Fall 2015

We Player's "HEROMONSTER" / photo credit: Lauren Matley

We Players’ “HEROMONSTER” / photo credit: Lauren Matley

  • ABBYCRAINPROJECTS ($5,000) for Step Aside Humans Don’t Know Everything: CREATURE HUMAN CREATURE HUMAN CREATURE HUMAN #2, an evening length dance performance piece exploring interspecies kinship and the liminal space between animal and human in an age of environmental collapse.
  • Aurora Theatre Company ($15,000) for Little Erik, the world premiere of a contemporary reworking of Henrik Ibsen’s Little Eyolf written and directed by Mark Jackson.
  • FACT/SF ($20,000) for (dis)integration, a contemporary dance about the Romani people, cultural assimilation, and systemic oppression.
  • foolsFURY Theater ($20,000) for FURY Factory Festival of Ensemble Theater, a vibrant biennial gathering of performing artists from around the Bay Area and beyond.
  • Hope Mohr Dance ($10,000) for Ten Artists Respond to “Locus,” a collaboration between Hope Mohr Dance, the Trisha Brown Dance Company (New York), Yerba Buena Center for the Arts, and local curators to bring Bay Area artists into dialogue with each other and with dance history through the lens of Brown’s iconic 1975 dance, “Locus”.
  • la ALTERNATIVA ($20,000) for FRESH Festival 2016, an annual festival of experimental dance and performance in San Francisco that celebrates an abundance of body-based art, action and interaction in the Bay Area, featuring many of its finest movers, makers, visionaries and upstarts.
  • Killing My Lobster ($20,000) for their 2016 Monthly Performance Series of sketch comedy.
  • Margaret Jenkins Dance Company ($20,000) for Site Series (Inside Outside), a performance exploring the nomadic nature of being a performing artist consisting of distinct modular choreographed units to be presented in intimate, unconventional settings.
  • Naked Empire Bouffon Company ($9,000) for Do What You Love, an irreverent bouffon show using physical comedy, audience interaction and parody to explore the theme of class privilege.
  • OX ($12,000) for Fake Docent Tours, a performance experiment that commissions local artists to develop dynamic interactions with visual works and live audiences in Bay Area arts spaces throughout 2016.
  • Ragged Wing Ensemble ($20,000) for A Whale’s Wake, a world-premiere production of a full-length play chronicling a family coming together after the unexpected death of their patriarch.
  • Red Poppy Art House ($19,000) for Crossover Collaborative Residencies, an interdisciplinary residency program to support the production of new collaborative works between choreographers, dancers and composer-musicians.
  • Strong Behavior ($15,000) for FAITH MATERIAL, a series of studies, experiments, and rituals that create a performative investigation into faith.
  • Tableau Stations / Isak Immanuel ($10,000) for WIND STATIONS – a curation of missing people, an interdisciplinary dance work serving as a performative examination on how absence is carried, selected, shared, and traced as a resonant between space.
  • The Lab ($20,000) for He Moved Swiftly But Gently…The Life and Times of Ed Mock, Brontez Purnell’s multimedia performance project exploring the life of the late San Francisco postmodern choreographer.
  • We Players ($15,000) for HEROMONSTER, a new site-integrated theatre created by We Players, inkBoat, and Rova Saxophone Quartet based on the narrative in the ancient poem Beowulf.

Spring 2015

  • Lenora Lee Dance's "Fire of Freedom"

    Lenora Lee Dance’s “Fire of Freedom” / photo credit: Robbie Sweeney

    Brava! For Women in the Arts ($10,000) for Ghost Limb, a new play by Marisela Treviño Orta, which uses the Greek myth of Persephone and Demeter to tell the story of los desaparecidos—the disappeared of Argentina.

  • Capacitor ($20,000) for When We Were Small, a new work by Jodi Lomask in collaboration with The Crucible, Autodesk, and a team of dancers/cirque artists, musicians, and designers seeking to show the world through the ‘eyes of a child.
  • Central Works ($20,000) for Ada and the Memory Engine, a new play by Lauren Gunderson using the Central Works Method of collaborative development, and based on Ada Lovelace (1815-1852), a countess, metaphysician, and the world’s first computer programmer.
  • David Szlasa Production and Design ($20,000) for Studio 1 – Mid Market, a tiny mobile art studio that will be deployed along Market Street in San Francisco this summer, hosting six weeks of micro residencies and pop up performances.
  • Deep Waters Dance Theater ($10,000) for EarthBodyHome, an afro futurist ritual dance theater work exploring the life and enigmatic work of Cuban artist Ana Mendieta.
  • Epiphany Productions Sonic Dance Theater ($20,000) for San Francisco Trolley Dances 2015, the 12th annual free festival along the MUNI “T” streetcar line featuring site-specific dance pieces commissioned from Bay Area choreographers.
  • Eye Zen Presents ($20,000) for The Charlip Project, a transdisciplinary ensemble performance about the life of seminal New York and Bay Area artist Remy Charlip, fusing theater, dance, live-drawing, puppetry, and music to create an immersive site-specific theatrical experience.
  • The Foundry / Alex Ketley ($10,000) for Deep South, a collaboration between Alex Ketley and Miguel Guttierrez, exploring what dance means to the everyday lives of people throughout the Deep South.
  • Garrett + Moulton Productions ($10,000) for To Hear the Angels Sing, an evening length dance theater work exploring themes of transcendence and hope that will feature a cast of dancers, a chorus of  singers, and an ensemble of musicians.
  • Jess Curtis/Gravity Inc. ($10,000) for The Way You Look (at me) Tonight, an evening-length contemporary dance-based performance duet by choreographer and performance artist Jess Curtis and Scottish self-identified disabled performer and choreographer Claire Cunningham that will investigate the role of movement and sensory dynamics in the perception and performance of otherness.
  • La Peña Cultural Center ($15,000) for Tlaoli / Corn: Seeds of US-Mexico Dance Project, which focuses on the ancient links between culture and agriculture and how corn relates to the deep historical connections between Mexico and the United States.
  • La Pocha Nostra ($5,000) for Twenty Ways of Dancing, a new work by performance artist Guillermo Gomez-Peña and choreographer Sara Shelton Mann that explores the demons of aging and illness we all must face as we grow older.
  • Lenora Lee Dance ($10,000) for Fire of Freedom, a new site-specific multimedia immersive dance project which will be performed at the General’s Residence through the Fort Mason Presents Series.
  • little seismic dance company ($10,000) for little seismic dance company 10th Anniversary Home Season, which will feature two premieres exploring themes of yearning – our yearning to understand and be understood and the irresolvable distance that motivates us in ways both poetic and pathological.
  • Mugwumpin ($20,000) for I Can’t Stop, an inquiry into mankind’s compulsion towards exhaustion – of ourselves, and of our planets’ resources – and how these twin impulses relate.
  • Navarrete x Kajiyama Dance Theater ($20,000) for RACE, a multidisciplinary performance work and tribute to the Olympic Games and civil disobedience, juxtaposing the 2016 Olympic Games in Brazil and the 1968 Olympics in Mexico City with San Francisco’s current concerns about displacement.
  • Playwrights Foundation Inc ($20,000) for Resident Playwrights Initiative and Production Fund, which provides financial support and resources to advance the creative endeavors and career development for ten resident playwrights, and supports a production fund.