photo by Albert Hollander of Sha Sha in "the Glass Jungle" click here for larger press photo April 28th- WhirlingMask Workshop 11-5pm., 415-868-2409 May 5th-performance"Community School of Music and Arts (CSMA) at Finn Center," 230 San Antonio Circle, Mountain View, CA 94040 415-868-2409 May 10,11,12 -Noh Space, 2840 Mariposa,San Francisco, 415-868-2409 October-collaboration in Japan with Masami Endo November 2nd-Southwest School of Art & Craft,San Antonio,Texas

Photo above by John Spicer Link to All Movies Sha Sha whirls within a dense,lacey thicket of her own design enticing you in for a closer look at the golden dolls and eggs spinning on sticks. Sha Sha is internationally reowned for her evocative and haunting performances. Influenced by her studies in Asia, Noh Theater,Butoh, shadow puppets, and the textile and lacquer arts"...her monumental props and costumes...strung together with silk,wood,leaves and lace slither leisurely across you imagination." Hiya Swanhuyser,SF Weekly       Performances come up unexpectedly so continue to check here often. Why don't you add yourself to our Mailing List

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The countryside, magic at dusk, rugged, dry and smokey, The wail of the gamelan music on radios drifted over landscapes from neighboring valleys‚AS timeless as the fermented fruit of the jambu..... I premiere my latest work, "Ash on Water," as a metaphor to the volcano Gunung Merapi currently simmering in Central Java Indonesia. I spent 5 inspiring years there creating costumes where the earthquake just happened outside Jokjakarta. I lived in the village of Gendeng Bantul outside of Jog Jakarta where there were puppet carvers Bpk Sugiman and Bpk Sagio, Bpk Rubiman with whom I collaborated to make the costume "Sasadhara in Javanese Moonlight. "I also worked on a costume of Batik that took  4 years to make. At first I used to hike the 5 miles out to the country to order the carved pieces to the headdress, but then decided to live in the village and study how to carve them. After 3 months I had only managed to learn how to sharpen the 28 tools, which were made from bicycle spokes from Dutch bikes. The carving was so time consuming to carve a couple of inches that it was more practical to work with the carvers and have them interpret drawings. The same with the Batik.  Their hand was so fluid, and I wanted the ancient feel of the wax drawings that the older women could reproduce. As a result everything came out entirely Javanese. It was fascinating to see how they would interpret my drawings. Bop Sugiman always carved something different. . These were the only costumes I have made that I ordered parts to be made. It was great to participate in the village to eat the sticky snacks they made, and sit in the backroom where they gathered the harvest of the many varieties of potatoes, turmeric, and fragrant jambu fruit.   At that time the houses were still bamboo. Recently they started making them out of bricks and cement (tempo) because they were cheaper and needed less maintenance than bamboo. They collapsed terribly during the Earthquake and one could feel life had been this way for thousands of years. There wasn‚Äôt any electricity. People were born, grew up, married, had many children, and died in an incredible simple and hard life. . At that time typhoid fever was prevalent on the village with traditional medicine. We were always going to funerals. It was better to do that than go to a marriage. I am very grateful for this part of my life. People were warm and friendly. It was Muslim, but animism was blended together. I love the Javanese, they never expected anything. Everyone woke up a 4 a.m. to start carving at 6 a.m. until 5p.m. People carved at night by candlelight too, but one could not carve past the age of 32 with all those tiny details.  I remember the lacelike puppets in the firelight

My plan is to take the money there to distribute. At the same time  I would like to give a performance at the Academy of Dance and music, STSI in Bantu and collaborate with the gamelan musicians I have wanted to do for many years if you would like to contribute please give tonight or send a check to Sha Sha Higby.  If it is a very large donation and you want it to go through a non-profit, please call 415-868-2409. But I will bring it to the people directly. I will purchase transportation over their with my own funds. According to the latest news, there have been 5,782 deaths, while 36,299 people have been injured, 135,000 houses damaged and 600,000 left homelessBantul, while 1,668 others died in Klaten district. Around five million people live within 50 km of the epicenter. Borobudur, an ancient Buddhist stupa well north of the earthquake area, apparently survived completely intact, but the Hindu temple at Prambanan which, being located on the city outskirts, is significantly closer to the main earthquake area, suffered substantial damage and was closed for assessment. The Royal Graveyard of Imogiri, just east of Bantul, was extensively damaged and has been closed to public access. Most of the photos here tonight were shot in these areas and in the Royal  Graveyard. If anyone would like to donate please send a check to Sha Sha Higby or call 415-868-2409. You could also go to Oxfam websight or send a check to Jogjakarta Earthquake Rellief Fund, c/o Indonesian Consulate,11 Columbus Ave, San Francisco,Ca 94133. Or transfer to Bank of America Acct: 0033311833. Or come to t he performance.! " From a recent fundraising performance