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Reading a novel can be a satisfying experience, but usually reveals little of the path the author traveled from his thoughts to the printed page. That history is more likely found through an interview, biography or by delving into the journals of the writer. Discovering the journey of a choreographer is also not usually found by looking at his or her  dances. The process is different because dance is not verbal. So let’s look beneath the surface of choreographer and artistic director Robert Moses. His eponymous company, Robert Moses’ Kin, will premiere his latest piece, “Bootstrap Tales,” during the company’s 23rd season, February 23-25, at Yerba Buena Center for the Arts Theater in San Francisco.

In the work, Moses uses the spirit of the company’s new outreach initiative, The Bootstrap Program, which gives San Francisco foster youth an exposure to the arts and direct access to the skills and resources for creating a life in the arts, He also chose to develop the score with street musicians, who recorded material in the studio with musician and composer PC Munoz, who then mastered how to decorate old pointe shoes their work, When asked what was the seed that sparked this piece, Moses says, “I don’t really know, All the elements are so disparate, I used to write titles down in my notebooks and one of them was ‘Bootstraps Tales’ because somewhere over my last 23 years that idea had popped up, but I hadn’t investigated it.  Now it’s the time to do it.”..

“This is my idea of some individual, a small group of people, but a support system isn’t there for them, so they have to push forward and make something happen for themselves,” Moses adds. “So much of what I do is drawn on the notion or foundation that we as people, we as citizens, we as Americans, are supposed to have a kind of responsibility to other people, but also to ourselves. And part of the responsibility to yourself is to be able to take yourself up by your bootstraps and move forward.”.

Watching a rehearsal is an even broader window into Moses’s process, how to decorate old pointe shoes In the space of an hour, the dancers go through most of the material that Moses had already created for “Bootstrap Tales.” He stops periodically to tweak the steps themselves, smoothing out any awkward transitions or improving the line of the dancers’ limbs, Moses asks for different accents in the dancers’ movements to better reflect or oppose the rhythmic complexity of the score, jumping to his feet and demonstrating what he wants himself in lieu of a lengthy explanation, There are more mundane problems to solve — where each dancer needs to enter and exit after their turns on stage to avoid collisions with other dancers..

Moses requests subtle nuances in the execution of the steps. Later, he explains, “The dancer part of dancing is sensation. The artist part is about realization. The dancer thinks ‘how does it feel’; the artist thinks ‘how do I shape it’.”. During the rehearsal, Moses puts a line of seven dancers across the back of the performing space, behind a solo dancer. First he pairs them off and has them change places with each other. With each iteration — and there are at least half a dozen — the movements become more defined, larger, more varied in speed or movement quality, until it’s a veritable dance in itself. Imagine watching a time-lapse film of a crystal growing or a flower blooming. Later, I learn he cut the segment because it didn’t contribute to the overall idea of the piece.

“The thing about ‘Bootstraps’ is there is a lot of information to deal with, to look at, It’s about how these men and women deal with space in the streets, For some, it’s just by being themselves, They don’t know how to manage people and others walk over them, Some define the space by putting themselves up in a particular area — they shape their space and their relationship with people in it,” Moses says, He continues, “Part of the problem is leaving the authenticity in the work, Leaving the moroseness, leaving the effort, how to decorate old pointe shoes leaving the sense of abandonment, loneliness or desperation in terms of moving something forward.”..

HEAR DEFENSE ATTORNEYS SPEAK ABOUT THEIR CLIENTS: Attorneys Tony Serra and Curtis Briggs speak to the media after the Oakland court appearance of their respective clients Derick Almena and Max Harris. Click here if you’re having trouble viewing the video or gallery on your mobile device. OAKLAND — More than a year after a deadly fire at the Ghost Ship warehouse killed 36 people, Derick Almena and Max Harris, the only people criminally charged in the tragic case, pleaded not guilty and learned they will stand trial this summer.

The former warehouse tenants each are charged with 36 counts of involuntary manslaughter for the deaths of 36 people attending an electronic dance party the night of Dec, 2, 2016, at the East Oakland arts collective known as the Ghost Ship or Satya Yuga, Almena and Harris entered not guilty pleas Tuesday at the Rene C, Davidson how to decorate old pointe shoes courthouse in Oakland before Judge Morris Jacobson,  Harris, his once dyed blue hair grown out now to his natural brown, appeared in his red-and-white jail clothes as he spoke with his attorney, Almena, the collective’s master tenant, was not visible from the courtroom gallery..

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