About The Factory Project
Welcome to our corner of the world, a place where we manipulate square, round, and fluid shaped pegs in a vast and crazy sphere. No, really, it’s a place where we observe, reflect, and expose—a place where we work hard and create movement books of many topics.
Watching a Kista Tucker piece is a transformative experience. It’s watching a piece of art or painting come to life. I enjoy gaining insight into the world she constructs through the distinctively creative choices she makes with choreography. Her works are living, breathing, modern masterpieces.
Stephanie Hall, 2018
Much of my time this past year was spent tending to activities such as visiting the Netherlands Dans Theater in The Hague, adjudicating for The American College Dance Association (ACDA), creating new works, teaching, touring, and pulling things together for our upcoming evening length performances of The Factory Project. We addressed this project last year and now, finally, are into production status. The work was initiated by two different solos I created, then there were three solos that became a 15-minute work titled The Shades Trilogy. And now, groups of people are intertwined throughout the hour-long work. The piece reflects the story of a community within the confines of a factory.
The Factory Project seems to have a life of its own. It is story based, yet open for abstracted ideas, images, designs, and sounds. It’s intriguing . . . so many possibilities. It also is slated to involve non-dancers. Members of the community are being sought to work with us. If you are interested, email us at Director@KistaTucker.com.
This is an uncertain time for all the arts, especially dance. Recognized sources for funding are drying up or being eliminated, therefore, we need your help more than ever. Come see our work—your presence not only gives you first-hand knowledge of a performance that you helped make possible, but it also helps to validate the time, effort, and belief each company member commits to our projects.
We need your help to produce The Factory Project. Our funding target is a large one as we have to produce two performances of an evening length concert involving marvelous movement artists, a brilliant composer, and a new lighting designer. We have to rent a theater, construct costumes, produce videos to be used on stage and for promotion. Your contribution will benefit the company by helping to provide funds for this important project. It will stimulate your curiosity and invigorate your senses. Your thought process is sure to be stroked.
KTI movement artists and I love what we do and keep going, even in a world that tends to deny, to ignore, possibly even reject the value of the arts. We are developing more and more work, not only for ourselves, but to provide catalysts for understanding and inspiration—and most importantly, to provoke thought.
We hope you will visit more of our website, a rehearsal, a performance, a workshop, or another event we sponsor. You will see for yourself why we are recognized for informing and contributing, as we do, to society. You’ve already made an impact, reconnect with us by participating in this year’s Overture so we may continue to speak the unspeakable.
We are pleased to announce that Christian Cherry, musician/composer/performer extraordinaire, is working with us on The Factory Project. This evening length work will be presented April 13-14, 2019 at Dance Place in Washington, DC. Christian has worked with Kista several times in the past and is continuing a long-established working relationship with Kista and her company. He created the music/sound score for Kista’s epic work, “The Korean War Veterans Memorial Project, Forgotten No More” back in 2004; the sound score for her Ohio State University graduate thesis project, Facets; the opening and ending music for the memorable Maga back in 1995; and the original music for another one of Kista’s signature works, Snow.
Christian Cherry is a multi-instrumentalist, composer, and performer whose output has been mostly in dance, theatre and collaborative performance. His work has been presented in prominent venues in the U.S., Europe and Asia. Cherry's work at dance festivals includes 10 years (’88-‘98) at the American Dance Festival in Durham, N.C. and the Bates Dance Festival (‘01-‘05) in Maine. He participated in two ADF/Seoul tours to South Korea. As a dance educator, Cherry has been part of several prominent dance departments. In 1983, he joined the Ohio State University Dance Department under the generous tutelage of Richard Schenk. In 1993, he moved to Tampa, Florida to join the faculty of the University of South Florida.
In 1996, he took the music director position at the University of Illinois where he created works in a wide-ranging output emphasizing electro-acoustic scores. Cherry moved to Oregon in 2001 as music director in dance at the University of Oregon with his wife and life dance partner, Sarah Ebert.
As an associate professor of dance at the University of Oregon, Cherry has taught Fundamentals of Rhythm, Music for Dance, Accompaniment for Dance, Dance Improvisation, Production Technology, Contact Improvisation, Graduate Seminars, Aesthetics and Choreographer/Composer Workshop. His research includes collaboration and process in dance, and the poetics of dance.