Artist-in-Residence, Dance. Robert Moses has been on faculty at Stanford University since 1995 and is currently Artist In Residence in Drama and Dance as well as the director of the Committee on Black Performing Arts. He has been faculty, master teacher and/or guest faculty at UC Berkeley, UC Davis, University of Texas, University of Nevada, Mills College, San Jose State University, Saint Mary’s College, Long Beach State, Jacob's Pillow, Collumbia College Chicago, the Bates Dance Festival, Colorado Dance Festival, California Dance Educators Association and the American College Dance Festival. Moses directs his own San Francisco-based company, Robert Moses' Kin, and he has also has set commissioned works on Philadanco, Cincinnati Ballet, England’s Transitions Dance Company of the Laban Centre, Dance Exchange in London. Mr. Moses has also choreographed for the San Francisco Opera. Mr. Moses work has been performed nationally and internationally, including in England, Italy and Ireland.
Prior to establishing Robert Moses’ Kin, Moses danced with American Ballet Theater, Twyla Tharp Dance, ODC/San Francisco, Long Beach Ballet, Walt Disney World Productions and Gloria Newman Dance Theater, among others.
Visiting Artist, Modern Dance, Performance Art
Visiting Artist, Modern Dance, Performance Art. Ann Carlson is a dancer, choreographer, and performance artist. She creates “dances that reflect and investigate the metaphor of the everyday” and are coauthored by the performers, who have included non-dancers, such as lawyers, doctors, and nuns (“the real-people series”). With a background in visual and performance art, Carlson often shows her work in unconventional dance sites, including museums, trains, and barnyards. A.C.
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Visiting Artist, Modern Dance. Born and raised in Minneapolis, Lemon graduated from the University of Minnesota in 1975, and was part of the Nancy Hauser Company before cofounding Mixed Blood Theater Company in 1976. He moved to New York in the late 1970s and, after a stint with Meredith Monk (whom he first saw perform at the Walker Art Center), formed his eponymous company in 1985. Lemon quickly gained attention for his collaborative acumen and singular facility for expression within the vacillating fiats of postmodern choreography in New York at that time. The core of his celebrated style of the late 1980s and early 1990s seemed organically rooted in the body but could just as easily flow seamlessly into enigmatic austerity. Having embraced, in such works as Boundary Water (1984) and Killing Tulips (1993), both cerebral classicism and romantic rumination, Lemon’s choreographic ambitions began to outgrow the constraints of formulaic formality: “When you start with the same dancers, you often end up making the same dance. Yes, there’s a refinement. . . . But I began to question the relevance of a private language that no one outside my company understood.” At what seemed to be the height of his career, he decided to dissolve his company in 1995, after ten years of internationally acclaimed work, and to look beyond the familiarity of New York and the creative process as he knew it.
Since 1995, Lemon and a handpicked roster of international collaborators have been on a ten-year odyssey of diasporic discovery, a quest for the pieces of dance and the linkages to the past (and present) needed to complete a whole. The Geography Trilogy—a profound examination of Lemon’s own history—is a remarkable inquiry into the social gravities of race and identity at the turn of the twenty-first century. Lemon’s ambitious vision for the movement vocabulary of the Trilogy has relied on the ebb and flow of many social tide pools—a language that swirls between notions of modern and traditional, East and West, light and dark, formal and free-form. His direction and choreography, equal parts art and anthropology, illuminate the clash and charm of cultural juxtapositions while striving to remain respectful of the considerable significance of dance traditions in distinct civic frameworks.
Visiting Artist, Hip Hop, Jazz, Fashion and Theatrics. Ronnie Reddick is a multi-faceted San Francisco-based choreographer/dancer. He made his mark by combining Hip Hop, Jazz, Fashion and Theatrics to create one of the most explosive and dynamic styles to hit the dance scene recently, making him one of the most sought after choreographers in the Bay Area and beyond.
Reddick is the choreographer and Show Director at Asia SF and the soon to open Asia SF/Hollywood, in Los Angeles. He has choreographed and worked with many designers and fashion brands, and is teaching Master classes at Princeton University. In the entertainment world, Ronnie has worked with such artists as Michael and Janet Jackson, Deborah Cox, Paula Abdul, Liza Minelli, Santana, Ultra Nate, Kelly Price, Vicky Shepard, RuPaul, Jeanie Tracy, Abigail and M.C. Hammer. He also choreographs and tours around the country with many corporate bands.
"Technique is only the beginning of what makes a memorable dancer, and we don't start dancing to end up doing chorus," says Reddick, "you have got to have that extra something."
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