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.


Kendra Portier is an NYC-based maker, teacher, and performer. The projects she takes on are primarily dance works; drawing heavily upon her visual art practice and love for mathematics, science, somatic curiosities, and music. Originally from Ohio, Portier trained at BalletMet and received a BFA with Honors in Dance from the Ohio State University. She relocated to NYC-then-Boston-then-back to NYC and on to Illinois for an MFA from the University of Illinois Urbana-Champaign. She has had the fortune of promoting dance works in diverse ways from San Diego to Salzburg, Dushanbe to Athens (Greece, Georgia, and Ohio) via her tenures with David Dorfman Dance and Vanessa Justice Dance. She has also performed in the work of Lisa Race/Race Dance, Sara Hook, Alexandra Beller Dance, Nicole Wolcott Dance, among others. Portier has held numerous guest artist and faculty positions, including those at Gibney Dance Center, Mark Morrris Dance Center, Bates Dance Festival, and Peridance. Her work, housed under the moniker BAND (BAND|portier, BAND|kp), has been presented throughout the East Coast by multiple venues, receiving awards such as the Bates Dance Festival Emerging Choreographer Award (ME), Harkness Choreographer in Residence (NYC), Tisch Summer Festival at New York University Space Residencies (NYC), Mary Elizabeth Hamstrong Award (IL), and the Wand M. Nettl Prize for Choreography (IL). Currently, Portier is hustlin' in and between NYC and DC as faculty at Gibney Dance Center (NYC), Artist in Residence at the University of Maryland, and in-process with her new work Burnish (Magenta #2).

Inertia DeWitt

Inertia DeWitt is a performance-artist, educator, and budding therapist based in California. Her artwork explores issues of identity, spirituality, and the intersections of American pop-culture and politics. Her current project, AMERICAN WONDER, is a multidisciplinary performance-art protest that asks what it means to be a 21st century American. She earned an MFA in Dance from Arizona State University, where her studies focused on creative practices, somatics, and performance. She believes that when you activate creativity, you awaken spirit and encourage the body's natural propensity to heal itself. Inertia is in pursuit of an MA in Counseling Psychology with an emphasis in Depth Psychology from Pacifica Graduate Institute, in an effort to fortify her passion for art and healing.


Charlie Maybee

Charlie Maybee is a music and dance artist hailing from Woodbridge, Virginia, and an alumnus of the Metropolitan Youth Tap Ensemble (MTYE) and Virginia Commonwealth University (VCU) Department of Dance and Choreography BFA Program. He is currently pursuing an MFA in Dance from the University of Illinois at Urbana-Champaign (UIUC where he is researching the relationship between tap dance and posthumanism. He has held positions such as Adjunct Instructor, Production Manager, Space Coordinator, and Accompanist for the UIUC Department of Dance as well as the Director of Dance Arts for the Champaign Park District. Charlie is also the Founder and Artistic Director of Polymath Performance Project: a multi-faceted collective who embrace the notion of entangling many methods of making to create interdisciplinary performance artwork. Since 2014, his work has been shown nationally at events and venues such as Eden’s Expressway in New York, NY, Panoply Performance Laboratory in Brooklyn, NY, Links Hall in Chicago, IL, Richmond Dance Festival at Dogtown Dance Theater in Richmond, Virginia, Krannert Center for the Performing Arts (KCPA) in Urbana, Illinois, and the American College Dance Association (ACDA) at Wichita State University in Wichita, Kansas. He also works collaboratively with two Urbana-Champaign based music projects: Charlie & the Possibly Wilds and Flexible By Friday. 


Jessica Pretty

As a black female dancing body I am constantly investigating different methods of world-building so as to have a self created limitless potential for possibility within a society where my body has been deemed one that is impossible. In navigating this possibility I am looking to re-claim the stakes attached to my dancing body which find their ways into my work by relentlessly going after feelings of the fantastic. Feelings of unbelievable swelling. Feelings of pleasure and multiple possibilities. I want many things therefore I feel my work is rooted in a constant friction; moving back and forth between variant ideas and placings of movement and knowing. Friction finds itself inside of rhythm and directionality - two foundational components to my making - because friction can lead to surprises. And I love surprises. A third foundational component is physicality which often finds itself serving as a reactionary tool to the rhythm and directionality. Physicality is valued in my work because of the ecstasy that it can build in the body. Ecstasy building is a deep part of my physical practice because of the myriad of states that can result from it. A swelling takes place in the body, in the mind, in the mood, in the meaning, in the relationships to other bodies and in the relationship to space. What is that feeling between moving bodies? That giving and taking of euphoria that is downright addictive to locate, tirelessly rubbing up against variant possibilities of the body as it folds into different times, spaces, and relationships to those around it. What I’m building for myself and others through my work is something of a survival strategy; something of a method to the madness.