Amy Seiwert’s Imagery, a contemporary ballet company in San Francisco, believes that ballet is an expressive and vital voice relevant to our times. Imagery’s artists share the belief that through collaboration & experimentation, vibrant and courageous ideas are expressed and habitual reactions are discouraged. Imagery’s mission is to expand the definition of ballet by exploding preconceptions of what ballet is and can be.
Perform off-the-ground dances that expose the range and power of female physicality. We experiment with height, speed and gravity, dancing on steel objects that are both architectural and fabricated. We dance at the intersection of social justice and acrobatic spectacle. We dance anywhere from two to one hundred feet off the ground. We offer performance as a medium for social commentary and choose projects that advance female empowerment in the public realm. At its core, our work explores the female body– its tumultuous expressions of strength and fragility.
Teach a signature style of apparatus-based dance. We offer year round classes to adults, teens and youth; we offer GIRFLY, an Art & Activism Program, integrating dance-making and activism. Our training with youth offers some remedy for the ways women and girls remain underserved in public culture as a whole. We also offer KIDFLY school residencies that link social justice content, school curriculum and movement innovation, where your young artists are our collaborators.
Advocate and provide the bridge between women in the arts and civic life. We are constantly developing new forms for community engagement and coalition building with activists and non arts partners.
Gregory P Dawson former Lines Ballet dancer, received a BA from Saint Mary’s College. In 2007 he formed dawsondancesf (ddsf) as an outlet for his choreographic goals and vision. Shortly thereafter he created “which light in the sky is us” for Company C Contemporary Ballet (nominated for an Isadora Duncan Award for choreography) and became the Assistant Director of the California State Summer School of the Arts’ Dance Department in Southern California. In the fall of 2011, Mr. Dawson became Artistic Director of Dawson Wallace Dance Project in Denver, Colorado (formerly David Taylor Dance), where the Denver Post named him “the best choreographer in Denver.” Soon after, Dawson received a CHIME grant, partnering him with choreographic mentor Elizabeth Streb for one year. In September 2013 dawsondancesf re- established its preGREGORY DAWSON-DawsonDanceSFsence in San Francisco with the world premiere of “fabricca matterasso d’argento” at Zaccho Dance Theatre. Following this, Mr. Dawson created “birds eye view” (a collaboration with the Richard Howell Quintet) for the 2014 Black Choreographers Festival, which received an Isadora Duncan Award in 2015. Also, ddsf presented “MONOCHROME” at the BAN7 Festival 2014 in San Francisco. In Fall 2014 dawson premierered “in this moment” with Richard Howell. The Zellerbach Foundation funded ddsf next premiered, “intrinsic motion project“, and this past summer 2015 ddsf completed 5th week residency at CSSSA’s summer intensive at Cal Arts where Dawson is assistant to the Chair. In spring of 2015 ddsf premiered Intima produced by Al’myra Communication which collaborated with Ali Kaf – visuals, and Ashraf kateb – music. dawsondancesf made its debut in New York City in the Fall of 2014, at Baurch College, with a return in September 25-27 of 2015. Dawson currently teaches and choreographs for all the LINES Ballet Educational Programs.
Described as “emotional and kinetic” (San Francisco Bay Guardian), PUSH Dance Company performs vibrant contemporary dances, providing audiences an opportunity to examine issues of identity and intersecting cultures that surround and affect us all. Founded in 2005 by Artistic Director Raissa Simpson, PUSH maintains a philosophy that pure movement and intellect can coexist.
PUSH has performed at the Links Hall in Chicago, Ferst Center for the Arts at Georgia Tech, Joyce SoHo, APAP\\NYC, Washington Ensemble Theater, Evolve Dance Festival in NY, Los Angeles Theater Center, Black Choreographers Festival, UC Davis, Sacramento State, Stanford University, San Francisco State University, ODC Theater, Museum of the African Diaspora, Renberg Theater and other venues. The Company has received awards through Margaret Jenkin’s CHIME, ChoreoProjects’s People’s Choice Award, San Francisco Arts Commission, Zellerbach Family Foundation, CA$H, Dancers’ Group Lighting in Dance Award, San Francisco Foundation, BADw’s Choreographer of the Year 2012, ODC Theater’s Fleishhacker Opportunity Fund, The Kenneth Rainin Foundation, Grants for the Arts and the African American Theater Alliance for Independence (AATAIN) a project of the Hewlett Foundation.
Capacitor Lab was developed to cultivate new and relevant performance concepts in a think-tank format: engineers, scientists, designers, and philosophers, experts in their fields, exchange ideas and share knowledge with a small team of artists.
Through a rigorous process of discussions and debates, typically over the course of a year, the Capacitor Lab brings a broader outlook to the creative process for each of our works, providing a vehicle for ongoing creative ferment and critical feedback for new work.
By engendering dialogue around contemporary technological and scientific issues, we strive to go beyond the surface level understanding of our topic and then transform that understanding into our vision. The resulting performance piece is not meant to be true to science or demonstrative, but a creative response to the issues and ideas explored by the participants. The Lab provides a jumping off point for the abstractions and creative musings of the artists.
Sweet Can Productions was started in 2006 by Beth Clarke, Kerri Kresinski and Daniela Steiner, and now consists of an ensemble of eight--Eric Oberthaler, musician, Natasha Kaluza, Matt White, Beth Clarke, and Kerri Kresinski, performers, Wendy Parkman and Joanna Haigood, directors, and Tad Shannon, lighting designer. Its mission is to create intimate, heartfelt performances in which the audience and performer easily connect with one another. Sweet Can presents the circus performer as a human being, accessible to everyone, and uses the performer\'s circus skills to make connections by demonstrating the shared emotional experiences that unite us all.
An award-winning contemporary dance company formed in 2004, RAWdance is known for transforming theaters and public spaces with intellectually and emotionally layered performances. Through the unique partnership of Co-Artistic Directors Ryan T. Smith and Wendy Rein, the company has earned a reputation for its visually striking, kinetically charged works that consistently push into exciting territory. SF Weekly dubbed the company’s work “edgy, sexy inventive fare designed to speak to audiences.” Critical Dance has described it as “experimental work done brilliantly.” And the SF Chronicle heralded the Artistic Directors’ “genuine partnership, one of the more thrilling in Bay Area dance.”
Ross Travis (Lead Artist) is a professional Actor/Creator, Bouffon, Clown and Circus Performer who has studied with world renown master pedagogues including Dodi DiSanto, Giovanni Fusetti, Ronlin Foreman and Master Lu Yi. Ross’ lineage of training and experience allows him to create unique and provocative performances that combine buoyant humor, cutting satire, physical spectacle and unscripted audience interaction to provoke and challenge his audiences. He has developed multiple works in this vein including Apocalyptika, a satirical romp that took a sledgehammer to the convenient stories we tell ourselves about how our world will end and You Killed Hamlet, or Guilty Creatures Sitting At A Play, which skewered the ways in which Western society avoids death. This show won critical acclaim while touring from San Francisco to Toronto, Edmonton, Vancouver and Montreal. The piece was awarded the San Francisco Best of the Fringe Award, the Vancouver/Plank Magazine Talk of the Fringe Award, a nomination for Vancouver’s Georgia Straight Critic’s Pick Award, and was an Official Selection of the Toronto Festival of Clowns.