QUICKLINKS
2007
(2005-2006 Season)
The winners were announced at a free, open-to-the-public ceremony at Yerba Buena Center for the Arts, Theater on Monday, April 23, 2007.
The winners are shown in boldface type. The other nominees are also listed, in regular type.
MUSIC/SCORE/TEXT
Sean Dorsey, Ben Kessler Creative, Fresh Meat Productions
Ken Goldberg, Randall Packer and Gregory Kuhn� Ballet Mori, San Francisco Ballet
Pandit Chitresh Das, Marcus Shelby Trio India Jazz Suites
Marc Bamuthi Joseph Narrator/Writer, 2006 San Francisco Ethnic Dance Festival
VISUAL DESIGN
Clyde Sheets, lighting/set design; Lynne Grant and James Meyers, costume design; Scott Horton, table design and construction; Dilon Paul, video; Austin Forbord, original video; Deborah Slater, director Hotel of Memories, Deborah Slater Dance Theater
Claudia Esslinger, costume oxa, Leslie Seiters’ little known dance company
Alexander V. Nichols, visual design A slipping Glimpse, Margaret Jenkins Dance Company
Ishan Vernallis with III, video design; Sean Riley, scenic and lighting design; Leslie Linnebur, set/costume collaborator; Erika Chong Shuch, director Orbit, Erika Shuch Performance Project
INDIVIDUAL PERFORMANCE
Robert Moses Doscongio, Robert Moses’ Kin
Fanny Ara Soleá por Bulerías, in Una Noche en Andalucia
Robert Henry Johnson Letters to Jesus, Robert Henry Johnson Dance Company
Kegan Marling Home, Scott Wells & Dancers
Leslie Seiters oxa, Leslie Seiters’ little known dance company
ENSEMBLE PERFORMANCE
Pandit Chitresh Das and Jason Samuels Smith India Jazz Suites
Ramón Ramos Alayo, Luissander Planas and Royland Lobato Los Guedes, Afro-Cuban Ensemble, 2006 Cuba Caribe Festival
Chris Black and Ken James The Adventures of Cunning and Guile, Chris Black/POTRZEBIE & Ken James
Katita Waldo and Ruben Martin Glass Pieces, San Francisco Ballet
Vanessa Zahorian and Gonzalo Garcia Rubies, San Francisco Ballet
COMPANY PERFORMANCE
San Francisco BalletArtifact Suite, William Forsythe
Los Lupeños de San Jose La Chilena of Mexico
San Francisco Ballet Glass Pieces, Jerome Robbins
Zooz Dance Company Passages, 2006 San Francisco Ethnic Dance Festival
CHOREOGRAPHY
Chris Black and Ken James The Adventures of Cunning and Guile, Chris Black/POTRZEBIE & Ken James
Naomi Bragin and Jose Francisco Barroso The House of Two Spirits, DREAM Dance Company
Sean Dorsey Creative, Fresh Meat Productions
Paco Gomes The Red Scarf, Paco Gomes & Dancers
RESTAGING/REVIVAL/RECONSTRUCTION nominees
Anna Halprin, revival Dressing and Undressing and A Paper Dance, excerpts from Parades and Changes, Anna Halprin and Group
Jean-Pierre Frohlich, restaging Afternoon of a Faun, San Francisco Ballet
Dennis Nahat, revival Romeo and Juliet, Ballet San Jose
Howard Sayette, revival Billy the Kid, Oakland Ballet
Howard Sayette, revival Les Noces, Oakland Ballet
SUSTAINED ACHIEVEMENT Honorees
Dance Program, City College of San Francisco – 70 years of dance instruction & performances
Remy Charlip – 20 years as choreographer, teacher and mentor
Helgi Tomasson – 20 years as Artistic Director, San Francisco Ballet
SPECIAL AWARDS Honorees
Dayna Goldfine and Dan Geller – Ballets Russes (film)
Karina Epperlein – Phoenix Dance (film)
2006
(2004-2005 Season)
The winners were announced at a free, open-to-the-public ceremony at Yerba Buena Center for the Arts, Forum Theater on Tuesday, April 25, 2006
The winners are shown in boldface type. The other nominees are also listed, in regular type.
MUSIC/SCORE/TEXT
Copper Wimmin — Spell, Dance Brigade, at SomArts
Jason McGuire — Sol Viento Flamenco, Yaelisa & Caminos Flamencos, at Yerba Buena Center for the Arts
Linda Tillery and the Cultural Heritage Choir — Lifted, Dimensions Dance Theater, at Calvin Simmons Theater
VISUAL DESIGN
Joanna Haigood — Dances Around the House, Zaccho Dance Theater, at Exploratorium
Sean Riley — One Window, ESP Project, at Intersection for the Arts
Kana Tanaka — SHIZUKU-drop, Takami & Toumei MoBu Dance Group, at Jon Sims Center
Lisa Wymore and Sheldon B. Smith — Stranger, Smith/Wymore Disappearing Acts, at CounterPULSE
INDIVIDUAL PERFORMANCE
Jose Francisco Barroso — Rhumba, Susana Arenas Dance Company, at Dance Mission Theater
Prince Credell — Who Dressed You Like a Foreigner?, Alonzo King’s LINES Ballet, at Yerba Buena Center for the Arts
Chris Black — The Ecstasy of St. Whatshername, POTRZEBIE Dance Project, at ODC Theater
Marit Brook-Kothlow — Hometown, Joe Goode Performance Group, at Yerba Buena Center for the Arts
Hearan Chung — Bi Chun Mu, Hearan Chung, at Palace of Fine Arts
Anne Zivolich — entire evening, Program 1, ODC/Dance, at Yerba Buena Center for the Arts
ENSEMBLE PERFORMANCE
Sean Dorsey and Mair Culbreth — Second Kiss, Fresh Meat Productions, at Jon Sims Center
Shanti Gupta and Stephan Sester — Marinera, El Tunante, at Palace of Fine Arts
Sandra Feusi and Sam Payne — Vertical Tango, New Pickle Circus, at Palace of Fine Arts
Rachael Lincoln and Mark Stuver — Remember This, Rachael Lincoln and Mark Stuver, at Dance Mission Theater
Heidi Schweiker and Nol Simonse — Path on the Rug, Janice Garrett & Dancers, at Dance Mission Theater
COMPANY PERFORMANCE
New Style Motherlode — Juke Joint, New Style Motherlode, at Project Artaud Theater
Ong Dance Company — Sagomu, Ong Dance Company, at Palace of Fine Arts
Chitresh Das Dance Company — Sampurnam, Chitresh Das Dance Company, at Cowell Theater
ESP Project — One Window, ESP Project, at Intersection for the Arts
Robert Moses’ KIN — Cause, Robert Moses’ KIN, at Jewish Community Center of San Francisco
Lizz Roman & Dancers — CellGround, Lizz Roman & Dancers, at Cellspace
RESTAGING/REVIVAL/RECONSTRUCTION
Jean-Pierre Frohlich and Elyse Borne — Dybbuk, San Francisco Ballet, at War Memorial Opera House
CHOREOGRAPHY
Sandra Feusi and Sam Payne, with Giuliano Peparini — Vertical Tango, New Pickle Circus, at Palace of Fine Arts
Patricia Jiron — You’re Not Falling, You’re Just Hovering (Quintet for Patrick), Patricia Jiron, at ODC Theater
Corey Action, Teela Shine-Ross, Robert D. Lupo, and Dahrio Hutton — Juke Joint, New Style Motherlode, at Project Artaud Theater
Leslie Seiters — The Way to Disappear, Leslie Seiters’ little known dance company, at 848 Community Space
Lisa Wymore and Sheldon B. Smith — Stranger, Smith/Wymore Disappearing Acts, at CounterPULSE
SPECIAL AWARDS
Micaya/San Francisco Hip Hop DanceFest
Maxine Moerman/The Field
SUSTAINED ACHIEVEMENT
Gamelan Sekar Jaya
Albirda Rose
2005
(2003-2004 Season)
The winners were announced at Yerba Buena Center for the Arts, Forum Theater on April 26, 2005.
The winners are listed in boldface type. The other nominees are also listed, in regular type.
MUSIC/SOUND/TEXT
Nanos Operetta – Serei/Spirits of Nature, Harupin-Ha
Sheila McCarthy – Ame to Ame, Inkboat
Mikel Rouse and Joe Goode – Grace, Joe Goode Performance Group
Omar Sosa – Resilience and Passages, Dimensions Dance Theater
VISUAL DESIGN
Leslie Seiters – Such Tiny Danger, Leslie Seiters and Rachel Shaw
Marc Ates – Ame to Ame, Inkboat
Wayne Campbell – Ghost Architecture, Zaccho Dance Theater
David Fredrickson – Grim Arithmetic of Water, Flyaway Productions
INDIVIDUAL PERFORMANCE
Gina Dawson – California Stories: A time…A place, Rhodessa Jones: The Medea Project: Theater for Incarcerated Women
Gonzalo Garcia – Apollo, George Balanchine
Leigh Evans – When Day Became Night, Leigh Evans
Suhaila Salimpour – Sheherezade, Suhaila Salimpour
Sam Weber – Bay Area Tap Festival, Sam Weber
ENSEMBLE PERFORMANCE
Shinichi Momo Koga and Yuko Kaseki – Ame to Ame, Inkboat
Jesselito Bie and Scott Wells – Your Move, Scott Wells and Dancers
Gabriel Forestieri and Christine Cali – Duet in 3 Parts: Fun, Struggle, May-be Beauty, Scott Wells and Dancers
Limon Dance Company – The Unsung, Limon Dance Company
Megan Schirle and David McCauley – Dance in a Wing Chair, AXIS Dance Company
COMPANY PERFORMANCE
Yaelisa and Caminos Flamencos – Mujeres, Yaelisa and Company
Joe Goode Performance Group – Grace, Joe Goode Performance Group
San Francisco Ballet – Four Temperaments, San Francisco Ballet
Gamelan Sekar Jaya – Tari Nelayan and Joged Bumbung, Gamelan Sekar Jaya
Scott Wells and Dancers – @848, Scott Wells & Dancers
RECONSTRUCTION/REVIVAL/RESTAGING
Wendy Ellis Somes – Symphonic Variations, Sir Frederick Ashton, San Francisco Ballet
Carla Maxwell and Gary Masters – The Unsung, José Limon, Limon Dance Company
Lynn Wallis – Monotones I and II, Sir Frederick Ashton, San Francisco Ballet
CHOREOGRAPHY
N'Deye N'Diaya Gueye – Kaolack and Thie Bou Dienne, Thiosanne Africa Senegalese Dance Company
Leslie Seiters and Rachel Shaw – Such Tiny Danger, Leslie Seiters and Rachel Shaw
Scott Wells – @848, Scott Wells & Dancers
Shinichi MOMO Koga, Yuko Kaseki and Marc Ates – Ame to Ame, Inkboat
Yuri Possokhov – Study in Motion, San Francisco Ballet
Reginald Ray-Savage – Freedom in Madness, Savage Jazz Dance Company
Heidi Schweiker – Of Checkered Breezes, Heidi Schweiker
SUSTAINED ACHIEVEMENT
Svetlana Afanasieva
Mary Ann Kinkead
Terry Sendgraff
Koichi and Hiroko Tamano
SPECIAL AWARD
Luna Kids Dance
VOICEOFDANCE.COM AWARD
CRITIC OF MERIT
Anna Kisselgoff
BAY AREA CELEBRATES NATIONAL DANCE WEEK SPECIAL AWARD
CONTRIBUTION TO THE FIELD
SPARK on KQED, A co-production of Public Television and Bay Area Video Coalition
LIFETIME ACHIEVEMENT
Nancy Karp, Artistic Director, Nancy Karp + Dancers
2004
(2002-2003 Season)
The winners in the following categories were announced at the Isadora Duncan Dance Awards Ceremony on April 26, 2004.
The winners are listed in boldface type. The other finalists are also listed, in regular font.
MUSIC/SOUND/TEXT
Reverend Markus Hawkins for music composition and performance, ElsewhereHere (Ledoh), at Noh Space
Patrick Grant for music; Fractured Fictions (Margaret Jenkins), for Margaret Jenkins Dance Company, at the Herbst Pavilion
Rob Bailis, Nathan Breitling, Phyllis Kamrin, Jeff Watson, Matt Ingalls, Chris Froh, Richard Worn, and Christopher Jones, for their performance at Summerfest’s Choreographers and Composers Consortium, at McKenna Theater
Emily Fox, Nils Frykdahl, Kenji Hayashi, Carla Kihlstedt; Jeannie Mckenzie, Dawn McCarthy, Dan Rathbun, Sten Rudstroem, and Allen Willner for text, sound, and music; Heaven’s Radio (Shinichi Momo Koga, Tanya Calamoneri, and Alan Willner), Inkboat, at Venue 9
David Worm and SoVoSó for music; Sans Instruments (Sonya Delwaide), for AXIS Dance Company, at the Alice Arts Center Theatre
VISUAL DESIGN
Allen Willner and Mary Lois Hare for visual design, Heaven’s Radio, Inkboat, at Venue 9
Matthew Antaky for light and scenic design, East as Center (Ni Ketut Arini/Pandit Chitresh Das/Guru Govindan Kutty), Chitresh Das Dance Company, at ODC Theater
Patrick Makuakāne and Patty Ann Farrell for visual design, Stories of the Lehua (Patrick Makuakane), Na Lei Hulu I Ka Wekiu, at the Palace of Fine Arts Theater
Alexander V. Nichols for lighting design, entire evening, AXIS at the Alice (AXIS Dance Company), at the Alice Arts Center Theatre
Austin Forbord, Sean Riley, and Dave Cerf for video design for House (Austin Forbord and Shelley Trott), Rapt Performance Group, at SomArts Theater
INDIVIDUAL PERFORMANCE
Kara Davis for her entire season; Margaret Jenkins Dance Company at the Herbst Pavilion, Janice Garrett + Dancers at the Cowell Theater, and Kunst-Stoff at ODC Theater and McKenna Theater
David Bentley in Conversations (Yannis Adoniou) with Kunst-Stoff during Summerfest at the McKenna Theater
Amy Foley for the entire evening, Robert Moses’ Kin home season at the Cowell Theater
Brandon “Private” Freeman in Investigating Grace (Brenda Way), in ODC/SF’s home season at the Yerba Buena Center for the Arts
Ledoh in ElsewhereHere (Ledoh), at Noh Space
Vladimir Riazantsev in Dance Suite from Saratov, with the Nevá Russian Dance Ensemble at the San Francisco Ethnic Dance Festival, at the Palace of Fine Arts Theater
ENSEMBLE PERFORMANCE
Nadia Adame and Jacques Poulin-Denis in Sans Instruments (Sonya Delwaide) with AXIS Dance Company at the Alice Arts Center Theatre
Lorena Feijoo and Joan Boada in Don Quixote (Helgi Tomasson and Yuri Possokhov after Petipa) with San Francisco Ballet at the War Memorial Opera House
Sally Clawson, Christy Funsch, and Nol Simonse in September for Sale (Stephen Pelton) with Stephen Pelton Dance Theatre at Dance Mission Theater
Sean Felt, Gabriel Forestieri, Jesse Howell, and Scott Wells in On the Rebound (Scott Wells) with Scott Wells and Dancers at 848 Community Space
Aimee Lam and Lorevic Rivera in Giving Strength to this Fragile Tongue (Manuelito Biag) with SHIFT Physical Theater at Dance Mission Theater
COMPANY PERFORMANCE
Diamano Coura West African Dance Company in Wolosodown and Wango (Zakarya Diouf and Naomi Washington) at the Palace of Fine Arts Theater
Chitresh Das Dance Company in Pancha Jati (Chitresh Das) at the Cowell Theater
Inkboat in Heaven’s Radio (Shinichi Momo Koga and Tanya Calamoneri) at Venue 9
Limón Dance Company in Psalm (Jose Limón) at the Cowell Theater
ODC/San Francisco in Investigating Grace (Brenda Way) at the Yerba Buena Center for the Arts
CHOREOGRAPHY
Robert Moses, The Soft Sweet Smell of Firm Warm Things, for Robert Moses’ Kin, at the Cowell Theater
Shinichi Momo Koga and Tanya Calamoneri, Heaven’s Radio, for Inkboat, at Venue 9
Alonzo King, Pas, for AXIS Dance Company, at the Alice Arts Center Theatre
Tomi Paasonen, W, for Kunst-Stoff, at ODC Theater
Terry Sendgraff, Red Bed, for Motivity Aerial Dance, at the Alice Arts Center Theatre
REVIVAL/RESTAGING/RECONSTRUCTION
Carla Maxwell / Limón Dance Company for restaging of Psalm (Jose Limón), at the Cowell Theater
Donald McKayle/Ballet San Jose Silicon Valley for restaging of District Storyville (Donald McKayle), at the San Jose Center for the Performing Arts
Margaret Jenkins, Rinde Eckert, and Kathleen Hermesdorf / Margaret Jenkins Dance Company for revival of Shorebirds Atlantic (Margaret Jenkins and Rinde Eckert), at the Herbst Pavilion
Monica Parker/San Francisco Ballet for restaging of Elite Syncopations (Kenneth MacMillan), at the War Memorial Opera House
SPECIAL AWARDS
MARGARET JENKINS DANCE COMPANY, Three Decades of Dance
An extraordinary team of collaborators worked for more than a year to celebrate the work of one of San Francisco’s bedrock choreographers. In April 2003, Margaret Jenkins Dance Company: Three Decades of Dance transformed the vast Herbst Pavilion into a living museum of dance history. Set designer Alexander V. Nichols, poet Michael Palmer, videographer Martin Gould, and sound designer Gregory T. Kuhn created a truly transporting environment to showcase the company’s past. More than 100 former MJDC dancers were contacted to participate, and several veterans performed significant past works during a pre-show. The company’s program presented a new work with an original live score and also restaged MJDC classics not seen in many years, notably bringing writer and performance artist Rinde Eckert back to the stage in the 1988 work Shorebirds Atlantic. The Margaret Jenkins Dance Company retrospective was an absorbing testament to the company’s past and future.CHITRESH DAS, NI KETUT ARINI, and GOVINDAN KUTTY for choreography and performance and MATTHEW ANTAKY for visual design, East as Center, ODC Theater
In May 2003 three renowned masters of Asian dance—North Indian Kathak dancer Chitresh Das, Balinese dancer Ni Ketut Arini, and South Indian Kathakali dancer P. Govindan Kutty—met on the common ground of the Ramayana, an ancient Sanskrit epic. In East as Center, presented at ODC Theater during Das’s artistic residency, each master portrayed distinct characters in stories excerpted from the Ramayana, with the cast augmented by their disciples. This method of collaboration highlighted the differences between the disciplines while creating a satisfying artistic whole, greatly enhanced by Matthew Antaky’s imaginative lighting and live music by North and South Indian and Balinese musicians.
LIFETIME ACHIEVEMENT AWARD
MALONGA CASQUELOURD was born in Douala, Cameroon in 1947. As a principal dancer of the National Congolese Dance Company and as a resident choreographer and performer with Le Ballet Diaboua, a Congolese repertory company based in Paris, he attracted an international following. Malonga leaves an impressive legacy of institution-building as the founder of Fua Dia Congo, a nonprofit performing arts company formed in East Palo Alto (1977) and currently based in Oakland; Congolese Dance & Drum Camp, the first and longest running Aftican dance, drum and percussion workshop (1979); and Ballet Kizingu, the youth division of Fua Dia Congo (1994). He co-founded Tanawa, the first professional Congolese Dance Company in New York City (1972), and Diata Diata, an all women’s Congolese drum ensemble (1990). He was instrumental in establishing Everybody’s Creative Arts Center, known today as Citicentre Dance Theatre in downtown Oakland, and the San Francisco Ethnic Dance Festival. He served on the faculty at many institutions, including New York University, Stanford University, and San Francisco State University, where he taught for 26 years. A pioneer,
cultural ambassador and visionary leader, Malonga welcomed artists from every continent, challenging all to engage in dialogue and build bridges for cultural exchange. He encouraged the elimination of barriers between continental Africans and African Americans. Malonga died on June 15, 2003. His last projects included Kusum Africa, a dance-theater performance showcasing the collaborative works of African director/choreographers; Malaki Matanga 2003: Congo of Yesterday & Today; and Wa Dia Fua Yiko Dio, a project exploring themes of cultural inheritance and exchange between urban/hip hop culture and traditional Congolese culture, to be completed in the Summer of 2005.
LOU HARRISON, one of North America’s most original and influential composers, was best known for his luscious, prolific music for symphony, gamelan and percussion orchestras, chamber ensembles, choral groups and operas. He also composed scores for dancers and played live at dance performances. What is less known was that he danced himself, and would sometimes get up from playing the piano or hitting a gong or drum and get on stage to join the fray.
He also worked as an accompanist, improvising for dance classes. He later said that learning how to improvise helped him with composing. He started his stage career at the age of two and a half and stole the show as “Buster” in Daddy Long Legs. On the West Coast he appeared as a dancer and/or as an accompanist and composer for/with Bella Lewitsky, Marian Van Tuyl, Tina Flade, Carol Beals, Lenore Peters Job, Bernice van Gelder, Bodil Genkel, Louise Kloepper, Bonnie Bird, Lorie Kranzer, Tandy Beal, and Eva Soltes. In New York, he wrote music for Katherine Litz, Jean Erdman, Erick Hawkins, Merce Cunningham, Mark Morris, and Remy Charlip.
Lou Harrison was also a skilled painter, calligrapher, type designer, essayist, critic, poet, teacher, instrument builder, and political activist. He championed causes ranging through gay rights, pacifism, environmental and ecological, the use of Esperanto, and the sign language of deaf people. He taught a course entitled “Music of the World’s People” furthering the study of multi-cultural sources, which has changed what and how we hear today beyond Euro-centric music. In his early years he loved to go to the Chinese Opera. His piece for Michael Tilson Thomas’s debut with the San Francisco Symphony, A Parade for MTT, was influenced by Harrison’s love for San Francisco’s Chinese New Year’s Day Parade. He enlivened the range of musical instruments by his playful use of found objects. He learned Labanotation so he could help choreographers remember what they did from rehearsal to rehearsal. He said, “If you work with dancers, you must learn to dance.”
2003
(2001-2002 Season)
The awardees in the following categories were announced at the Isadora Duncan Dance Awards Ceremony on April 28, 2003.
The awardees are shown in boldface type. The other nominees are also listed, in regular type.
SOUND/MUSIC/TEXT
Joan Jenrenaud for sound score, Be With (Anna Halprin and Eiko & Koma)
Angus Balbernie for text, Rocky vs. Baryshnikov (Scott Wells)
Alvin Curran for music, May I Now? (18 Questions in the Space of an Answer) (Margaret Jenkins)
Hong Wang for music, Bamboo (Michael Lowe)
Jesus Montoya for flamenco singing in Café Flamenco series (Yaelisa and Caminos Flamencos)
VISUAL DESIGN
Patty-Ann Farrell for visual design, Be With (Anna Halprin and Eiko and Koma)
Frank Lee, Nate Fredenburg, Alenka Mullen, Allen Willner, Dan Rathbun for set design and construction,Cockroach (inkboat/Shinichi Momo Koga)
Axel Morgenthaler for lights and Robert Rosenwasser for costumes, People of the Forest (Alonzo King)
Alexander Nichols for set design and lighting, May I Now? (18 Questions in the Space of an Answer)(Margaret Jenkins)
Eeo Stubblefield and Anna Halprin for visual design, Still Dance (Anna Halprin)
INDIVIDUAL PERFORMANCE
Muriel Maffre for her entire 2002 season with San Francisco Ballet at the War Memorial Opera House
Kelly Teo in Diablo Ballet’s Season Opening Gala
Erin Yarbrough in Giselle (Coralli/Perrot, staged by Frederic Franklin) with Oakland Ballet
Christy Funsch in One or Two, (Sue Roginski), at the Jon Sims Center for the Arts
Robert Henry Johnson in When My Strength Is My Weakness (Laura Elaine Ellis), at ODC Theater
Damian Smith in Othello (Lar Lubovitch), with San Francisco Ballet
Carola Zertuche in Solea (Carola Zertuche) with Theatre Flamenco
ENSEMBLE PERFORMANCE
Joanna Berman, Julie Diana and Katita Waldo in Dances at a Gathering (Jerome Robbins), with San Francisco Ballet
Kara Davis, Jenifer Golden, Dana Lawton, Heather Tietsort in Wayfarers (Janice Garrett), with Janice Garrett and Dancers
Terry Hatfield, Kerry Mehling in The Sleepwatchers (Deborah Slater), at ODC Theater
La Tania, Ledoh in 14 Bells (improvisation conceived by Yannis Adoniou), West Wave Festival at the Cowell Theater
Denis Nahat, Raymond Rodriguez in Graduation Ball (David Lichine), with Ballet San Jose Silicon Valley
COMPANY PERFORMANCE
Jess Curtis/Gravity Physical Entertainment and Fabrikcompanie in fallen at the ODC Theater
Na Lei Hulu I Ka Wekiu in The Hulu Show (Patrick Makuakäne), at the Palace of Fine Arts Theatre
Oakland Ballet in Moor’s Pavane (José Limon), at the Paramount Theatre
Savage Jazz Dance Company, entire season (Reginald Ray-Savage) at the Cowell Theater
Nemesio Paredes/Flamenco Ensemble, in Homenaje a José Rizal (Nemesio Paredes) at Theatre Yugen/Noh Space
San Jose Ballet Silicon Valley in Red Shoes, or Legs of Fire (Flemming Flindt) at San Jose Center for the Performing Arts
San Francisco Ballet in Dances at a Gathering (Jerome Robbins) at the War Memorial Opera House
REVIVAL/ RESTAGING/ RECONSTRUCTION
Shelly Senter for the reconstruction of phrase material from Foray Forêt and Glacial Decoy (Trisha Brown)
Gary Masters/Oakland Ballet, for restaging of Moor’s Pavane (José Limón)
Susan Hendl and Victor Castelli/San Francisco Ballet for restaging of Dances at a Gathering (Jerome Robbins)
CHOREOGRAPHY
Michael Lowe, Bamboo, for Oakland Ballet
Jess Curtis, fallen, for Jess Curtis/Gravity Physical Entertainment and fabrikCompanie
Janice Garrett, Ostinato, for Janice Garrett and Dancers
Alonzo King/Barthélemy Etoumba, The People of the Forest, for LINES Ballet
Yuri Possokhov, Damned, for San Francisco Ballet
Sue Roginski, One or Two, for Sue Roginski and Dancers
SPECIAL AWARDS
LINES Ballet‘s extraordinary production The People of the Forest
presented an unforgettable meeting of cultures to audiences across the country. Bringing the Central African BaAka pygmy musicians to the United States required vision, faith, two years of tireless work, and an exemplary trans-Atlantic cooperation. LINES artistic director Alonzo King, associate director Robert Rosenwasser, and executive director Pam Hagen, joined forces with Yerba Buena Center for the Arts executive director John Killacky and dance curator Nancy Martino to make this remarkable meeting of two cultures a reality. The team brought together ten major funders and seven performance venues, four of which signed on to commission King’s full-length collaboration with the musicians and dancers of Nzamba Lela. The People of the Forest drew sold-out, standing-ovation audiences mesmerized by the pygmies’ rich, polyphonic singing and transformed by a chance to witness a truly cross-cultural collaboration.Throughout its 18-year history Theatre Artaud has been one of San Francisco’s most vibrant dance venues, fostering the development of many now nationally recognized choreographers and encouraging multi-disciplinary collaboration. Founded by Project Artaud, the artists’ collective which owns the cavernous converted can factory, the theater was lead for 11 years by Dean Beck-Stewart. When the Theater Artaud corporation faced financial insolvency in the fall of 2001, a committed team of employees and volunteers stepped in to close the theater responsibly. The following people donated months of time to keep the stage equipment intact and honor contracts with artists, smoothing the transition for Project Artaud to reclaim management of the theater: Lizzy Spicuzza, Benjamin Young, Lynda Rieman, San San Wong, Karen Schiller, Joanna Haigood, Eloise Burrell, Sean Riley, Michelle Mullholland, Deanna Cooper, Donna Stone, Mary Williams, Jack, Carpenter, Tim Pickerill, and the members of Project Artuad, particularly Norman Rutherford, Nicole Sawaya, and Wendy Gillmore. Their work ensures the building’s continued use as a theater as Artaud reorganizes and looks forward to a new era.
SUSTAINED ACHIEVEMENT AWARDS
Over its eight seasons, the San Francisco Butoh Festival transfixed, entertained, confounded, and shocked audiences. Conceived and founded in 1995 by Brechin Flournoy and launched in partnership with Takami Craddock, the festival pushed to shatter myths about the very definition of the Japanese dance form it celebrated. Since its groundbreaking debut, the Festival was lauded as the largest and most influential Butoh Festival in the United States, and took the lead in popularizing the art form in this country. More than 100 artists from Japan, Europe, Canada, Latin America, Asia, and the U.S. either made their Bay Area debuts at the San Francisco Butoh Festival, or premiered new works at the Festival. The San Francisco Butoh Festival established the only ongoing training center for Butoh dance in the U.S. and served as a model for similar festivals in Vancouver, Seattle, San Diego, Olympia, and New York. The festival’s most enduring legacy has been to establish an international network among artists, independent presenters, and students of Butoh dance and to advance the development of Butoh in this country.
The San Francisco Ethnic Dance Festival is one of the country’s oldest and largest multi-cultural celebrations. What began as a series of community center concerts in 1978 has grown to present nine to twelve performances to more than 10,000 audience members annually. In the early years the Festival’s presence at the Civic Center’s Herbst Theater sent a radical message that world dance and music could hold its own alongside the ballet, opera, and symphony. Bay Area legends like Rosa Montoya, Lily Cai, Neva, the Kunirahmins, Dimensions, Cruz Luna, Suhaila Salimpour, Gamelan Sekar Jaya, Chitresh Das, Red Thistle, Khadra and Harambee drew overflow crowds. Today the Festival is a launching pad for world dance artists, be they émigrés or American-born students. The Festival’s winter auditions have become a highly anticipated free public showcase, while the Festival’s arts education program, People Like Me, now introduces children ages 6-12 to world music and dance in a theatrical format.
Marina Hotchkiss is a founding member of LINES Ballet and as one of its principal dancers created many roles for choreographer Alonzo King. She performed for Pacific Ballet and Berlin Opera Ballet before joining LINES in the early eighties. She danced with LINES for 20 years and also performed extensively with the San Francisco Opera Ballet and as a guest artist for Smuin Ballets/SF. Throughout her career, Marina has been one of the primary dancers shaping the Bay Area’s contemporary ballet scene. She has also served as a dancer’s union representative for the SF Opera Ballet, continues to perform with dance collective The Foundry, and teaches the next generation of dancers at the San Francisco Dance Center.
Sally Streets, director emerita of Berkeley Ballet Theater, renowned for her teaching, has been part of Berkeley Ballet Theater since 1981. Ms. Streets grew up in Berkeley where she went to Anna Head School; she studied with Dorothy Pring in Berkeley, and later at the Russian Center. She has had several professional careers, as a performer with Mia Slavenska’s Ballet Variante and with the New York City Ballet before retiring to have children. Her most famous student, her daughter Kyra Nichols, is principal dancer with the New York City Ballet. Ms Streets made a comeback to become principal dancer with both Pacific Ballet and the Oakland Ballet. She was also ballet mistress for both those institutions; she has taught for the San Francisco Ballet, for the Royal Ballet in London, and for the New York City Ballet. She continues to teach for BBT, where, incidentally, many modern dancers take her classes. She has been resident choreographer for the Diablo Ballet, and is their Artistic Advisor.
2002
(2000-2001 Season)
The awardees in the following categories were announced at the Isadora Duncan Dance Awards Ceremony on April 30, 2002.
The awardees are shown in boldface type. The other nominees are also listed, in regular type.
SOUND/MUSIC/TEXT
John Santos for music, Union Fraternal (Robert Moses), for Oakland Ballet
Elaine Buckholtz and Kim Epifano for music composition and vocal sound score, Below Zero (Kim Epifano)
Bruce Ghent for music, Garden of Non-Duality (Krissy Keefer)
Krissy Keefer for text, Cave Women (Krissy Keefer)
David Worm and SoVoSo for music, Resonate! (Amelia Rudolph) for Project Bandaloop
VISUAL DESIGN
Lauren Elder for set design, Below Zero (Kim Epifano)
Richard Jue for set and video design, Rice Women (Sue Li Jue), for Facing East Dance and Music
Doug Rosenberg for video design, What the Body Knows (Joe Goode), for Joe Goode Performance Group
Jim Campbell for video design, Spectral Evidence (Brenda Way), for ODC/San Francisco
Joe Williams and Krissy Keefer for visual design, Garden of Non-Duality (Krissy Keefer), for Dance Brigade at the San Francisco Lesbian and Gay Dance Festival
LIGHTING
Alexander V. Nichols for the entire “Les Invités” program (Sonya Delwaide)
Matthew Antaky for Otherwise (Janice Garrett), Janice Garrett and Dancers
Matthew DeGumbia for Monk at the Met/Feast of Souls (Sara Shelton Mann/Contraband), Contraband
Alexander Nichols for Axis Dance Company’s entire program at the Cowell Theater
COSTUMES
Mario Alonzo for Axis Dance Company’s entire program at the Cowell Theater
Zak Diouf and Naomi Diouf for Jussat , Diamano Coura
Michael Kruzich for Otherwise (Janice Garrett), Janice Garret and Dancers
INDIVIDUAL PERFORMANCE
Joanna Berman in The Sleeping Beauty (Marius Petipa/Helgi Tomasson), with San Francisco Ballet
Charya Burt in Reamker (traditional) with the Charya Burt Classical Cambodian Dance Group in the San Francisco Ethnic Dance FestivaL
La Tania in Tientos and Martinete at the Cowell Theater
Joan Boada in The Prodigal Son (George Balanchine), with San Francisco Ballet
Laura Elaine Ellis in When Strength is My Weakness (Laura Elaine Ellis), during Summerfest
Yukie Fujimoto in Apéro (Sonya Delwaide), in “Les Invités” at ODC Theater
ENSEMBLE PERFORMANCE
Vivien Dai, Aileen Kim, and Sharon Sato in “She Knelt and Through Her Tears Crossed the Sticks” from Rice Women (Sue Li Jue), with Facing East Dance and Music
Brian Fisher and Brandon Freeman in Trä (Sonya Delwaide), in “Les Invités”
Roman Rykine, Gennadi Nedviguine, Kristin Long, Tina Le Blanc, and Katita Waldo in The Vertiginous Thrill of Exactitude (William Forsythe), with San Francisco Ballet
Tina Kay Bohnstedt, Karyn Lee Connell, Erika Johnson and Corinne Jonas in Women’s Stories (Kelly Teo), with Diablo Ballet
Kara Davis and Leanne Ringelstein in Otherwise (Janice Garrett), with Janice Garrett and Dancers
Austin Forbord and Shelley Trott in The Real Thing (RAPT Performance Group), at the BAP Arts Spring Gala
Maggie Moon and Kevin St. Laurent in Lindy Hop (Maggie Moon and Kevin St. Laurent), guest artists with Dance Through Time
COMPANY PERFORMANCE
Barbary Coast Cloggers in Appalachian Overdrive at the Palace of Fine Arts Theater
Robert Moses' Kin for their entire season at the Gershwin and Cowell Theaters
Diamano Coura in Kasonde (Zakarya and Naomi Diouf), at the San Francisco Ethnic Dance Festival
Joe Goode Performance Group in an outdoor installation preceding What the Body Knows (Joe Goode), at the Yerba Buena Center for the Arts
Colhida & Temur Koridze’s Children’s Dance Company, at the San Francisco Ethnic Dance Festival
REVIVAL/ RESTAGING/ RECONSTRUCTION
Ballet San Jose Silicon Valley, for restagings of Rainbow ‘Round My Shoulder (Donald McKayle) and Gaité Parisienne (Leonide Massine)
Sonya Delwaide for the revival of her work Apéro during “Les Invités”
San Francisco Ballet for the revival of Pacific (Mark Morris)
CHOREOGRAPHY
Val Caniparoli, Death of a Moth, for San Francisco Ballet
Sonya Delwaide, Suite Sans Suite (Part 2), for Axis Dance Company
Kim Epifano, Deseos Desnudos
Alonzo King, Following the Subtle Current Upstream, for Alvin Ailey American Dance Theatre
Mark Morris, A Garden, for San Francisco Ballet
SPECIAL AWARDS
CITICENTRE has provided a plethora of dance classes, particularly in African Diaspora dance forms, to the Bay Area dance community for 25 years. Located in and sponsored by Oakland’s Alice Arts Center since 1993, CitiCentre
offers 57 free and low-cost classes in Congolese, Zimbabwean, Nigerian, Afro-Brazilian, Jazz, Hip-Hop, and Ancient Hula styles of dance, as well as many others. More than 1,000 dancers take class at CitiCentre each week, and the
organization is home to 13 resident dance companies, including Savage Jazz Dance, Fua Dia Conga, and African Queens, and provides a home for many individual choreographers.ODC/San Francisco's Dance Jam children’s company, along with ODC’s annual productions of THE VELVETEEN RABBIT have paved new inroads for young audiences to learn about and develop an appreciation of modern dance. The Velveteen Rabbit,
conceived by choreographer KT Nelson in 1985 and presented in full every holiday season since 1989, has provided an important family entertainment complement to the annual spate of Nutcracker ballet productions, giving children an entrancing, accessible first brush with modern dance. ODC Dance Jam, which performs alongside the professional company in The Velveteen Rabbit,
began in 1995 as a children’s company with 10 original members. The ODC School launched its kids program in 1997 and has since taught modern dance to nearly 600 Bay Area children.
SUSTAINED ACHIEVEMENT AWARDS
Angene Feves has been a leading specialist and advocate for the preservation and appreciation of baroque dances for more than three decades.
A charter member of the Oakland Ballet in the 1960s, Feves studied early Renaissance dance manuals and early music at San Francisco State University, and has since taught the history and technique of early classical dance at the University of Nevada, the San Francisco Early Music Society, San Rafael’s Dominican College, and the Civic Arts of Walnut Creek (a city-sponsored arts program she founded), as well as at innumerable other institutions and international conferences. She contributed entries on historic dance reconstruction to the International Dance Encyclopedia, and her presentations of reconstructed dances with the Consortium Antiquum’s Court Revels, where she has served as artistic director since 1970, enhance the understanding of dance and its evolution for today’s Bay Area dancers of all forms and styles.Elvia Marta just marked her 20th year teaching dance at the San Francisco School of the Arts, where she is now director of the dance department. Her inspiring modern/jazz/blues classes at the School, and at Rhythm and Motion where she has taught for nearly two decades, have spurred many of her students to become award-winning choreographers and members of such companies as ODC/San Francisco and Alvin Ailey American Dance Theater. Marta is a native of Panama who moved to the Bay Area 30 years ago and received her B.A. in dance from San Francisco State University. She was a member of the San Francisco Opera Ballet for two seasons in 1979-80 and has danced for such companies and choreographers as Roberta Flack Live, Dance Company Impulse, and Enrico Labayen.
2001
(1999-2000 Season)
The awardees in the following categories were announced at the Isadora Duncan Dance Awards Ceremony on April 23, 2001.
The awardees are shown in boldface type. The other nominees are also listed, in regular type.
SOUND/MUSIC/TEXT
Krissy Keefer for text, Research/Phase I/Monk at the Met — a Community Performance Extravaganza (by Sara Shelton Mann, Krissy Keefer, et al.)
Marcus Shelby and the Marcus Shelby Sextet for music, entire 1999-2000 seasons of Savage Jazz Dance Company and RHJ 2000 (Robert Henry Johnson)
Peter Balakian for text, Earth, Blood, and Sky, (by Carole Kueffer)
Members of the Joe Goode Performance Group for text and music, Undertaking Harry, Part II (by Joe Goode), for the Joe Goode Performance Group
Albert Matthias with Live Human for music, Blue 2000 (by Kathleen Hermesdorf), for Sister Hermes Dance Machine
VISUAL DESIGN (Sets, Costumes, or Lighting)
Kelly Hanson for sets and Heather Basarab for lights, Drowsy (by Joe Goode), for the Joe Goode Performance Group
Thyra Hartshorn for scenic and costume design and Kevin Connaughton for lights, Magrittomania (by Yuri Possokhov), for San Francisco Ballet
Matthew Antaky and La Tania for visual design, and Judith Deim for paintings, Passage of the Muse (by La Tania)
Richard Jue for sets, Rice Women (by Sue Li-Jue), for Facing East
Willa Kim for costumes, Les Noces (by Michael Smuin), for Smuin Ballets/SF
Alexander V. Nichols for lights, Tom Bonauro, for visual design, and David F. Draper and Joan Raymond for costumes, Breathe Normally (by Margaret Jenkins), for the Margaret Jenkins Dance Company
Lea Wolf for sets and costumes, Nine Valentines (by Lea Wolf), at Summerfest
INDIVIDUAL PERFORMANCE
Liz Burritt for her entire season with the Joe Goode Performance Group
Uli Schmitz for the entire program with Axis Dance Company at the Cowell Theater
Joanna Berman in A Moment (by June Watanabe), with June Watanabe Dance Company
Julie Diana in Romeo and Juliet (by Helgi Tommason), with San Francisco Ballet
Xavier Ferla in Hovering Slightly (by Alonso King), with Oakland Ballet
Robert Henry Johnson in Dance Untitled (by Robert Henry Johnson), at Theater Artaud
ENSEMBLE PERFORMANCE
Jadson Caldeira and Sonya Delwaide in Départ (by Sonya Delwaide), at Summerfest 3
Julia Diana, Rachel Rufer, Peter Brandenhoff, and Damian Smith in The Invitation (by Kenneth Macmillan), with San Francisco Ballet
Vivian Dai, Aileen Kim, Diana Yoon, and Lily Wang in Pai Gow Potluck (by Sue LiJue), with Facing East
Gianina Martinez and Manuel Niquen in Marinera, with Centro Cultural Baila un Perú, at the SF Ethnic Dance Festival 3
Katherine Warner and Dudley Brooks in Autumn Songs (by Virginia Matthews), with At Fifty—Still Dancing, at Dancers Group
COMPANY PERFORMANCE
AXIS Dance Company for their entire program at the Cowell Theater
Diablo Ballet in The Puzzle (by Nikolai Kabaniaev)
Harsanari in a program of Sundanese dances, at the Ethnic Dance Festival
Maharlika Cultural Troupe in Dances of the Phillipines, at the Ethnic Dance Festival
Sara Shelton Mann, Krissy Keefer, et al. in Research/Phase I/Monk at the Met — a Community Performance Extravaganza, at Dance Mission
REVIVAL/ RESTAGING/ RECONSTRUCTION
Natalia Makarova, for the restaging of Kingdom of the Shades from La Bayadère (by Marius Petipa), for San Francisco Ballet
Oakland Ballet for the restaging of Jinx (by Lew Christensen)
June Watanabe Dance Company for the revival of A Moment (by June Watanabe)
CHOREOGRAPHY
Bill T. Jones, Fantasy in C Major, for Axis Dance Company
Yuri Possokhov, Magrittomania, for San Francisco Ballet
Julia Adam, Night, for San Francisco Ballet
Jo Kreiter in collaboration with Leslie Seiters, Face to Face from The Body Project, for Flyaway Productions
Patrick Makuakane and Yasmen Mehta, Pua, for California Contemporary Dancers’ with Na Lei Hulu i ka Wekiu
Robert Moses, Lucifer’s Prance, for Robert Moses Kin
SPECIAL AWARDS
Dance Community in Action — The Isadora Duncan Dance Award Committee wishes to acknowledge and award the leadership of WAYNE HAZZARD in creating a moving and heartfelt event to say goodbye to the studio and performing space that has served the dance community continually for 45 years; KEITH HENNESSEY’s and RACHEL KAPLAN’s roles as spearheads of the dance community in protesting the eviction; and KRISSY KEEFER for her leadership in the political action involving
city government. And most of all we wish to acknowledge the MEMBERS OF THE DANCE COMMUNITY who put their hearts and effort into the need to save our rehearsal and performing spaces.San Francisco Ballet's Discovery Programs, for providing an opportunity for young choreographers to show excellent work. The Series premiered Julia Adam’s Night, Vladimir Anguelov’s Impetuous, David Palmer’s Concerto Romantique, Yuri Possokhov’s Magrittomania, Christopher Stowell’s Opus 50, and Christopher Wheeldon’s Sea Pictures
SUSTAINED ACHIEVEMENT AWARDS
Nontsizi Cayou – During her career Ms. Cayou has contributed greatly to the field of dance education. Recently retired from her tenured position at San Francisco State University, she was primarily responsible for the campaign which led to the formation of its Department of Dance in 1986, and also became Head of the Department. This was the one of the first degree programs in the United States offering concentrations in both performance/choreography and dance ethnology. Ms. Cayou is also founder of the Wajumbe Cultural Institute, located in the heart of San Francisco’s Western Addition neighborhood at the African and African-American Center for Art and Culture.
Judy Job began her dance career at the age of 3 with her mother Lenore Peters Job, who with Anita Peters founded the Peters Wright Creative Dance studio in 1912, San Francisco’s oldest dance studio in continuous operation. Judy performed with the San Francisco Dance League, at UC Berkeley, at the Hungry I with Gloria Unti, and at the annual Afternoon of Dance at the Legion of Honor given by Peters Wright. She has taught and choreographed works for children and adults for over 50 years. Invited by Ruth Beckford to join the Oakland Recreation Departments, with Gwen Lewis she initiated the African Dance program, children’s classes, and classes in steel drum and Tai Chi Chuan. Recently, she has performed in “The Horse’s Mouth” and with the White Oak Project.
Jocelyn Vollmar has been associated with San Francisco Ballet since 1939, rising to principal dancer status in the early company and during her eight years of dancing with the early New York City Ballet, American Ballet Theater, le Grand Ballet du Marquis de Cuevas and the Borovansky Ballet in Australia. She again performed with San Francisco Ballet from 1956 to 1973. For almost three decades Jocelyn has shared her training from the Christensens and the wealth of her performing experience with the students at the San Francisco Ballet School.
2000
(1998-1999 Season)
The awardees in the following categories were announced at the Isadora Duncan Dance Awards Ceremony on April 24, 2000.
The awardees are shown in boldface type. The other nominees are also listed, in regular type.
SOUND — MUSIC
Zakir Hussain, Who Dressed You Like a Foreigner?, choreography by Alonzo King, Lines Contemporary Ballet
I Made Subandi and Richard Marriott, co-composers of original score to accompany showing of Legong: Dance of the Virgins, 1935 silent movie by Henri De La Ralaise, Castro Theatert; performed by Gamelan Sekar Jaya and Club Foot Orchestra
Odile Lavault, Animal Acts, choreography by Stephen Pelton, Stephen Pelton Dance Theater
SOUND — TEXT
Remy Charlip, Internal Dance Number One, choreography by Remy Charlip, performance at the San Francisco Lesbian and Gay Dance Festival
Joe Goode, Hapless, choreography by Joe Goode, Joe Goode Performance Group
Krissy Keefer, Queen of Sheba, choreography by Krissy Keefer, Dance Brigade
VISUAL DESIGN — SETS
Matthew Antaky for the season, including:
Animal Acts, choreography by Stephen Pelton, Stephen Pelton Dance Theater
Sojourn at Alexandria, choreography by Liss Fain, Liss Fain Dance
Southern Girl, choreography by Lily Cai, Lily Cai Chinese Dance Company
Pyramid, Queen of Sheba, choreography by Krissy Keefer, Dance Brigade
Norman Rutherford, Jeffery Fitzsimmons, Elaine Buckholtz, Peter O. Kadyk, and Marintha Tewksbury, Brittle, choreography by Marintha Tewksbury, directed by Norman Rutherford.
VISUAL DESIGN — COSTUMES
Robert Rosenwasser and Sandra Woodall, Who Dressed You Like a Foreigner?, choreography by Alonzo King, Lines Contemporary Ballet
Cheryl Koehler, Butterfly, choreography by Claudine Naganuma, Summerfest 1999
Janet Nakamura and Wendy Sparks, Bach de Trois, choreography by Nikolai Kabaniaev, Diablo Ballet
VISUAL DESIGN — LIGHTING
Sara Linnie Slocum, Summerfest 1999
Patty-Ann Farrell, Beneath the Wake, choreography by Betsy Erickson, Oakland Ballet
Alex Nichols, Fault, choreography by Margaret Jenkins and Ellie Klopp, Margaret Jenkins Dance Company
INDIVIDUAL PERFORMANCE
Tina Le Blanc, entire season, San Francisco Ballet
Krissy Keefer, Queen of Sheba, choreography by Krissy Keefer, Dance Brigade
Yuri Possokhov, entire season, San Francisco Ballet
Asako Takami, The Piper, choreography by Yasmen Sorab Mehta, California Contemporary Dancers
ENSEMBLE PERFORMANCE
Evelyn Cisneros and Stephen Legate, Rubies, choreography by George Balanchine, San Francisco Ballet
Joe Goode and Wilis Bigelow, excerpt from Deeply There, choreography by Joe Goode, performance at the San Francisco Lesbian and Gay Dance Festival
Kathleen Hermsdorf and Katie Moreman, Fault, choreography by Margaret Jenkins and Ellie Klopp, Margaret Jenkins Dance Company
Marina Hotchkiss and Yannis Adoniou, Who Dressed You Like a Foreigner?, choreography by Alonzo King, Lines Contemporary Ballet
COMPANY PERFORMANCE
Margaret Jenkins Dance Company, Fault, choreography by Margaret Jenkins and Ellie Klopp
African Queens, performance at the Ethnic Dance Festival
Lily Cai Chinese Dance Company, Candelas, choreography by Lily Cai
Lines Contemporary Ballet, Who Dressed you Like a Foreigner, choreography by Alonzo King
Jose Navarrete and Arnel Santiago Alcordo, Essays on Tango, choreography by Jose Navarrete and Arnel Santiago Alcordo, performance at the San Francisco Lesbian and Gay Dance Festival
REVIVAL / RESTAGING / RECONSTRUCTION
Diversion of Angels, restaging by Marni Thomas, University Dance Theater, University of California, Berkeley; original choreography by Martha Graham
The Emperor and the Nightingale (1994), original choreography and revival/restaging by Michael Lowe, Oakland Ballet
Childhood Secrets (1989), original choreography and revival/restaging by Mel Wong, Mel Wong Dance Company
CHOREOGRAPHY
Brenda Way, Investigating Grace, ODC/San Francisco
Margaret Jenkins and Ellie Klopp, Fault, Margaret Jenkins Dance Company
Alonzo King, Who Dressed you Like a Foreigner?, Lines Contemporary Ballet
Mark Morris, Sandpaper Ballet, San Francisco Ballet
Jose Navarrete, Essays on Tango, performed at the San Francisco Lesbian and Gay Dance Festival
SPECIAL AWARDS
Linda Rawlings, for creation and development of New Shoes, Old Souls Dance Company, which has since 1993 produced dance concerts featuring perfomers over 40 with deep roots in the Bay Area and internationally renowned choreographers
Northern California Lindy Hop Society, for the Symposium on Lindy Hop they presented at SF State University as part of the 85th birthday celebrations for the great dancer Frankie Manning, inventor of the air step.
This symposim brought together star dancers from the ‘30s, jazz musicians, and dance and film historians to illuminate this African American social dance whose offshoots — boogie-woogie, rock ‘n’ roll, and funk — dominated American social dance in the 20th century.
SUSTAINED ACHIEVEMENT AWARDS
Ronn Guidi, for his dedication to bringing to contemporary audiences the beauty and excitement of early 20th century ballets of the Diaghilev repertory through revivals and restagings of the works of Nijinska and Massine for the
Oakland BalletWayne Hazzard, for his vision and dedication to the future of the Bay Area dance community through his leadership of Dancers Group Studio and development of supporting programs and services for new choreographers and performers.