, InDance Magazine, Theater Magazine, and an anthology, CRuDE, published by the École Nationale Supérieure d’Art, Bourges. She co-translated two novels by Israeli writer David Grossman, Be My Knife and Someone to Run With, for Farrar Straus & Giroux. Maya holds a B.A. from Yale and an M.F.A. in Art from UC Irvine.
Julie Tolentino (El Salvadoran/Filipina) creates intimate durational performance and installation projects, sound, video, and objects exhibited in venues such as the New Museum, The Kitchen, PSNY, The Bronx Museum, Abrons, Commonwealth & Council, Volume/Night Gallery, LACE, Human Resources, The Lab, PSi Stanford and international venues in the UK, Canada, France, Germany, Italy, Mexico, Philippines, Singapore, Abu Dhabi. Julie serves as the Provocations co-editor for TDR (The Drama Review) with taisha paggett and is featured in the Smithsonian’s Art AIDS Oral History Project. Tolentino was the 2017-2018 Inaugural HMD Community Engagement Artist, a 2013-14 YBCA Community Artist with Larkin Street Projects and has received support from Art Matters, CHIME with Doran George and Jmy James Kidd, Arts International, Franklin Furnace, BOFFO FI Residency, Yellow House Fund, amongst others. Tolentino was a member of ACTUP, Art Positive, House of Color, and the National LGBT Suicide Hotline. She originated NYC’s Clit Club (1990-2002), Tattooed Love Child, and Dagger. Releases this Fall include her group-authored essay on the Clit Club history in GLQ Journal (Gay & Lesbian Quarterly) and the Visual AIDS DUET book project featuring Kia Labeija and Tolentino.
She has been a guest artist and/or lecturer at BARD, NYU, UCLA, Cal Arts, UC Santa Barbara, and The New School. She is a Deans Distinguished Fellow in the UCR Experimental Choreography MFA Program and a 2018-19 Gluck Fellow. Since 2008, Tolentino hosts artist and writer residencies at off-grid Feral House*Studio in the Mohave Desert highlighting slow- and lo-impact art and living practices.
This year’s panel consisted of three woman-identifying choreographers over 40 who do not live in the applicable area: luciana achugar, Linda Austin, and Leyya Tawil.
luciana achugar has been making work in NYC and Uruguay independently and collaboratively since 1999. Her work is concerned with the post-colonial world, searching for an undoing of current power structures from the inside out. She is a two-time “Bessie” Award recipient and one time nominee; an Alpert Award Grantee; a Guggenheim Fellow, Creative Capital Grantee and a Foundation for Contemporary Arts Grantee, amongst other accolades. Her new work Brujx will premiere at NYU’s Skirball Center of the Performing Arts in October 2018.
Linda Austin, Founding Artistic Director of Performance Works NW in Portland, Oregon, is a choreographer and performer whose trajectory began as part of NYC’s East Village performance scene of the early 1980s. Her most recent honor is the 2017 Foundation for Contemporary Arts Merce Cunningham Award, and she is currently working on a solo titled Ordinary Devotions.
Leyya Mona Tawil, also known as Lime Rickey International, is an artist working with music, dance and performance practices. Tawil is the director of DANCE ELIXIR and TAC: Temescal Art Center – a venue in Oakland.