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Building on the Hana of SonneBlauma Danscz Theatre

The founder of SonneBlauma Danscz Theatre, against her better judgement, leaned unknowingly into the nature of dances of predator and prey, a thing that began perhaps in the womb, with the alchemy of realizing her dream, being the medicine of those string of moments.

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It was tearing her body apart, it was tearing the relationship apart, so she did not give the parasite a choice, and stated, I built this, so it will move forward as a horizontal framework, collaborative and co-creative, thinking, this may solve the problem.

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Alas, it did not, and in the end, the parasite, while the founder was sick in hospital, did what this dark trait type of expression does, and the dance company decided to shed her from the very company she formed.

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No projected occurred after this. 

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The non-profit a by-product of her personal investment and degrees in dance and economics, her investment in an entrepreneurial course, and finding two friends to play along, while the other offered peanuts in terms of support, a little of this and that, and perhaps one big chunk of work, he took over the non-profit and invited others, then he himself resigned, and the non-profit lost its status.

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This, somehow, proves to the founder, that yes, she was the driving force all along.

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And now comes the painful task of unraveling it all and seeing it for what it truly was.

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An extractive and exploitive relationship that caused secondary complex PTSD with its own unique symptoms, financial abandonment, and a part of similar elder women who have the courage to pivot, at risk, of homelessness, at risk, of re-injury.​​

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Can this founder overcome this last step in the healing journey? 

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This expression of decolonization?

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What will it require?

Groundbreakers, Visionaries, Innovators

 

We were definitely leaders and we were definitely groundbreakers, and as I go back into this text, it was I who was the leader and groundbreaker and visionary.  As an organization created and managed by artists, and in this moment I add, that the workload in the end, began to be more balanced, but it was I who still carried the bulk of the workload and picked up the dropped balls. The focus was on the work itself. I never really "tooted our own horn" my own horn and this was likely underground shadow textures coupled with wanting to be the change and initiate from humility, celebration, and community service.

 

There came a time, in that I felt like the community wasn't understanding the significance what were doing, to communicate exactly WHAT we have managed to achieve in order to foster a greater awareness and appreciation for the gifts we bring to our community.

 

Beyond a shadow of a doubt, our activity in our home town has made the lives of dancers and choreographers more easeful, whether they realize it or not, we know.  Breaking ground opens up sacred space energetically for the community as do the intentions we set, to make the path easier and more abundant for others.

 

We don't embrace the negative aspects of competition, or rivalry, but rather, flow from an awareness of abundance and work at being truly happy for the success of all in our community.

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In the present moment as I go back into this archive, I note, there is not much of a contemporary dance scene left in this community, outside of the walls of community colleges who produce in the community and the University.

 

SOME OF OUR 1sts on the SB contemporary dance scene 

 

1st dance company in the community to welcome artists from OUTSIDE of Santa Barbara and welcome them into the community to perform. (2000)

 

1st in the community to tour California (2008)

 

1st in the community to tour internationally (2008)

 

1st in the community to be accepted into a NYC dance festival and tour to NY (2010)

 

1st in the community to launch an international dance festival (2011)

 

1st in the community to co-produce an international dance festival in another country and provide opportunity for 2 Santa Barbara choreographers and one NY choreographer (2012)

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1st director to receive an indy Theater Award before the category of dance existed (2011)

 

A sprinkling of Onlys

Only contemporary company to provide creative and performing opportunities on a local, regional, and national level with peeps from ALL walks of life, levels, and ages.

 

Only contemporary dance company that has reached out to mentor, and support, and be of guidance to others going as far to channel resources to the community for rehearsal space, costuming, surprise funding.

 

Only contemporary dance company to host regional, national, and international master classes from boutique dance companies/artists.

 

Only contemporary dance company to reach out and volunteer to help out other communities.

 

Only organization that reaches out to multiple mediums of expression.

 

Only arts organization with  expressed values of community building, conflict resolution, peacemaking, social change, and shifting the paradigm in how the arts organize with the intention to create MORE for EVERYONE.

 

Only local organization that produces works in other cities/countries creating bridges of opportunity for local artists to these other places.

 

 

Numbers

We have served more artists than any other professional dance company in way of number of performances, in way of performing opportunities, more master classes, have donated more volunteer hours, and have performed more locally, regionally, nationally, and internationally than any other local dance company (all genres.)