Saturday, October 29, 2011



Mitote is a highly technical dance.

Fabulocity, Realness, Fierceness--these are techniques....

Voguing, Cunningham, Aztec, Ballet--these are techniques......

Composition, Improvisation, Choreography....these are techniques.....

Sacred Time, Sacred Space, Sacred Force--these are techniques, also, tactics....

One must train their the thinking of mitote.

mitote. a certain way of being. a certain way dancing.
a certain way of opening oneself to being through a certain process or remembering the sacred so that one can dance.

This is the technique.

it is not uniformly stylized. it is not lazy. it is focused. it is unadorned

Wednesday, October 26, 2011

all of the white people will be Indians and all of the Indians will be ghosts.

How to Write the Great American Indian Novel

By Sherman Alexie b. 1966 Sherman Alexie
All of the Indians must have tragic features: tragic noses, eyes, and arms.
Their hands and fingers must be tragic when they reach for tragic food.

The hero must be a half-breed, half white and half Indian, perferably
from a horse culture. He should often weep alone. That is mandatory.

If the hero is an Indian woman, she is beautiful. She must be slender
and in love with a white man. But if she loves an Indian man

then he must be a half-breed, perferably from a horse culture.
If the Indian woman loves a white man, then he has to be so white

that we can see the blue veins running through his skin like rivers.
When the Indian woman steps out of her dress, the white man gasps

at the endless beauty of her brown skin. She should be compared to nature:
brown hills, mountains, fertile valleys, dewy grass, wind, and clear water.

If she is compared to murky water, however, then she must have a secret.
Indians always have secrets, which are carefully and slowly revealed.

Yet Indian secrets can be disclosed suddenly, like a storm.
Indian men, of course, are storms. They should destroy the lives

of any white women who choose to love them. All white women love
Indian men. That is always the case. White women feign disgust

at the savage in blue jeans and T-shirt, but secretly lust after him.
White women dream about half-breed Indian men from horse cultures.

Indian men are horses, smelling wild and gamey. When the Indian men
unbuttons his pants, the white woman should think of topsoil.

There must be one murder, one suicide, one attempted rape.
Alcohol should be consumed. Cars must be driven at high speeds.

Indians must see visions. White people can have the same visions
if they are in love with Indians. If a white person loves an Indian

then the white person is Indian by proximity. White people must carry
an Indian deep inside themselves. Those interior Indians are half-breed

and obviously from horse cultures. If the interior Indian is male
then he must be a warrior, especially if he is inside a white man.

If the interior Indian is female, then she must be a healer, especially if she is inside
a white woman. Sometimes there are complications.

An Indian man can be hidden inside a white woman. An Indian woman
can be hidden inside a white man. In these rare instances,

everybody is a half-breed struggling to learn more about his or her horse culture.
There must be redemption, of course, and sins must be forgiven.

For this, we need children. A white child and an Indian child, gender
not important, should express deep affection in a childlike way.

In the Great American Indian novel, when it is finally written,
all of the white people will be Indians and all of the Indians will be ghosts.

Sherman Alexie, “How to Write the Great American Indian Novel” from The Summer of Black Widows. Copyright © by Sherman Alexie. Reprinted by permission of Hanging Loose Press.

Source: The Summer of Black Widows (Hanging Loose Press, 1996)

They Protect Our Rights, I Will Protect Theirs

Tuesday, October 25, 2011

The Education System in America

The Gay Reality

The Gay reality


Yes. We had sex.

We—being, me and one of the many other boys, men, boiz out there.

It’s a private matter, and it is between us.

It does not define our relationship—sometimes it does, but it does not have to....

Often, the sex, should be seen as something we “did”.

It is a private matter, between us, and we keep it between us.

Should it happen again, it is between us, it is our private matter...

Of course, a confusion occurs in one when the ‘us’ is shared with so many others…

This is often hilarious, a source for many gay comedies, confusions, and depressions.

The many is confusing….

But, no matter what, this matter of sex is privately shared between the two—for that particular event of sex—or, perhaps between many, if that was such a sex that did occur.

The point here is: that you must respect other’s privacy.

More importantly, you need to respect your privacy, your partner’s privacy, your “us”.

In America, respect is not taught anymore.

Definitely not to gay boys, men, boiz.

Respect your body, respect your mind, respect each other—it is rare these days.

Perhaps, this is why Mitote come into existence now.

A need for respect, beholding, and movement initiated out of our self, our light.

Time to bring back sacredness in our gay self.

Let our bodies sing. Let the song between each other be private. Be respectful.

Let them do their thing.


Friday, October 21, 2011

Another short bio

Cuauhtémoc Peranda (Xicano/Aztec and Mescalero Apache) is from Santa Cruz, CA. This year he is completing the 2nd and final year of the MFA in Dance at Mills--and, is writing and dancing for Native American sacredness in contemporary dance. He is a voguer, and is currently teaching Aztec Dance at Mills this year.

Wednesday, October 19, 2011

Questions for an essay to get into school

Questions for an essay to get into school

1. Tell me, write me a story. 2 sentences per question, maybe more, which tell me a remarkable experience in your life, which gave you an impulse, a calling, a necessity to go to college. In other word, tell me who you are, and why you want, need to go to college.

Question: Who are you? (general)

Question: Why do you want to go to college? (You)

Question: Which college are you interested in attending? (Harvard, Morehouse, UCLA)

Question: Why this particular college? (Music? Professors? Techonolgy?)

**write the essay as if you are talking to the Admittance Director of that particular college**

Question: What are you interested in? (???)

Question: why are you interested in that? (I makes me feel, I contemplate and discover…)

Question: Is what you are interested in going to be your career? Why/why not?

Question: What are you interested in making your career? How will you achieve it

(not in terms of classes, courses, programs, or grad school, but in another fashion…passion?)

Question: Where did you grow up?

Question: How did that place (s) where you grew up affect you? (U.S., State, County, Race/ethnic understanding/ties, tradition, self-righteousness-discovery-responsibility)

Question: where did you attend school?

Question: What is an interesting and important event that happened in your school?

Question: Are you good in school? Why or why not?

Question: What are you good at? Why?

Question: what are you bad at? Why? How are you improving?

Question: How will this particular college allow you to achieve your dreams?

Question: how will you give back to the college why you are there?

Question: How will this college enable you to be an upstanding citizen?

Question: How will you give back to the college as an alumnus/a?

Answer each of these questions in 2-9 sentences. From there, edit into a good order. This order could be fine—but ensure that the introduction introduces YOU!!!! No statistics, no big statements, YOU!!!! And the last statement is YOU!!! Let the reader remember you and how you will be a great fit for this college, and how you will be a great person to have as an alumnus/a.

Let it be known that they really want you!!!!

Once you answer these questions, you will have an essay! If not more! Description is better than facts! Admittance counselors read thousands of essays, make your essay interesting and easy to read.


Monday, October 10, 2011

State of Change, Mills Repertory Dance Company Concert

Rehearsals for the MRDC
Rehearsals for the MRDC
Rachel Holdt

State of Change, Mills Repertory Dance Company Concert

Every year, a group of talented dancers gather at Haas Pavilion for the Mills Repertory Dance Company (MRDC hereafter) auditions. An instructor leads them through a dance routine set up much like a classroom setting, and they dance with every soulful sinew in their bodies. After, with baited breath and ample anxiety, they nervously await the postings on the bulletin board in the hallway for the announcements for each placing. The chosen few are then rigorously rehearsed for a concert that takes place annually, which, in every way, is equivalent to a faculty concert with one noticeable difference. In addition to the faculty’s dance works that are performed for this show, some of the students who participate in this concert also have the rare opportunity to work with national and internationally acclaimed choreographers –a different one holding a special guest residency each year. Reiterated from the department’s website, “MRDC performances present a unique opportunity for the public to see the groundbreaking artists of tomorrow perform the work of highly reputed choreographers and teachers of today.” Bridging the gap between academic performance and professional work, the opportunity to work with such well-known artists is one of a kind.

This year’s chosen guest artist is Doug Varone and his work is the well-respected Bench Quartet that was set on a very select few dancers -- seven to be exact. After auditioning for a member of his company, the seven female dancers spent the entirety of their Memorial Day weekend and the week following in an intensive workshop while the choreography was set on these dancers. With supervision from the company member, Erin Owen, and faculty, the seven dancers worked tirelessly to achieve something quite extraordinary even in a professional setting –completely finishing a work like this in only a span of a few days. These seven dancers will continue to rehearse under faculty supervision until the concert coming up in November.

Mills Repertory Dance Concert typically chooses to honor a member of the community, either Mills or the larger geographic community, through the work that is produced and performed for the MRDC concert each year. Bringing a wealth of knowledge from both a business background as well as a women’s educational perspective, the new president of Mills College, Alecia DeCourdreaux is the honoree of this year’s Repertory Concert for the MRDC. Sonya Delwaide-Nichols, the dance department chair states, “We feel inspired by a new beginning under her leadership. We also see a parallel with the ‘state of change’ that dancers/choreographers to through when they bring their new work on stage in front of an audience. New beginnings/ premiers are always associated with a sense of hope, success, and longevity.” All of these qualities are sought and valued whether in performance of a dance, or in our new relationships and leadership changes.

The MRDC concert will be held November 19th, 2011 at 1pm and 8pm, and again Saturday, November 20, at 8pm at the Lisser Theater on Mills College Campus. This is a free event for the Mills community, and tickets for non-Mills attendees will be available at the door. General admission $15, students and seniors with ID $12.

For additional information on the show or the company, please click here.

Wednesday, October 5, 2011



8PM (&1pm on the 18th)

Come see me and my fellow dancers bring to life some amazing dance works to the Bay Area!

Monday, October 3, 2011

Art Advocacy

I believe there is a problem with art advocacy, dance advocacy. I think the problem is where and what we ask of our peoples.

what are some issues?
what is some dance?

1) the people who love serious dance: "dance with intent to be performed in a produced, professional manner, made by professional dance artist, to evoke some kind of catharsis, humanity, and poses strong concepts and excellence in execution" --people who love this dance, will continue to love and support it. Those who don't love it, tend to pass it not important. This is a problem, because as an dancer, I feel like my dance is contained in a world, and people are not seeing my work.

2) There is "non-serious dance": "Dance that is "for fun", dance that is extra to another medium (music videos, background dancers in stage show), clubbing, cultural fan fair (not traditional dance)---with intent to dance, not really to preform". This dance is different than "serious dance" yet too many people merge them. One could merge them, and change and swap them. It is all dance, but as serious dance artist, we need to show the divide.
This is a problem because a lot of people are experiencing this sort of dance in their lives only. Or maybe not even this kind of dance. And then there is a disregard for dance as an important art. YET!!! it is so important! so wonderful!

3) there is traditional dance--done by and for a certain purpose, for a certain community. This can be professional, sometimes non-serious, or just necessary.
This is only a problem if it is not seen as dance, but as an activity. If traditional dance is not seen as professional art, but a cultural relic, it is a problem. Dancing traditional dances is very important, but new work, seeing dance as dance, is also very important.

4) social dance--dance in the club, swing dance, salsa, tango, etc...this is the joy of the couples and of freedom.
A lot of social dances can become "serious Dance", but it take a lot of work. I mean past competition dance, but dance as expressive and communicative.

There needs to be more dance in the world, yes.
We need to encourage more dance.

But What I want to promote is "serious dance".
Dance made for the stage or other space/time.
and I want more people to see it.

there is "fun" dance. you can watch an see it too. there is dance that is entertainment, that adds onto something else ("glee", for instance: music and show and narrative is first, dance is there to add)....But dance, as a primary medium, that need to be pushed more.
that dance is its own art.
that dance has its own power.
that dance, alone, can be amazing.

I do not just dance for those who already love dance, who will see it no matter what. I dance for all people, new and old, to see work which pushes and explores the dance field.

art for art sake?
music for music sake?
dance for dance sake?

I have to say, I have no idea what this means?
When I see dance, it usually is not just for "just cuz, kicks and giggles, and something to do". Serious dance is to bring our humanity forward, and revitalize our spirits. It is ceremonial, it is performance, it is culture.
I think we need to respect our artist more.
Take away so much IDOLIZATION from movie stars, politicians, businessmen and engineers, rich people, but honor too the richness in our artist, culturalist...

--do not just honor the rich who are rich by money or political power, but honor too those who are rich by vision, culture, and excellence in their field, craft, art, and science--

Saturday, October 1, 2011

MItote Warrior

This is a very powerful speech.
It is short, and I encourage everyone to watch it, listen to it, feel it, and contemplate it.

I feel it is true!
"we think too much, and feel too little....."

"...more than machinery, we need humanity; more than cleverness we need kindness and gentleness--without these qualities life will be violent and all will be lost..."

WHY do I make art?

Because, When i dance, I return power to the people. Power to artist, to humanity, to the world.
When I dance, I go into battle, to use and utilize my freedom, to use myself, my art, my expression, my communication, my body, my mind, my spirit.
When I dance,
I invigorate you. I let you feel something more. I express, you receive, we commune.
My dancing is a public service.
My dance is an art, a fine art, a public art, a valuable art, an important art, my art, me.
My role is life is to live as a dancer and choreographer!

It may not pay us.
It may not be able to support us forever.
But in it, we can set ourselves free.
comes our house of light
our freedom
to dance is a radical thing to do
people have died, die, for dancing, so that you may dance, so that we may dance.
dance is a powerful, huge, and wondrous art!

Let us dance.