ODC 2016-17 Touring Brochure

What’s Inside
Subsidy Opportunities
Community Connection Ideas
Current Touring Schedule
Founder & Artistic Director
Brenda Way
Photo by Andrew Weeks of Giant

“… technically assured,
emotionally inflected
renderings from the
entire company. ”
—SAN FRANCISCO CHRONICLE
Founder & Artistic Director
Brenda Way
Interim Executive Director
Katherine E. Akos
Co-Artistic Director
KT Nelson
Associate Choreographer
Kimi Okada
Resident Choreographer
Kate Weare
Company Manager
Joseph Copley
Booking Agent
Cathy Pruzan
Publicist
Mona Baroudi
Photo by RJ Muna of Dead Reckoning

04 ODC/Dance History
06 Director Profiles
08 Dancer Profiles
12 Current Touring Schedule
13 ODC/Dance in the Press
14 Subsidy Opportunities
15 Access to the Artists
16 Community Connection Ideas
17 Audience Development
18 Contact Information and Staff List
19 Current Touring Repertory
351 Shotwell Street, San Francisco, CA 94110
415/549.8518 | odc.dance/presenters
odc.dance 3

odc/dance history
Founded in 1971 by Artistic Director Brenda Way, who trained under the legendary
George Balanchine, ODC (Oberlin Dance Collective—named after Oberlin College
in Ohio where Way was on faculty) loaded up a yellow school bus and relocated to
San Francisco in 1976. Her goal was to ground the company in a dynamic pluralistic
urban setting. ODC was one of the first American companies to return, after a decade
of pedestrian exploration, to virtuosic technique in contemporary dance and to
commit major resources to interdisciplinary collaboration and musical commissions
for the repertory.
ODC/Dance Company's ten outstanding dancers perform its imaginative repertory
for more than 50,000 people annually. In addition to two annual home seasons in
San Francisco (Dance Downtown and the holiday production, The Velveteen Rabbit),
past highlights include numerous appearances at the Joyce Theater in New York,
sold out performances at the Kennedy Center, standing room only engagements
in Europe and Russia, and two USIA tours to Asia. Way’s work was selected by
Brooklyn Academy of Music (BAM) for the Inaugural Dancemotion Tour in 2010.
In 45 years, ODC/Dance has performed for more than a million people in 32 states
and 11 countries, with support from the NEA, the U.S. State Department, and many
state and city arts agencies.
The company has been widely recognized for its rigorous technique and for its
numerous groundbreaking collaborations with, among others, composers Marcelo
Zarvos, Bobby McFerrin, Zoë Keating, Zap Mama, Pamela Z, and Paul Dresher;
writer/singer Rinde Eckert; actors Bill Irwin, Geoff Hoyle, and Robin Williams;
visual artists Andy Goldsworthy, Wayne Thiebaud, Jim Campbell, and Eleanor Coppola;
and welder/bike designer Max Chen.
4 odc.dance

“ODC glitters... a style built
on risk and nerve...”
—THE NEW YORK TIMES
Photo by Andrew Weeks of Giant
odc.dance 5

director
profiles
Brenda Way
BRENDA WAY (Founder & Artistic Director) received her early
training at the School of American Ballet and Ballet Arts in New
York City. She is the Founder and Artistic Director of ODC/Dance
and creator of the ODC Theater and ODC Dance Commons,
community performance and training venues in San Francisco’s
Mission District.
Way launched ODC and an inter-arts department at Oberlin
College and Conservatory of Music in the late 60’s before
relocating to the Bay Area in 1976. She has choreographed more
than 80 pieces over the last 45 years. Her commissions include
Unintended Consequences: A Meditation (2008) Equal Justice
Society; Life is a House (2008) San Francisco Girls Chorus; On
a Train Heading South (2005) CSU Monterey Bay; Remnants of
Song (2002) Stanford Lively Arts; Scissors Paper Stone (1994)
Alvin Ailey American Dance Theater; Western Women (1993) Cal
Performances, Rutgers University, and Jacob’s Pillow; Ghosts of
an Old Ceremony (1991) Walker Art Center and the Minnesota
Orchestra; Krazy Kat (1990) San Francisco Ballet; This Point
in Time (1987) Oakland Ballet; Tamina (1986) San Francisco
Performances; and Invisible Cities (1985) Stanford Lively Arts
and the Robotics Research Laboratory.
Her work Investigating Grace was named an NEA American
Masterpiece in 2011. Way’s work was selected by the Brooklyn
Academy of Music in 2010 to represent the U.S. in a tour of
Southeast Asia, sponsored by the State Department. She is
a national spokesperson for dance, has been published widely, and
has received numerous awards, including Isadora Duncan Dance
Awards for both choreography and sustained achievement, and
40 years of support from the National Endowment for the Arts.
She is a 2000 recipient of the John Simon Guggenheim
Fellowship. In 2009, she was the first choreographer to be
a Resident of the Arts at the American Academy in Rome, and
in 2012, she received the Helen Crocker Russell Award for
Community Leadership from the SF Foundation. Way holds
a Ph.D. in aesthetics and is the mother of four children.
6 odc.dance

KT Nelson
KT NELSON (Co-Artistic Director) joined
ODC/Dance in 1976 and partners with
Brenda Way in directing the ODC/Dance Company.
Nelson choreographed and directed the
company’s first full-length family ballet in 1986,
The Velveteen Rabbit, which has since been
performed annually in the Bay Area as an
ODC/Dance holiday production.
Nelson has been awarded the Isadora Duncan
Dance Award four times: in 1987 for Outstanding
Performance, in 1996 and 2012 for Outstanding
Choreography, and in 2001 for Sustained
Achievement. Her collaborators have included
Bobby McFerrin, Geoff Hoyle, Shinichi Iova-Koga,
Max Chen, Zap Mama, and Joan Jeanrenaud. In
2008 her work RingRounRozi, a collaboration
with French-Canadian composer Linda Bouchard,
was selected to be performed at the Tanzmesse
International Dance Festival. In 2009, Nelson was
one of three artists selected for Austin Ballet’s New
American Talent Competition. In 2012, she created
new work for Western Michigan University as part
of their Great Works Dance Project.
In addition to her work as a choreographer, Nelson
served on the Zellerbach Community Arts Panel
from 2005 to 2011, ran the summer dance
department for the Center For Creative Youth at
Wesleyan University 2003-2006, and founded the
ODC Dance Jam (teen dance company) in 1997.
Over the last 25 years, Nelson has played a major
role in defining and implementing ODC’s ongoing
and project-based outreach programs. She has
mentored the the Margaret Jenkins’ Chime Project,
and continues to mentor emerging artists in the
Bay Area and abroad.
Kimi Okada
KIMI OKADA (Associate Choreographer and
ODC School Director) is a founding member
of ODC/Dance. Her work includes more than
26 choreographed works for ODC/Dance,
as well as commissions and collaborations
with Geoff Hoyle, Bill Irwin, Julie Taymor, and
Robin Williams.
Okada has choreographed productions for
the American Conservatory Theater in San
Francisco, Yale Repertory Theater in New
Haven, the New Victory Theater in New York,
Children’s Theatre Company in Minneapolis,
Theatre for a New Audience in New York,
Berkeley Repertory Theatre, the American
Music Theatre Festival, Santa Fe Opera, Los
Angeles Music Center Opera, Los Angeles
Theatre Center, the Pickle Family Circus, and
the San Francisco Mime Troupe. She was
nominated for a Tony Award for the Broadway
production of Largely New York, which she
co-choreographed with Bill Irwin. In 2010
she choreographed the ACT production of
Scapin, and The Composer is Dead at Berkeley
Repertory Theater.
Okada choreographed the First Voice
production of Mu, an evening length theater,
dance, and music piece which premiered
at the SF Jewish Community Center in
September 2013. Since 1996, Okada has
served as Director of ODC School, which she
has brought to the forefront of international
and national dance education for youth and
adults. She has been honored with a California
State Legislature Assembly Resolution for
choreographic and community contributions.
She directs the ODC Dance Jam, one of ODC's
teen companies.
odc.dance 7

dancer
profiles
Jeremy Smith began his professional career with Parsons Dance. He is
twice an Isadora Duncan Dance Award-nominee and once a winner for
ensemble performance. In addition to serving on the advisory boards, he
creatively collaborates with Yayoi Kambara in KAMBARA+Dancers, and
is the Artistic Adviser of Post:Ballet. A former artist with Ben Munisteri
Dance Projects and Lydia Johnson Dance in New York City, he hails
from Miami, FL, and graduated summa cum laude from Florida State
University. Jeremy joined ODC/Dance in 2007.
Natasha Adorlee Johnson was born in Huntington Beach, CA and
raised in Overland Park, KS. She graduated from UC Berkeley with a
B.A. in English. Natasha was awarded a 2014 Isadora Duncan Dance
Award for her performance in Two if by Sea, choreographed by Kimi
Okada. Natasha trained with American Ballet Theatre, SUNY Purchase
Conservatory of Dance, and was an inaugural member of Alonzo King’s
LINES Ballet training program. She played “Snoopy” in A Charlie Brown
Christmas at the San Francisco Symphony, is a former member of
Robert Moses’ Kin, and has performed as a guest artist with Kate Weare
Company. Natasha is a featured dancer and music composer for the
film Baseballet 2: Into the Game. As Artistic Director of Concept o4,
Natasha has created dance films, live performance work, and teaches
workshops on Screendance. She has previously choreographed for the
European Tanzsomer Festival, Regional Dance America, and numerous
music video projects. Natasha is a singer and music producer for her
solo project and with the group Saint Tiimbre.
Josie G. Sadan grew up in Lagunitas, CA. She trained on scholarship
at Marin Ballet and NYU’s Tisch School of the Arts. Since returning to
the Bay Area in 2007, Josie has enjoyed working with choreographers
including Sidra Bell, Manuelito Biag, Molissa Fenley, Amy Foley, and
she is a former member of Robert Moses’ Kin. Josie is also a widely
published writer and holds an M.A. in Communications from Stanford
University. She joined ODC/Dance in 2013.
8 odc.dance

Brandon Freeman, better known as “Private”, hails from Colorado
and is now in his 14th non-contiguous season (due to a 7-year artistic
walkabout) with ODC/Dance. In the Bay Area, Private has also worked
with Amy Seiwert’s Imagery, Mark Foehringer Dance Project, Deborah
Slater Dance Theater, Janice Garrett and Dancers, Katie Faulkner
(Little Seismic Dance), Oakland Ballet Company, and Sonya Delwaide
among others; and was a principal dancer in the movie, The Matrix II:
Reloaded. He was a guest artist with the Colorado Ballet, performing
in Glen Tetley’s Le Sacre Du Printemps in 2013, and briefly danced with
Wonderbound in Denver. Freeman received Isadora Duncan Awards for
Ensemble Performance in 2002 with Brian Fisher, in 2012 with Katie
Faulkner, and 2014 with Katherine Wells, for Amy Seiwert’s The Devil
Ties My Tongue. Private is actually a Sergeant after ten years of Army
National Guard service, lives on a yacht, and continues to seek out the
adventure in life.
Jeremy Bannon-Neches was born in Brooklyn, NY and grew up
in Augusta, GA where he received his initial training at the Augusta
Ballet School. In 2005, he graduated with honors from the North
Carolina School of the Arts, where he performed leading roles in The
Nutcracker, Don Quixote, and Lynn Tailor Corbett’s Lost and Found.
Jeremy then danced with Nevada Ballet Theater, performing principle
roles in George Balanchine’s Rubies, and Serenade, Mathew Neenan’s
At the Border, along with works by Twyla Tharp, Val Caniparoli, James
Canfield, and Thaddeus Davis. Since moving to San Francisco in 2012,
he has worked with Robert Moses' Kin, Post:Ballet, Zhukov Dance,
DawsonDanceSF, and Hope Mohr Dance.
Tegan Schwab grew up in Miami, FL. She graduated summa cum laude
from New World School of the Arts College, and earned a B.F.A. in
Dance from the University of Florida. Tegan began her career in 2005
as a dancer/marionettist in several collaborations with choreographer
Katherine Kramer and the acclaimed marionette/visual artist Pablo
Cano. Tegan moved to San Francisco in 2008, and has had the pleasure
of dancing principal roles as a company member with Dance Through
Time (2008-15), Hope Mohr Dance (2008-15), and Garrett+Moulton
Productions (2011-15). Tegan joined ODC/Dance in 2015.
odc.dance 9

Alec Guthrie, a Palo Alto, CA native, has enjoyed dancing since early
childhood. He began seriously exploring and training in dance at Ayako
School of Ballet. Alec continued studying dance at UC Irvine’s Claire
Trevor School of the Arts where he was awarded dance scholarships
and graduated in 2013 with a B.F.A. in Dance with a Performance
Specialization. At UCI, Alec worked with Donald McKayle as a member
of his Etude Ensemble. He has also trained and worked with Jodie
Gates, David Allan, Tong Wang, Diane Diefenderfer, Michael Lowe,
and Molly Lynch. He has enjoyed working with choreographers such
as Penny Saunders, Alejandro Cerrudo, Robin Mineko Williams, Carlos
Carvajal, and Dennis Nahat. Alec has had the opportunity to perform
principal roles in Festival Ballet’s The Nutcracker and Neos Dance
Theatre’s contemporary Snow White. From 2013-15, he performed
with both Neos Dance Theatre (Ohio), and Menlowe Ballet.
Daniel Santos was born in Manila, Philippines. His formal dance
training began at the age of 16 with State Street Ballet under the
tutelage of Rodney Gustafson. At 18, he received a full scholarship
with the San Francisco Ballet School. Santos danced with ODC/Dance
for 10 years, at the end of which he won an Isadora Duncan Award
for Individual Performance for the 2011/2012 season. In 2012,
Santos decided to leave dance to explore his outdoor endeavors.
He went to The Mountain Training School where he learned to guide
in three disciplines; alpine mountaineering, back country skiing,
and rock climbing. Santos has climbed in Alaska, Spain, and in Chile
(Patagonia). He holds certifications in CPR and Avalanche 1 Rescue.
He is a Wilderness First Responder, and is currently in the process of
completing his Rock Guiding Certification with the American Mountain
Guides Association. After four years in the great outdoors, the stage
was calling. This will be his 11th season with ODC/Dance.
10 odc.dance

Keon Saghari was born and raised in Los Gatos, CA. She graduated
summa cum laude from Alonzo King’s LINES Ballet at Dominican
University with a B.F.A. in Dance, and received her early training from
San Jose Ballet School. Keon is a former member of AXIS Dance
Company, with whom she toured nationally and internationally, as well as
ZiRu Dance, with whom she toured in China. She has had the pleasure
of working with choreographers including Marc Brew, Alex Ketley, Bobbi
Jene Smith, Maurya Kerr, Yuri Zhukov, Bianca Mendoza, David Hererra,
and Natasha Adorlee Johnson. Keon is also a certified Bikram Yoga
instructor. Keon joined ODC/Dance in 2016.
Rachel Furst is from Baltimore, MD, where she trained at the Baltimore
School for the Arts. She graduated summa cum laude with a B.F.A.
in Dance from the Alonzo King’s LINES Ballet B.F.A. Program at
Dominican University of California. She has been working for Amy
Seiwert’s Imagery since 2012 and has also had the pleasure of
performing with DawsonDanceSF and Smuin Ballet. This is Rachel's
first season with ODC/Dance.
Lani Yamanaka (Apprentice) was born and raised in Carlsbad, CA.
She graduated from UC Irvine with two B.F.A. degrees specializing in
Performance and Choreography. At UCI, she had the privilege to train
with Donald McKayle. As a member of McKayle's Etude Ensemble
she was able to learn, perform, and create repertory with the world
renowned dance legend. Immediately upon graduation, Lani was cast
in Pearl, a multimedia production directed and choreographed by
Daniel Ezralow. The show made its world premiere at the David H. Koch
Theater at Lincoln Center. She has trained with Hubbard Street Dance
Company, San Francisco Conservatory of Dance, BODYTRAFFIC, and
Unity 2 Dance Ensemble. Lani was a company member with Entity
Contemporary Dance for 3 years, and is signed with Go 2 Talent Agency.
odc.dance 11

2016/17
season highlights
Sep. 25, 2016
Oct. 7, 2016
Nov. 4, 2016
Nov. 25-Dec. 11, 2016
Nov. 29, 2016
Jan. 8, 2017
Jan. 20 & 21, 2017
Jan. 25, 2017
Feb. 3, 2017
Feb. 11, 2017
Mar. 23-Apr. 2, 2017
Apr. 29, 2017
Fall For Art, Sonoma, CA
The Battery, San Francisco, CA
Unplugged, ODC, San Francisco, CA
The Velveteen Rabbit, Yerba Buena Center for the Arts,
San Francisco, CA
Get In Front, Yerba Buena Center for the Arts, San Francisco, CA
APAP – Showcases at City Center, New York City, NY
Institute of Contemporary Art, Boston, MA
Rose Lehrman Arts Center, Harrisburg, PA
Unplugged, ODC, San Francisco, CA
Luckman Auditorium, Los Angeles, CA
Dance Downtown, Yerba Buena Center for the Arts,
San Francisco, CA
Mondavi Center, Davis, CA
Photo by RJ Muna of Triangulating Euclid
12 odc.dance

odc/dance
in the press
“The dancing is always excellent: full-bodied and expansive, without being showy
or brawny.”
–THE NEW YORKER
“The choreography throughout- in solos, duets and ensemble work- is fraught with
simmering tension and drama…it is remarkably unified in style, sleek and powerful,
but restrained”
–HUFFINGTON POST
“In almost everything ODC performs—what compels the most is the galvanic audacity
onstage. It’s not just that there’s delight in the seconds of suspension as a body launches
into the air, it’s the satisfaction of seeing the gravitational pull as a dancer catches and
falls into orbit around another—that’s the visceral physicality that makes this kind of dance
so rewarding to watch.”
–SAN FRANCISCO CHRONICLE
“Whatever the process that the three collaborators engaged in for Triangulating Euclid,
it worked. At first the piece looks like an illustration of basic plane geometry, but it quickly
blossoms into an exuberant celebration of the way dancers inscribe themselves into
space. From the moment a dancer’s leg smudges the carefully drawn line on the floor, you
realize that poetry supersedes science.”
–SAN FRANCISCO BAY GUARDIAN
“…the major reason to celebrate ODC is its artistic achievements…Over the years this
body of work has become formally more sophisticated without losing its humanistic
principals and questioning spirit…”
–DANCE MAGAZINE
“a pivotal and influential mainstay of [San Francisco’s] vibrant dance scene.”
–NEW YORK PRESS
“While many organizations of this age become conservative and “safe,” ODC keeps
experimenting and breaking new ground.”
–SAN FRANCISCO EXAMINER
“boulders and bones…a colossal triumph of the imagination”
–HUFFINGTON POST
odc.dance 13

2016/17
conference
schedule
Photo by RJ Muna
Western Arts Alliance
Aug. 29-Sep. 1, 2016
Los Angeles
Cafe Tabletop #713
Arts Midwest
Sep. 13-16, 2016
Milwaukee
Booth #431
APAP*
Jan. 6-10, 2017
New York City
Booth #2416, Hall II
* Company Showcases
at City Center Studio 4
Jan. 8 at 2pm & 8pm
Touring support through ODC’s Artistic Venture Fund
expands the opportunities for dance patrons to experience
world-class dance. Interested presenters are encouraged to
apply for the ODC Artistic Venture and Touring Initiative
to receive a partial fee subsidy. For information, contact
Cathy Pruzan at cpruzan@aol.com.
14 odc.dance

conversations
with the artists
Unplugged — ODC/Dance’s most popular audience engagement program: a one-hour
presentation of the creative process of a particular work followed by a full run-through of the work,
and an opportunity for Q&A. The choreographer and the dancers take the audience through the
evolution of the piece, demonstrating the genesis, outtakes, and compositional strategies. A very
low-tech event, this can take place in a dance studio, ballroom or a gym. An informal reception
with the choreographer and dancers is encouraged after the event.
Balcony Talks — One hour before a concert, the choreographers talk to audience members
about the colorful history of the company, the works that will be performed, the dance world,
and contemporary culture. Casual, interactive, and responsive to the particular audience.
Curtain Talks — Following the performance, choreographers, and dancers engage in
a discussion of the work and the audience's response.
Institutional Development — A discussion of ODC/Dance's campus-building efforts
with emphasis on philosophical vision, program development, community engagement,
and fundraising strategies.
Technical Theater — ODC/Dance's Production Manager works with student technical staff
around issues of translation, adaptation, invention, and the challenges of realizing the work
on the road.
odc.dance 15

workshops
with the artists
Immediate Dance — A two-hour class with an ODC/Dance choreographer, Brenda Way,
KT Nelson, and/or dancers creating an impromptu dance with a local constituency (of trained or
non-trained movers). ODC/Dance choreographers/dancers elicit ideas from participants, and
propose strategies to develop movement material. By the end of the session, the choreographer
composes a work from the invented material and sets it to music. ODC/Dance company members
and participants perform the work together.
Studio to Stage — A one and a half hour class for dancers of all skill levels in which ODC
company members teach solos from the repertory to be performed in concert in the host
community. A variety of solos are selected which adapt to different movement capacities to
highlight the range of repertory and movement ideas and involve all participants in a satisfying
dance experience. Studio to Stage provides a participatory experience and access to a deeper
understanding of the ODC/Dance work performed on the stage.
classes
with the artists
Composition Masterclass — A one and a half hour class on composition taught by Brenda Way,
KT Nelson, or dancers based on problem solving. Sources might include personal stories, visual
arts, music compositional strategies, literary themes, theatrical/voice issues, etc. This format is
adaptable to any constituency: e.g. hearing impaired, incarcerated women, seniors, teens, rehab
constituents, children, dance companies, university cohorts from any field of study, etc.
Technique Masterclass — A one and a half hour technique class taught by Brenda Way,
KT Nelson, or dancers. This class explores ODC/Dance's movement style–open joints, released
muscles, isolations, weight transference, and a complex physicality combining pedestrian and
highly technical movement.
partners
in creativity
International Exchange Program — ODC/Dance collaborates with a dance company based
abroad to foster a deeper understanding of each other’s art and inspire new ideas for creating
dance. Joint performances occur abroad and in the San Francisco-based ODC Theater. The
performance format is flexible but typically includes one work from each of the company’s
repertory, a collaborative piece from one of the company’s repertory performed by both
companies together, and/or a newly-composed piece choreographed by Way or Nelson alone
or in collaboration with the international artist.
Creative Partnerships — ODC/Dance collaborates with schools, universities, local companies,
and corporations to conduct tailor-made workshops designed to unlock creative potential. This
offers rich partnership opportunities for presenting hosts. The content of the work programmed
for a particular community can also suggest appropriate partnerships; e.g. visual arts, social
justice, environmental issues, gender studies. ODC works can be re-imagined in various sites.
16 odc.dance

audience
development
ODC/Dance’s staff helps presenting organizations to:
• Identify potential community partners
• Identify salient geographical or social relevancy
• Collaborate with local thought leaders in lectures or talks
• Support local press or media strategy with enticing video, high resolution images,
and media outreach support
ODC/Dance’s outreach efforts emphasize creative interaction with ODC/Dance’s artistic team.
From lecture-demonstrations, distance learning programs, impromptu performances, short
concerts, and community choreography projects, ODC/Dance customizes its activities for
your communities.
Photo by RJ Muna of Invention of Wings
odc.dance 17

contact information
and staff list
Cathy Pruzan, Booking Agent
415/789.5051
cpruzan@aol.com
odc.dance/presenters
Joseph Copley, Company Manager
415/549.8518
josephc@odcdance.org
Choreographers
Brenda Way, Founder & Artistic Director
KT Nelson, Co-Artistic Director
Kimi Okada, Associate Choreographer
Kate Weare, Resident Choreographer
Executive
Brenda Way, Founder & Artistic Director
Katherine E. Akos, Interim Executive Director
Production
Tony Shayne, Production Manager
Marketing
Neal Spinler, Director of Marketing
Fran Jamison, Marketing Campaign Manager
Oxana Ermolova, Digital Marketing Manager
Mona Baroudi, Publicist
RJ Muna, Company Photographer
Andrew Weeks, Photographer
18 odc.dance

Photo by Andrew Weeks of Walk Back The Cat

Photo by Andrew Weeks of Walk Back The Cat
“The residency was simply brilliant. ODC connected with Reno dancers
as well as the community at large. The piece that the dancers and
KT Nelson created for the residency was so true to the environment in
northern Nevada and stole the hearts of all who watched and performed.”
—Beth Macmillan, Executive Director: ARTOWN, Reno, NV. President of Western Arts Alliance
2015/2016 and recipient of ODC Artistic Venture Touring Initiative

“This is a world where the movement is as jazzy
as it is athletic, where the women are brash and
the men are beautiful, where rugged individuality
builds team togetherness. No wonder ODC has
become a hub for West Coast dance.”
—SAN FRANCISCO CHRONICLE
Photo by Andrew Weeks of Invention of Wings
odc.dance/presenters