Fall 2011

Cutting Ball Theater photo credit: Rob Melrose

Cutting Ball Theater — “Tenderloin”
photo credit: Rob Melrose

  • The African and African American Performing Arts Coalition (AAAPAC) ($11,250) for Word Becomes Flesh, a multi-player work of theater inspired by hip-hop, personal truths, and passionate reflections by Marc Bamuthi Joseph.
  • Amy Seiwert’s Imagery ($20,000) for SKETCH : New Works 2, The Women Choreographers, world premieres by local and national choreographers aiming to expand conceptions of what ballet is and can be.
  • Campo Santo ($20,000) for Alleluia, The Road, a play by MacArthur Genius Award Winner Luis Alfaro, inspired by August Strindberg’s The Road To Damascus, exploring seven stops on California’s Highway 99.
  • The Custom Made Theatre Company ($14,000) for the world premiere of Josh Costello’s Little Brother, adapted from the New York Times bestseller by Cory Doctorow.
  • Cutting Ball Theater ($20,000) for New Experimental Plays Initiative, world premieres of Tenderloin and Tontlawald; a new translation of Strindberg’s The Black Glove; early support of Paul Walsh’s translations of five Strindberg plays; and two new plays by Bay Area playwrights Christopher Chen and Anthony Clarvoe.
  • Dance/USA ($20,000) for scholarships to enable 35 Bay Area dance artists and administrators to attend the 2012 Annual Conference in San Francisco.
  • Dancers’ Group ($20,000) for a site-specific dance and video performance in San Francisco’s Central Market, Niagara Falling by choreographer Jo Kreiter, with filmmakers David and Hi-Jin Hodge as part of the ONSITE series.
  • Epiphany Productions Sonic Dance Theater ($17,000) for Botany’s Breath, to premiere at the Conservatory of Flowers, a spectacular museum of rare tropical plants, utilizing the Victorian edifice as provocateur, stage, instrument, and projection screen.
  • Headlands Center for the Arts ($20,000) for the Dance/Choreography Artist in Residence Program in 2012, awarding three artists residencies of up to ten weeks each at Headland’s remarkable campus in a National Park.
  • Hope Mohr Dance ($5,000) for Reluctant Light by Hope Mohr, a dance exploring emotional surrender through vivid imagery and formal inquiry accompanied by cellist Helen Money and featuring a set by designer Zakary Zide.
  • Jess Curtis/Gravity ($20,000) for Performance Research Experiment #2, a new work in collaboration with renowned French/German dance and circus performer Jorg Muller and Iranian neuroscientist Ida Mommenejad.
  • Just Theater ($5,000) for plays developed by five Bay Area playwrights paired with five directors from conception to first draft.
  • Playwrights Foundation ($20,000) for Resident Playwrights Initiative: Artistic Career Development and Production Fund to support the development of exceptional Bay Area Playwrights, and provide a fund for Residents’ work.
  • San Francisco International Arts Festival (SFIAF) ($15,000) for online marketing and a social media strategic plan.

Spring 2011

Without Us

inkBoat — “Without Us”
photo credit: Pak Han

  • Aurora Theatre Company ($12,000) for Salomania, a play written and directed by Mark Jackson based on the extraordinary story of Canadian dancer Maud Allan who became internationally known as The Salome Dancer.
  • Brava Theater ($10,000) for the Me, Myself & I Series, the production of three plays: Unveiled by Rohina Malik, 52 Man Pick Up by Desiree Burch and Boys of Prey by D’Lo.
  • Community Works West, Inc. ($10,000) for Well Contested Sites, a dance video piece created by Amie Dowling, Austin Forbord and formerly incarcerated men, using movement to examine incarceration’s impact on the body.
  • CounterPULSE ($20,000) for the Artist Residency Commissioning Program, which identifies promising, locally-based, emerging and mid-career choreographers, and provides them with space and support to create new works.
  • Crowded Fire Theater Company ($10,500) for Exit, Pursued by a Bear, the rolling world premiere of the potent and hilarious play by Bay Area playwright Lauren Gunderson.
  • DanceArt, Inc ($20,000) for WestWave Dance 2011, the 20th anniversary season presenting contemporary Bay Area choreography: Alonzo King, Amy Seiwert, Robert Moses, Annie Parr, Alex Ketley, Kara Davis and more.
  • Dance Brigade ($20,000) for The Great Liberation Touring Project, a series of performances at Yerba Buena Center for the Arts, in New York City, Havana, Cuba, St. Maarten, Northern California and the Pacific Northwest.
  • inkBoat ($12,500) for Line Between, an evening-length performance work utilizing Korean shamanism and Butoh to explore the state of mind between waking and sleeping.
  • Intersection for the Arts ($20,000) for the Innovation Studio, a residency offering theatre artists and emerging and/or small companies a home, shared infrastructure, resources, and an innovative learning community.
  • Musical Traditions, Inc./The Paul Dresher Ensemble ($20,000) for Max Understood, a music theater work about a 7 year-old boy with autism by playwright Nancy Carlin and composer/sound designer Michael Rasbury.
  • New Conservatory Theatre Center ($10,000) for Waiting for Giovanni, a play exploring the dilemmas looming over the late author James Baldwin by local playwright Jewelle Gomez in collaboration with Harry Waters, Jr.
  • Robert Moses’ Kin ($20,000) for Grace, a trans-disciplinary, original artistic work exploring how historically racist and otherwise offensive cultural iconography has become scrubbed of its original meanings over time.
  • San Francisco Mime Troupe ($10,000) for Smoke and Mirrors, a musical exploration and critique of the 24-hour news cycle, to be performed in Bay Area parks, and on tour to underserved areas around California.
  • Stagebridge ($20,000) for Counter Culture, the premiere of a Joan Holden adaptation of Candacy Taylor’s acclaimed book about women who have worked their whole lives as waitresses in U.S. roadside and urban diners.