FDANCE Management currently manages the below roster. If you are interested in booking any of these artists for master classes, residencies, workshops, or lecture demonstrations, please contact us via email.
BAND|portier is a moniker for the dance, installation, and visual work(s) Kendra Portier makes with the band of courageous beings she creates with. Past performers and collaborators include: Anna Adams Stark, Edward Rice, Simon Thomas Train, Aya Wilson, Sydnie Liggett, Christina Jane Robson, Laurel Snyder, Molly McSherry, Katie Stehura, Sara Gibbons, Jasmine Hearn, Emma Judkins, Tristan Koepke, Patrick McGrath Needham, Maryanne Lachman, Meg Madorin, Dante Brown, Marcos Duran, Rebecca Lubart, Megan Adele Bascom, Meghan Frederick, Morgan Griffen, Theresa Elwell, Madeline Wilcox, Courtney Drasner, Jenna Reigel, Annie Kloppenberg, and Michael Ingle. Music has included Super-heroes Mike Wall\SoundFORmovement and Albert Mathias, on costumes we have had Casey Loomis and Delaney McDonough, and with endless support and photos by Marisa Jane Gruneberg/Rockpaper Photography.
As a collective, our work demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By rejecting an objective truth and global cultural narratives, we find that movement reveals an inherent awkwardness, a humor that echoes our own vulnerabilities. The collective also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss. Brother(hood) Dance!’s work urge us to renegotiate performance as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society.
Jessica Pretty is a New York based dance artist, choreographer and teacher. She received her MFA in Dance from the University of Illinois at Urbana Champaign with a Queer Studies minor. Pretty has performed in works by Jennifer Monson, Niall Jones, Cynthia Oliver, Abby Zbikowski and more. She has presented work at panoply performance lab, the CURRENT SESSIONS, three ACDA conferences, the Emerging Artists Concert Series at Green Street Studios, and Krannert Center for the Performing Arts. Pretty is a Fresh Tracks artist in residence at New York Live Arts.
Johnnie Cruise Mercer/TheREDprojectNYC is a community of artistic dare devils that choreographically and conceptually concentrate on the thorough excavation of the human subconscious through movement. Using conversation and difference as an inspiration for creation, the collective of artists are devoted to acknowledging the connection between performance and human understanding. Founded in 2014 in Richmond, VA (later to be relocated to New York City in 2015), the blossoming company has performed in numerous venues including The Dance Place, Dogtown Dance Theatre, BAAD (Bronx Academy of Arts and Dance, Gibney Dance's Agnes Varis Performing Arts Center, The Center for Performance Research, Danspace @ St. Mark's Church, Harlem Repertory Theater, The Greenspace, The Bolls Theater of Detroit, The Grace Street Theater of Virginia, and as a part of various festivals throughout the country. The company has also been in residence at Chez Bushwick Inc., Silo Farms, Denmark Arts Center, and are currently AIR at the 92Y Harkness Dance Center for their 2016-2017 season! A shifting roster of multiple freelance artists, the company hopes to fully embrace the millennial voice while proposing questions dealing with the composition’s relation to politics, history, human emotional availability, and the uncomfortable sharing of one’s private self in public.
Johnnie Cruise Mercer and The RED Projectnyc
As a hybrid outlet for the artistic work and the educational outreach of Charlie Maybee, The T.A.P. strives to bring tap dance back to relevance in the current, progressive dance world by taking tap dance to a new level of choreographic and pedagogical intent. By fusing the rhythmic intricacies of tap dance with progressive musical theory and post-modern choreographic techniques, we present artwork which challenges contemporary audience’s perception of tap dance and allow tap works to speak for themselves on an emotional, mental, and physical level.