Fall 2017

  • 3Girls Theatre Company ($8,000) for 3GT Innovators Series: Pilot Program, which will invite three experimental, women-led theater companies to work with 3Girl Theatre Company’s (3GT) creative team to develop and present staged readings on-site at a San Francisco tech company. By connecting edgy young theater innovators with their counterparts in technology, 3GT hopes to spark new kinds of artistic collaboration and build audiences for new plays by women.
  • ABBYCRAINPROJECTS ($10,500) for Deep Time Slow Dance, which uses Geologic Time as the basic unit of measurement in order to embody large-scale, planetary and galactic forces. Privileging non-human logics, the immersive performance will allow for expression of phenomena that are often perceived as invisible to become intelligible, actionable, and performative.
  • Afro Urban Society ($20,000) for Bacchanal de Afrique-Wey You Dey? , an interdisciplinary performance of Urban African culture created from narratives prompted by the question, Wey you dey? (Pidgin English for “Where were you?”), directed by Nkeiruka Oruche and Tossie Long.
  • CounterPulse ($18,500) for Upstanding Others, which will bring together a cohort of Bay Area, red/swing state, and Russian interdisciplinary artists in a cultural exchange lab, positioning multidisciplinary art making as a parallel for pluralism and inclusivity.
  • Custom Made Theatre Company, Inc. ($20,000) for a co-production with Just Theater of Jonathan Spector’s “Good. Better. Best. Bested”, a one-night journey down the Las Vegas strip. The play wrestles with the question of our responsibility to tragic events that don’t directly affect our lives.
  • FACT/SF ($20,000) for DEATH, a contemporary dance about dying and the acute, isolating loss suffered by survivors of the deceased. Exploring the paradoxical nature between grief’s ubiquity and its singularity, the work responds to what feels like an increasingly incomprehensible and desensitizing reality where every day, in some way, we hear news about death.
  • Funsch Dance Experience ($5,000) for Mother Sister Daughter, a full-length work for eight dancers—all women aged over 40—featuring an original score written and performed by composer Gretchen Jude, and a set designed and constructed by visual artist Cybele Lyle.
  • Lenora Lee Dance ($10,000) for Beneath The Surface, Lenora Lee Dance’s first underwater multimedia dance experience premiering in the beautifully renovated San Francisco YMCA swimming pool on Sacramento Street. This under water work for eight dancers will integrate contemporary dance, original music, and video projection.
  • Liss Fain Dance, Inc. ($20,000) for The Words, an evening-length immersive performance integrating an installation that engages the audience and a broad range of people from the community in a letter writing project and a performance installation inside the theater.
  • Margaret Jenkins Dance Studio Inc. ($19,000) for “Toward Forty-Five, Part I”, which will consist of assembling shards, vignettes and full ensemble choreography from 45 of the 80 works choreographed for the Margaret Jenkins Dance Company since 1973 along with the creation of a new work informed by that history.
  • Mission Cultural Center For Latino Arts ($20,000) for The Prida Project, a multi-disciplinary theatre piece that combines the editorials, plays, and rare poems of groundbreaking Cuban-American writer Dolores Prida with original playwriting, music, and choreography to address issues of immigration, feminism, and racism relevant to Bay Area audiences today.
  • Push Dance Company ($20,000) for Codelining, a performance exploring hope, access, and justice through work that integrates dance and new media tools. The project integrates movement and creative technologies while building bridges between African American communities and new tech industry residents who have been set against one another in San Francisco’s tech boom and affordability crisis.
  • San Francisco Playhouse ($9,000) for the production of Dipika Guha’s “In Braunau”, which will focus on how we heal and take care of ourselves in times of political unrest.
  • SOMArts ($10,000) for SOMArts Performing Arts Curatorial Residency, a new program that will provide mentorship and professional development to a cohort of queer performance makers to curate, produce and promote a weekend-long festival of multidisciplinary performance at SOMArts.
  • The Lab SF ($20,000) for Claudia La Rocco’s petit cadeau, a literature, performance, art, and sound project that refuses traditional audience/maker/performer relationships. La Rocco will write the third book in her experimental trilogy, which will then be re-performed by artists in various forms and media.
  • The Marsh ($20,000) for Times Unseen, which will chronicle the effect of these political times on individuals, their personal stories, and the personal reaction of artists to these stories.

Spring 2017

Deep Water Dance Theater’s “House/Full of BlackWomen.” Photo credit: Robbie Sweeny.

  • Aggregate Space Gallery ($12,000) for Friction/Function Performance Series which invites performing artists to study the exhibition of an artist working in another discipline, and to respond to that work as a live subject.
  • B4BEL4B Gallery ($10,000) for Vital Hybrids, a multidisciplinary performance series of collaborative projects bridging LGBTQ+ performance artists, dancers and technologists, which will address important yet underrepresented local and national issues such as women’s and transgender rights and safety of queer bodies in the LGBTQ+ community.
  • Capacitor ($20,000) for Left to Her Own Devices: 20 years of Sculpture in Motion, a distillation of the company’s work to-date, which will explore the theme of liberation through Capacitor’s signature choreographic and sculptural structures that have marked its work over the past 20 years.
  • Circo Zero ($15,000) for freedom, a series of street and theatrical performances instigated by Keith Hennessy in collaboration with artists J Jha, Annie Danger, Gerald Casel among others. Performances will be generated from collaboration, experimentation, and a queer troubling of the mythical relationships between dancing and freedom, democracy and public space, art and the commons, with performances taking place at public sites throughout San Francisco.
  • CubaCaribe ($15,000) for Calle (working title), an innovative dance piece, which will explore parallels between Rumba and Hip-Hop dance forms, like Turfing and break dancing, through a series of public performances at sites in and around Laney College in Oakland.
  • Deep Waters Dance Theater ($20,000) for House/Full of Blackwomen, a site specific ritual based performance project that addresses issues of displacement, well-being, and the sex trafficking of black women and girls in Oakland.
  • Erika Chong Shuch Performance Project ($20,000) for TheaterTheater, a performative adventure that explores questions of complacency, intervention, and voyeurism, through active audience participation in the development of the work itself.
  • Fresh Meat Productions ($15,000) for BOYS IN TROUBLE, which will investigate American masculinity from transgender and queer perspectives, giving voice to ‘outsider’ experiences of masculinities.
  • Golden Thread Productions ($20,000) for the West Coast premiere of Amir Nizar Zuabi’s Oh My Sweet Land, a solo show which takes an unflinching and personal look at the Syrian refugee crisis.
  • Joe Goode Performance Group ($15,000) for Stay Close a new dance theater work which will explore the concept of finding a safe haven with original songs contributed by a collaborating group of composers.
  • Magic Theatre Inc. ($20,000) for the stage adaptation of Jessica Hagedorn’s 1996 novel The Gangster of Love, which tells the story of a family’s emigration from Manila to San Francisco in 1970. The play explores this dynamic period of conflict, social change and artistic flourishing in San Francisco while reclaiming the Filipino story as central to the city’s history.
  • Marin Theatre Company ($10,000) for How I Learned What I Learned the last play by August Wilson, which presents a view of Wilson, a towering figure in American theater, as a young man of color making his way in the world. The work will be presented in partnership with Bay Area organizations whose missions are to serve diverse communities.
  • Navarrete x Kajiyama Dance Theater ($15,000) for Buscarte (Searching for You) a multidisciplinary performance focused on the case of the 43 students from Ayotzinapa Teachers’ College who were violently disappeared in Guerrero, Mexico in 2014.
  • Pro Arts ($5,000) for Asking a performance and installation created by Christopher W. White which will take place at Frank H. Ogawa Plaza in downtown Oakland. The project will serve as a space for intimacy, contemplation, and communion, and invites audiences to consider their vulnerability within a larger society.
  • RAWdance ($15,000) for the CONCEPT series, which invites Bay Area dance companies and artists to present work at various stages of development, offering a supportive testing ground for artists to experiment with ideas and new material with a live audience.
  • Scott Wells and Dancers ($15,000) for The Legacy of Ephemerality (On the Occasion of our Eviction and 25th Anniversary) examines the importance of independent artists in the context of displacement through the history of Danceground Studio, a cornerstone for independent artists in San Francisco since the 1960s.
  • Ubuntu Theater Project Inc. ($13,500) for This Land Was Made by Tori Sampson, a play set in Oakland in 1967, which uses the ambiguity and legendary mystery surrounding Huey Newton, leader of the Black Panthers, alleged police killing to shed light on contemporary experiences of African American communities.