#CAArtsChampion Peter G. Kalivas

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Peter G. Kalivas

Founding Director, PGK DANCE!

About PGK Dance

PGK DANCE! is a contemporary repertory company I developed 25 years ago in Munich, Germany while I was living there, dancing with both a ballet and contemporary company. Rather than create a traditional company that is centered exclusively around my choreographic works, I wanted to create a company more similar to a theater and perform works by a wide variety of choreographers of diverse styles and points of view that would appeal to and serve a wider variety of audiences. This also then creates a more interesting platform for and attracts more versatile dancers and becomes a place and a space that attracts more diverse choreographers we can commission works from and also create jobs for. Diverse, relevant programming, easy access and job creation are core elements to our mission. PGK DANCE! sits under my original name: The PGK DANCE Project and the purpose of naming it a "Project" vs. more traditionally a "Company" is to get away from something that appears more static but instead something that is always working to become whatever is most needed at the time. 

How does your program affect its neighborhood and the community at large?

Most prominently through our multiple access points for diverse programming. From the beginning we have been a POPUP organization. No building, no storefront. We bring our show and programming to the people.  After relocating to San Diego in 2002 our first shows were in the back room of a bar, a hair salon, parking lot, warehouse, a wework style loft rather than a theater. Theaters are expensive to rent and that cost impacts that access we can provide to the public (more expensive tickets, typically near expensive parking, etc.), typically impacting how much of the public attends. Working primarily the last 25 years with alternative spaces often donated or discounted to us ensures our ticket prices remain affordable to the public sustaining our mission to promote affordable access. We always pop up near public transportation, in spaces that are ADA compliant and the public often comments about how we not only bring them new shows and programming all the time but to spaces and neighborhoods they didn't know about or frequent much before. Our goal is to deconstruct the 3 main factors that are historic barriers to public engagement with the arts: cost, location including access to public transportation, free/affordable parking, relevance - diverse content plus bogo tickets as surveys show most people prefer to attend new events and experiences with a friend.

What are you seeing right now as far as the COVID-19 impact on your program and the communities that you're serving?

All of our programming has shifted ONLINE: our shows, classes. Attendance is definitely impacted for the following reasons we gather: limited access to the internet, limited funds due to loss of income even though we have further discounted our access, the public is re-negotiating their use of time and what matters most to them right now.

Why are these art organizations going to be important when we rebuild the economy? 

The Arts’ role in societies is thousands of years old. In cultures all over the world, there is music, dance, food and it is through these 3 elements first we experience; we understand a culture from a little bit to a lot. The arts are essential to cultural expression and representation. The arts help us reflect who we are. The arts also remind us of what we each have to offer, and it reminds us, too, of what we all have in common. Through the arts, we gain an understanding of our history and create our future in ways that both propel and bring us together. As we transition into a new normal people will return to engaging in the arts albeit in a new way. They will take dance, movement - health and wellness classes again but with a new purpose, they have reflected on while staying at home. They will seek out more relatable stories in theaters, narratives through the scores of music and dance. I imagine more people will also take more: acting, music, dance, art classes as part of these new reflections.

All of this combines into re-igniting the creative California economy in a new way and we the artists should be ready to fill this new role. To help the public fulfill their new vision of themselves. Yes, people will still want to see us create and perform, however, I predict more of the public will want to share our stage, our creative, health, and wellness space more than before which ultimately will help rebuild our economy. The Arts, I predict, will become more intertwined with the public, far less passive than before.

Do you receive public funding from either the state or your local community? If so, why is this necessary for your program? 

We are funded by the California Arts Council - multiple programs, San Diego County, The City of San Diego, and the City of San Diego's Commission for Arts & Culture followed by foundations, private donors. These types of funding are essential as they represent vetting and confidence that we are capable of service to the public through the arts. Receiving public funding creates the highest role and responsibility as you are entrusted to provide direct arts & culture services to the public that represent their interests and needs to ensure their quality of life. Our services also make our city more livable, engaging, and appealing to others to live or visit. Finally, job creation is essential to our purpose, and these funds also ensure we will fulfill this which again contributes to the cyclic nature of funding, the overall health of our communities, and all of us mutually contributing and working together to ensure the engaging quality of where we live.

About Peter G. Kalivas

Peter G. Kalivas is originally from Long Island, NY where he discovered music and dance through his Greek roots.  Formally, he studied dance at The University of the Arts and Pennsylvania Ballet (Philadelphia), then at both The Joffrey Ballet and The Alvin Ailey American Dance Theater school (NYC) where he was invited to join Ailey II.  Notably, as a dancer he was an original member of Sean Curran Company (NYC) originating now well known roles in Mr. Curran's acclaimed works which premiered at The Joyce Theater and Jacob's Pillow American Dance Festival appeared on every US and international tour 1997-2002.  Peter was also Mr. Curran's understudy for his "Bessie" award winning solo works which he performed on several tours and in NYC at the Victory Theater where his performances were described as "witty, sublime and spot on" by The NEW YORK TIMES. As a choreographer his work has been produced, presented, commissioned in 20 countries including: The Jacobs Pillow American Dance Festival, Le Festival D’Avignon France, Dance Platform Turkey Istanbul/Ankara, American Dance Abroad Europa, The Dance in Taiwan Festival, Stamping Ground Australia, Dance Kaleidoscope Los Angeles and at The Ailey Citicorp Theatre and Florence Gould Hall New York City.

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