Understanding AB5 and the Arts

Dancers’ Group is sharing the following information on Assembly Bill 5.  Read this white paper and fact sheet to learn more about the bill.


Regulating the ‘gig economy’ is more complex than Legislature anticipated

Sacramento legislators are tripping over themselves trying to patch all the holes in AB5, the flawed law championed as California’s protection from Big Tech worker abuses. Instead of taking a thoughtful approach to address seismic shifts in our economy, they have chosen to cook up a hodgepodge of exemptions and fixes that do not address the societal and economic changes we are experiencing. Read More

Here’s how hard it is to be a freelance theater journalist, with or without AB5

Writing about my fellow Bay Area theater critics poses journalistic challenges. We all see each other all the time at opening nights. I count many of them as friends. But writing about Sam Hurwitt might be an especially tricky subject. He was my boss when we both worked for Theatre Bay Area; Read More

Legal Challenges over AB5

How AB5 has instilled fear and confusion in California’s arts community
Los Angeles Times

Freelance writers and photographers filed the second legal challenge to California’s broad new labor law…. Read more

Uber and Postmates have mounted a legal challenge seeking to block AB5, California’s landmark gig-work law — Read More

….a Los Angeles Superior Court judge ruled that California’s new gig-work law does not apply to truck drivers because it is preempted by federal law. Read More


Bay Area Dance Week

Promote Your Summer Workshops: Submissions due Mon, Mar 16

The annual May issue of In Dance gets distributed nationally to a readership of over 30,000 to highlight the abundance and dynamism of the Bay Area dance ecosystem.  This issue features the Bay Area Summer Workshops (Jun to Aug) and a calendar of May performances.

CA$H Dance: Applications due Thu, Mar 26

CA$H Dance is a granting program for individual artists and organizations in the San Francisco Bay Area. The Spring round invites proposals that describe projects (creative activity) that can include performances, research, or an educational initiative and these activities must take place between July 1 and Dec 31, 2020.

Find It. Book It. Create.

There’s More Space Than You Think


Don’t miss the April 2020 Deadline


Submit your calendar listing and hi-res photos

March Postcard Distribution
Reserve Now!
Next Deadline: Thu, Mar 5, 2020

Jan 2020

Dance Play Is Serious Business: Young Minds Require Freedom

by Nancy Ng

Recently, a colleague shared his frustration about the entire hour of homework his first-grade child was expected to complete after an eight-hour school day. He called it, “an assault on kids.”

Jan 2020

A SEAT AT THE TABLE: If you don’t have a seat at the table, you are probably on the menu.

By Deborah Slater

I am a storyteller, a translator, an everyperson, trying to ‘get’ life’s inexplicable moments. I make work to try and understand difficult life experiences, like the death of a parent, a near-fatal accident, passing as something one is not, the unspoken language of relationships, and impending environmental crises.


Feb 27

Smuin Contemporary Ballet continues its 26th season with Dance Series 1, a stunning program featuring three extraordinary works by established and rising choreographers. The music of country icon Johnny Cash comes alive in The Man in Black, an acclaimed work for three men and a woman, danced in cowboy boots. Choreographed by James Kudelka, the former artistic director of the National Ballet of Canada, this powerful piece is an ode to American working-class grit featuring complex choreography influenced by popular country-western dance styles—including line, square, swing, and step dancing. Arresting and inventive, The Man in Black was called “beguiling” by the San Francisco Chronicle and “deeply touching and poignant” by Canada’s National Post. It is set to six songs covered by Cash, including Trent Reznor’s “Hurt” and Gordon Lightfoot’s “If You Could Read My Mind.” Also on the bill: former Smuin artist Rex Wheeler’s Take Five, a delightfully witty work set to the jazzy beat of Dave Brubeck. Michael Smuin’s “dazzling” and “unforgettable” (San Francisco Chronicle) Carmina Burana, set to the sensual Carl Orff score, rounds out this spectacular program.

Feb 27

Ground-breaking dancer Wendy Whelan, legendary choreographer Lucinda Childs, renowned cellist/creative producer Maya Beiser and Pulitzer Prize-winning composer David Lang partner for the Bay Area premiere of The Day. The bold, collaborative evening is a sensory exploration of interconnected human journeys-life and the eternal-as seen through the shared languages of music and dance. Wendy Whelan, widely considered one of the world's leading dancers, began dance lessons at the age of three with Virginia Wooton in her hometown of Louisville, Kentucky. At the age of eight, she performed as a mouse in the Louisville Ballet's production of The Nutcracker. From that first performance, she was smitten. "Once I got to perform-to see the dancers and to have an orchestra playing right there in the pit, and see stage makeup, see the costume designs up close-once I knew ballet was a collaborative effort for all of these incredible artists, that's when I knew I wanted to do it for the rest of my life." Describing renowned cellist, producer, and multifaceted artist Maya Beiser, the New York Times writes, "The adventurous Ms. Beiser has been called the 'cello goddess,' which is not hyperbole: She summons from her instrument an emotional power so stirring that even the most stoic audience members risk turning into sobbing sacks of flesh." Passionately forging her artistic path through uncharted territories, Maya Beiser has been captivating audiences worldwide, bringing a bold and unorthodox presence to contemporary classical music, experimenting with various musical styles, and defying conventional norms with her boundary-crossing performances. Hailed as "the reigning queen of avant-garde cello" by The Washington Post, she has been called a "cello rock star," by Rolling Stone and praised as "a force of nature," by The Boston Globe.

Feb 27

Nancy Karp + Dancers embarks this fall on one of our most adventurous new projects, "piano piano" made for the Dresher Ensemble space in West Oakland. The work invites the audience through the buildings hallways, balconies, and central floor space. The dancers relationship to the architecture and the many spaces that appear to be fixed, will inform how the piece emerges. "piano piano" is an Italian expression that means: slowly slowly, gradually, gently, carefully, quietly, take your time / don't rush - you'll figure it out. Karp writes: I absolutely love this concept as a way of making decisions and going about life. It is this counteraction to the fast pace immediate culture of most everything in our contemporary world that will be at the heart of this new work; not only the pace and gradual unfolding of the performance, but part of the process in creating the work's movement vocabulary, music/sound choices, quality of lighting, & the response/treatment of the Dresher industrial space. "piano piano" collaborators are: Artistic Director and Choreographer: Nancy Karp Composer: Jay Cloidt Production Designer: Jack Carpenter Dancers: Chris Black, Nick Brentley, Sonsherée Giles, Katie Kruger, Amy Lewis, and Nol Simonse Pianist: Marja Mutru Seating Limited: Advanced Purchase is strongly encouraged

Feb 27

UC Berkeley's Department of Theater, Dance, and Performance Studies presents Berkeley Dance Project 2020: Exploring the intersections of dance and community, the annual TDPS dance concert poses critical questions for our divisive times: How can dance create inclusive exchanges between audiences and performers? How can dance making be a form of community making? How do communities use dance performance to bring forth new narratives and framings of the world? The program features new dance pieces by Bay Area choreographers Erik Lee (Dimensions Dance Theater), Latanya d. Tigner (Dimensions), and Lisa Wymore (Smith/Wymore Disappearing Acts), as well as pieces by emerging student choreographers and campus dance groups. Accessibility: Wheelchair accessible spaces and assistive listening devices are available for all performances. Live audio description, a pre-show haptic access tour, and ASL interpretation will be provided for the performance on Saturday, February 22. Please reserve an audio headset, an access tour, or other access services by completing this form. DG Discount

Feb 27

Alex Law’s Feat of Feet Pulse is a dance in collaboration with a live musician and an actor. Through the lens of public transit, we channel the rhythms that encapsulate us. We explore the intricacies amongst strangers in a confined space, imagining a quirky comedy with a touch of romanticism unfolding before us. Alex Law has been a choreographer, collaborator, and a dance artist for 6 years. She has worked alongside local musicians and continues to expand the breadth of collaboration. She is a two-time RAW resident for Safehouse Arts, performing with local artists, creating dance films, and merging technology and movement through Kinetech Arts. Hannah Young Hannah Young is a California transplant by way of Idaho. After completing her Bachelor of Arts in Dance at Pomona College, she moved to San Francisco where she’s been lucky to find a home in the dance community here and a fundraising job at the San Francisco Ballet. She has recently shown work at SAFEhouse, The Tiny Dance Film Festival, and Bulbfest 2018. She has performed with Stephanie Unger and Jocelyn Reyes in the Bay Area and with John Pennington at Pomona College.

Feb 27

"If you are not at the table, you are probably on the menu." This co-presentation with ODC Theater is part two and three of Deborah Slater Dance Theater’s inCIVILITY series— the acclaimed Outrage Machine (2018), a combination of motion capture, live interactive visual effects, and the expressive power of dance; and the world premiere of the third and final section, A Seat at the Table, in celebration of DSDT’s 30th Anniversary season. Inspired by an Adam Gopnik article, “…Who Deserves a Seat at the Table”, and Jonathan Swift's “A Modest Proposal”, A Seat at the Table combines athletic interactions inspired by humanity, power, and place with community input about marginalization, powerlessness, and even being shunned. A multi-media award-winning dance company, Deborah Slater Dance Theater does visually gorgeous, acrobatic, talking dance. Celebrating its 30th Anniversary in 2019, DSDT is dedicated to the creation of all-original performances exploring timely social issues and creating meaningful paths through life’s experience, using dance, education, and outreach to the community. This project is partially funded by The Stanley S. Langendorf Foundation, Sam Mazza Foundation, The Kenneth Rainin Foundation, Grants for the Arts, California Arts Council, Zellerbach Family Foundation, The National Endowment for the Arts, and individual donors.



Dancers’ Group’s fiscal sponsorship program provides administrative guidance that can help you raise money to support your dance.


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