The D.I.R.T. Festival (Dance in Revolt(ing) Times),  Dance Mission Theater’s socio-political dance festival, returns Oct. 25-Nov. 2, continuing its tradition of presenting artists whose work explicitly addresses local and global challenges.

This year’s theme, “Come Hell or High Water,” features dance, music, and visual artists. Three different programs will be performed over two weekends at Dance Mission Theater and outdoors at the 24th Street Bart plaza. 

Dance Mission Theater’s funding from the National Endowment for the Arts grant was suddenly terminated this year. The group has decided to use all the remaining funds from the NEA and a San Francisco Foundation for the Arts grant to address the current moment.  

This year’s slate of artists is curated by Krissy Keefer, Dance Mission Theater’s artistic director, and Stella Adelman, the theater’s program director.

“We are literally fighting for our lives. From the destruction of the constitution and the environment to the rise of fascism — we are at a precipice,” said Keefer. 

Program A, which takes place over the first weekend, features an interdisciplinary performance by Naka Dance Theater.

The piece, “Fugitivity,” looks at the question of who has lost the ability to move freely, who is forced to flee, and the underground networks that are keeping people safe. Performances will happen simultaneously inside Dance Mission Theater and outdoors at the BART plaza.

Program B (Thursday, Oct. 30 and Saturday, Nov. 1) includes “Rock In A Weary Land,” the first installment of a new project from Dance Mission Theater’s Liberation Academy.

The collaboration between choreographer and dance ethnographer Latanya d. Tigner and musical director and pianist Tammy L. Hall investigates the influence of Black American protest dance and music on contemporary dance forms. The work features opera singer Roberto Laurel. 

The same program will feature Palestinian violinist Georges Lammam, whose work explores the Arab style of instrumental improvisation. He will be accompanied by his spouse, pianist Jeanette Cool. A new work by Krissy Keefer will be performed by Mission Theater in collaboration with Taiko composer Bruce Ghent. 

Program C (Friday, Oct. 31 and Sunday, Nov. 2) features a mix of ensemble performance and individual artists.

A reproduction of choreographer Shelton Mann’s “Back Alley Abortion” will be performed in the BART Plaza. The Embodiment Project, a group that celebrates Black social dances and street dance forms, will also be part of this program, along with performance artist Gina Picaldo, director of Nativa Women Productions. 

Friday will feature Guillermo Gómez-Peña, an artist, activist, writer, radical pedagogue, and artistic director of La Pocha Nostra. La Mezcla, a polyrhythmic dance and music ensemble, will perform Sunday. 

“To be in community together, to be able to look around and be like, these are my comrades…these are folks that we can call on to have each other’s back,” said Adelman.

Tickets can be purchased here. 

Three people sit on chairs in a dark room, leaning backward with arms outstretched, creating dynamic, intersecting lines with their bodies.Dancers in Sara Shelton Mann piece. Photo by Kyle Adler.A person wearing a sleeveless top and striped pants stands under dramatic lighting, looking upward against a dark background.Dancer Clarissa Dyas. Photo by Kyle Adler.A person wearing a cowboy hat, patterned shirt, and striped sunglasses poses indoors with their arms out, in black and white lighting.Guillermo Gomez Peña. Courtesy of the artistA group of dancers performs on stage in dramatic poses; one woman is lifted above others. The background shows a large mural of a reclining figure. The scene is in black and white.Embodiment Project.Courtesy of artist.