Two Headed Calf at The Pocket Theater

February 18 + 25 | 7:00 PM
The Pocket Theater

"Two Headed Calf" is an original story of generosity and gentleness, told through live music, dance and shadow puppets. A feast for your ears, eyes and heart, created by a collaborative team interested in spreading good will. 

Keith White and Calie Swedberg are best friends. Keith writes nice songs. Calie holds things gently. Being kind is one of their mutual interests. Their first collaboration, Receive a Kindness, was performed in July of 2015 as a part of the Yellow Fish Epic Durational Festival. That project will continue to live as the spine of an ever-growing body of work. 

Chantael Duke
Andrew Van Kempen
Alexis Modula
Loren Othon
Jessica Jones
Lauren Brazell

This project is funded in part by Seattle Office of Arts & Culture and made possible by a creative residency at 10 degrees thanks to KT Niehoff. 

Dance CHAT

FEB 16 | 5:30 - 7:30 PM

SeattleDances is excited to host Dance CHAT, a monthly event in collaboration with KT Niehoff. Dance CHAT is an informal gathering to discuss what's happening on Seattle stages. It's been a while since our last event and there's certainly been plenty of dance in between for us to talk about. We are pleased to announce Marcie Sillman of KUOW radio as our facilitator. She'll be helping kick-start the conversation and provide some context for the performances of the past few months.

We hope you'll join us for some dialogue to recap the goings-on in the Seattle dance.

This is a FREE event. 
*drinks available with donation* 

Come chat with us!

The Glimmer Showgirls Take Over 10 degrees

Rehearsals are underway for the upcoming A Glimmer of Hope or Skin or Light performances at ACT Theatre's Bullitt Cabaret. The performers are getting excited to play!

KT in Residence for Glimmer

KT is back in the studio at 10 degrees remounting A Glimmer of Hope or Skin or Light on an all new cast of dancers for this seminal work returning to ACT Theatre's Bullitt Cabaret this fall. 

Photo: Kevin Kauer

Photo: Kevin Kauer

A Glimmer of Hope or Skin or Light is a dancer/theater/cabaret/glam-rock musical originally created in 2010 by choreographer/director and 10 degrees owner KT Niehoff. Co-Presented by ACT Theater and KT Niehoff with SQUID MGMT, Glimmer returns to the labyrinthine chambers of the Bullitt Cabaret as part of ACT's 50th Anniversary Season.

Inviting the audience deep into the world of Glimmer, they are welcome to watch the show from any vantage point, moving as they wish throughout the performers. Full of uncommon encounters, raucous spectacle and  virtuosic dancing, Gigi Berardi of Dance Magazine writes, "(Glimmer) is raucous, daunting thing...and unforgettable."

The cast is comprised of five core dancers, seven showgirls and a rock band led by singer/songwriter Ivory Smith. Niehoff and Smith front the band, singing original songs that borrow inspiration from Pippin, Cabaret, and Moulin Rouge. Scott Colburn composed the moody and atmospheric pre-recorded score. Glimmer's entirely new cast includes Seattle personalities Meredith Salle, Amy Clem, Patrick Kilbane and Molly Sides (lead singer for Thunderpussy) - who Smith and Niehoff will be creating new songs for - as well as artists from Vancouver, NYC, and Portland. 


In residence at 10 degrees, Inner Galactic is an immersive dance performance incorporating music, spoken word and theater as well as video, costume, light and visual design. This adventurous show uses outer space as a metaphor for the vast and complex inner workings of the heart. Inspired by space travel, the writings of Carl Sagan, the life cycle of stars and general love of sci-fi/fantasy storytelling, Inner Galactic is a wild ride through joy, humor, and heartbreak, exploring how we are truly "made of star stuff".

Upcoming Sneak Peaks

Inner Galactic Installation Preview
Arts In Nature Festival
August 22 - 23

The Innernauts
Velocity Dance Center's Big Bang
September 27

World Premiere
Inner Galactic: An Odyssey of Heart
November 13 - 14 | 8PM
November 15 | 7PM
Velocity Dance Center


Peggy Piacenza's Touch Me Here Coming to Velocity this Fall

Velocity Dance Center's Guest Artist Series presents 
Peggy Piacenza's
Touch Me Here
September 3 + 4 | 8PM

Photo: Tim Summers

Photo: Tim Summers

Touch Me Here is a multi-disciplinary movement memoir created and performed by Seattle-based choreographer Peggy Piacenza with an original live score performed by cellist Scott Bell. The work originally premiered at Washington Hall in 2014 and was developed through an artist residency at 10 degrees.


July 7 - 25 Velocity Dance Center's Strictly Seattle 
Rehearsals: Professional/Advanced Track

This summer Velocity's Strictly Seattle returns to 10 degrees for the Professional/Advanced afternoon rehearsals. This is the fifth year that Velocity has partnered with 10 degrees. Each week a different choreographer is working in the space creating and building a new work which will premiere at the Strictly Seattle Performances July 24 + 25 at Broadway Performance Hall. 

Professional/advanced track with zoe scofield

zoe scofield

Zoe Scofield studied ballet and modern at Walnut Hill School for the Performing Arts in Boston. She has danced with Prometheus Dance and Bill James among other choreographers in Toronto, Boston and Seattle. Scofield has received the Stranger Genius Award, National Dance Project Tour Support, The Mariam McGlone Emerging Choreographer Award from Wesleyan University, Artist Trust's GAP Grant and Artist Fellowship Award, City Arts Innovator Award, Seattle Magazine's Spotlight Award, Alpert Award Residency and the Princess Grace Foundation Choreography and Special Projects Award. As collaborators, Scofield and Juniper Shuey have been commissioned and shown work at galleries and art spaces nationally and internationally. zoe | juniper has been described as "a crazy dream you just can't shake" (Karen Campbell, The Boston Globe). Their newest work, BeginAgain premiered at On the Boards and was presented at The Joyce/3 Legged Dog, PS122 COIL Festival and Baryshnikov Arts Center, REDCAT, DancePlace  and Fringe Arts. 


This work is a study for Pat Graney's evening length piece Girl Gods, which has been in process for the past two years. In the rehearsal process for Strictly Seattle, the dancers created movement taken from specific images and strung it together as one long phrase. During the process dancers learned movement, wrote about their personal experiences with rage and interviewed their mothers on the idea of rage and what place (if any) it had in their, their mother's, and grandmother's lives. These audio recordings were then mixed by composer Amy Denio for an original score. Women, family histories, lineage and rage.


Founder of the Pat Graney Dance Company in 1991, choreographer Pat Graney creates work that features a diverse set of movement vocabularies that range from ballet to gymnastics to martial arts; explorations of female identity and power; and rich visuals. The Vivian Girls (2004) was based on the work of "outsider" artist Henry Darger; and House of Mind (2008), a work in multiple media ( installation, sculpture, video, and choreographed performances), transformed a 5,000 sq. foot raw space. In 1991, she began creating a body of work related to women with Faith (1991), Sleep (1995) and Tattoo (2001) - this triptych was remounted in 2010 at On the Boards. As a long-time Seattle resident, Graney and her company  have undertaken community initiatives like working with incarcerated women through Keeping the Faith / The Prison Project, and more recently working with teens in the Seattle school system. Among her many honors, Graney is an Alpert Award in the Arts (2008) and USA Fellowship (2008) recipient, and in 2013 Graney was chosen as one of 20 Americans to receive the Doris Duke Performing Artist Award. Her upcoming work for 2015, girl gods, explores the sacrifice of the female in contemporary culture. 


Cherdonna washes your car...

10 degrees | 1312 E Union St. Seattle

Join 2015 Stranger Genius Nominee Cherdonna Shinatra for a 4 hour filmed improvisational score titled: Cherdonna washes your car. Cherdonna needs you and your car! If you would like Cherdonna to wash your "car" (the literal, figurative, and the abstract vessel that you travel the city in: car, bike, body, tractor, unicorn, etc.) at 10 degrees please sign up for a 60 sec, 7 min, or 60 min wash HERE (make sure to choose July 15th). You are also welcome to come and witness the spectacle! 

Photo: Kelly O

Photo: Kelly O

Thoughts from Artist in Residence Amii LeGendre

I went to the Underscore event on Thursday night at Velocity Dance Center, in which contact improvisation is the common physical language.  I danced with some fabulous old pals and met some new fabulous people. I had a great time. We danced in silence. We laid around. At the end, we ate ripe cherries the organizer had brought for us to share. Everyone was white. 

In the studio next door, there was a rehearsal going on that had loud bass-y music that seeped out into our silent studio. I craved to taste that music. I wanted to fling the door open, to let it spill into our quiet space.  I peeked in, to see if it was a class or if it was okay if I watched. I asked if I could watch. They were preparing for a hip hop performance. They said it was fine that I watched, but they were wrapping up. Everyone in that space was black. 

One room full of white people doing contact improvisation and another room full of black people doing hip hop. I wanted to be able to speak smartly about how this happened. I wanted to know whether I should feel sad or disappointed or angry or happy or nothing about the facticity of this. I don't want to ask simple questions like the ones on the tip of my tongue, like, why are we still self-segregating? what are the larger forces at hand that keep us from integrating? I mostly know the answers. And in the end, what's so bad about sharing a cultural language and engaging in that language with other speakers (the language of contact and hip hop)?  Hip hop=awesome.   Contact improvisation=awesome.  What's the big deal? But I didn't want to iron out the wrinkles of history that were a part of getting us here. (That's called colorblind rhetoric). Friends helped me come to the conclusion that to notice without placing a definitive narrative or having a distinct feeling about it was a good thing to try. I'm trying that.  

I wanted to run in that room and say, hey, wouldn't it be cool if you danced with us and we danced with you, for, like 5 minutes? I was distracted by this the whole evening. I felt like because I didn't make that invitation, I lacked courage somehow. I knew it would be naive, disturbing, and self-centered to do so. They were there to rehearse for a show, not make themselves infinitely available for engagement across difference because white girl wants to go all kum-bay-yah. 

This all reminds me of how much history I know and how much I don't know, and how the not knowing shapes my experience of now. I get mad and humiliated every time I learn a new piece of knowledge that --as someone who wants to be a civically engaged person--I should have known from childhood. I'm so mad I don't know this shit!  Damn, I should have been born with that knowledge!

Like you, I'm trying to learn it now and not get mad or humiliated. 

So for the purposes of this solo I'm making, which looks at engaging with people across difference, try your hand at taking this quiz. 

Try not to get mad or humiliated. 

If you want to email me for the answers I'd be happy to tell you ( I find I remember stuff better if I have to find it myself. I'm not punishing you.  I just want you to know this if you don't already. 

Maybe you can try to do what my friends tried to tell me to do:  notice without placing a definitive narrative or having a distinct feeling about it. Just learn it now. 

Consider how and where you think we should learn this stuff ('this stuff' being histories of power and difference in our country). 

I think I'm including this quiz in the piece. You can come to the showing on Wednesday evening at 6pm at Ten Degrees studio and try it again.


What is the date that schools became racially integrated in America?

What was the name of the legislation that ended race-based school segregation? 

What’s the name of the young girl (aged 6) who walked through angry mobs to receive the first racially integrated education (though no one but her and her white teacher showed up for the first while)?

What’s one name of one of the four girls who were killed in the Birmingham bombing?

When was that? 

What’s the name of the legislation that ended the criminalization of interracial marriage? And the date?

What’s the date in which slavery was theoretically and officially ended in this country?

Rodney King beating—when? 

John Carlos was the black gold medalist who made the Black Power salute when receiving his medal in what Olympics?

Which of these dates or actions mean the most to you?

Were you alive when any of these occurred?

Name ten countries  in Africa

Name five countries in Africa that were previously colonized and name who the colonizers were.

Did you learn any of this in school?

Name one privilege you have and how you came about having it

Was this quiz difficult? How so?

A walk towards the sun...the moon...and the stars... Alia Swersky in Residence

Alia Swersky is at 10degrees working on a solo, a performance designed for a single audience member, A walk towards the sun...the moon...and the stars... 

Perfection and humanity, intimacy, existential inquiries, minimal movement, a magnified and intensified shared space, having a drink together, silence and cathartic music, a mirror with eyes closed, interactive questions to get into the core of who we are and the many ways to see and be seen...

A walk towards the sun...the moon...and the stars is the third inception of Alia's work with these ideas. It was first performed in 2012 at Velocity's Big Bang and then at the flower shop Fleurish in 2013 as part of KT Niehoff's Collision Theory

8PM, 8:30PM, 9PM, 9:30PM
Tuesday May 26
Tuesday June 2
Tuesday June 9
Tuesday June 30

At this time all slots are filled. 
If you are interested in learning more about this project or are interested in being an audience member, please contact Alia at 


Artist in Residency - Amii LeGendre

Amii Legendre is in residency June 10 - 18 at 10degrees developing a new solo. 

Working Title:
Surrender/Working in and Getting worked over in Prison
Other Working Title:
Regime Change/Please Don't Feed the Animals

Themes therein are:
Heteronormativity - Why is it easier to gain the trust of men in prison if you allow yourself to be seen as a medium good looking straight woman?
Motherhood - The first way in to common ground is to talk about children. 
Womanhood - As one incarcerated friend asked, "what happens to men without women and children?"
Determination - You expect this one in a prison narrative, perhaps, but this theme plays out like any story of a group of people trying to put on a show.
White Liberal Guilt - Not in high doses and usually blurry. 
Personal Failure - Not everyone does  a good job. 
Redemption - Just kidding, we won't go there. 


Amii LeGendre is a faculty member in Dance and coordinates the Wellness program at Bard College in upstate NY. She teaches modern technique, contact, and improvisation techniques at Bard from many points of departure. For 20+ years, she has taught and teaches all this stuff in relevant configurations to independent youth, college, adult and professional communities. 

Informed by feminist perspectives and histories, she facilitates events on the board of Bard College campus that explore body positivity, mental health, anti-racism, sexual health, and mind/body connectivities. For five years she taught dance to incarcerated men through Bard Prison Initiative (BPI) and Rehabilitation Through the Arts (RTA). 

She created contemporary dance work in Seattle WA for 15 years with the crackerjack and beloved performers of LeGendre Performance Group. With LPG, she created many full evening works and projects grown from a confluence of text, improvisation, high velocity dancing and politics, often located in collaborations with musicians, composers, and designers. She is the mama of Stella and Ruby, aged 10 and 2. She tries to follow the dictum "make art anyway", weaving body positive activism and improvisation into her daily personal, professional and performative acts. 


This new and not so new solo tries to tell the truth, which mostly involves asking, what part of the truth gets obscured when I'm trying to tell the truth but leaving out the obscured parts (because it looks better, sounds better, feels better)? This means telling a truth (one of them) about the body, about aging, about feminism's promise of having it all, about nursing and motherhood and dancing, about relationships across race and class and privilege, about how 'the purity' of art making can get debunked so it fits into spaces and actions that don't look or feel like art--but still feel and look interesting, worthwhile. It tries to figure out how to invite people a little further toward ant-racist thought and action and engagement across difference. It tries to, as my mentor and friend David Dorfman says, "invite and incite." 

~Amii LeGendre

the common S E N S E

Choreographer Corrie Befort presents an ensemble performance within
Ann Hamilton’s exhibition 
the common S E N S E

Saturday April 25, 2015 | 2:30 PM Final ArtBreak of the installation
Henry Art Gallery, 
University of Washington
15th Ave NE & NE 41st St. | Seattle
Museum Admission Fees: $10 | seniors + children $6 | free for Henry members

INFO:  206 543-2280

During the closing weekend of the exhibition, choreographer Corrie Befort (Salt Horse, LIMITS) guides a sensory tour within Ann Hamilton's installation the common S E N S E which includes an ensemble performance in the atmospheric Field of Bullroarers. Audience members join ten dancers in a simple score that invites participants inside the logic of the choreography and offers a visceral lens for the installation. the common S E N S E  is in part about the human/animal commonality of touch described as “not only physical contact but a form of intellectual and emotional recognition.” Befort offers physically engaged entry to these ideas, quickening sensation through proximity and lively weaving geometries.

Joining Befort is Seattle sound artist Jason E Anderson (DRAFT, LIMITS) and beloved Seattle performers Kim Lusk (zoe | juniper), Matt Drews (The YC), Mary Margaret Moore, Ariana Bird, Alexandra Maricich, Sean Rosado, Coleman Pester, Devin McDermott and Linsyanne Owen.

Befort has been regularly scoring Henry ArtBreaks during the life of this this six-month exhibition, including one with her collaborative company Salt Horse in March, 2015.  She has followed Hamilton’s work closely since 1998, drawn by mutual appetites toward imagistic proposals that invite multi-sensory participation.

Ann Hamilton: the common S E N S E
the common S E N S E is a museum-wide exhibition of newly commissioned works by American artist Ann Hamilton (born 1956). Hamilton conceived of the Henry as a hub connecting to the University of Washington's collections and academic programs. As a Visiting Fellow, she conducted research in the Burke Museum of Natural History and Culture, the University Libraries Special Collections, and the Henry's holdings of costumes, textiles, and photographs. The material elements of the exhibition are drawn from these collections. Images of animals specimens; bestiaries and children's ABC primers; fur, feather, and gut garments are stitched together with sound, voice, printed texts, and the movement of air in a building newly opened to light. Time is also a material of the exhibition. Over the six-month duration of the common S E N S E, the project will shift with some elements depleting and others accumulating. Periodically, the galleries will be animated by reading and singing.

Aristotle wrote in Historia Animalum and De Anima that "touch" is the sense common to all animal species. In this project, touch is not only physical contact but a form of intellectual and emotional recognition. The exhibition is full of images and skins of animals: once alive, they touched and were touched in return by the world they inhabited. For Hamilton the common S E N S E is "an address to the finitude and threatened extinctions we share across species—a lacrimosa, an elegy, for a future being lost."

Corrie Befort:
Seattle-based dancer/choreographer/designer Corrie Befort has been creating award-winning dance films and performance works through rigorous collaborations for the past 16 years. Presented and commissioned nationally in the US, Japan and Belgium, Corrie co-directs Seattle/NYC-based performance company Salt Horse with Beth Graczyk + Angelina Baldoz and performance/cinema project LIMITS with Jason E Anderson.  She builds physically activated visual art, scenography and costuming within Salt Horse and for other artists including Mark Haim, Cherdonna/Jody Keuhner and soloists working with Deborah Hay.  Her dance films have screened in festivals across the USA, Japan, Europe, the Middle East and South America and she teaches dance filmmaking at Cornish College. Corrie is dedicated to investigating reciprocal activations of sensation, perception and imagination in her creative work and in her teaching. For the past six years she has been teaching dance classes for people with Parkinson's Disease in Seattle and beyond, is developing a dance for MS format, teaches Autism Movement Therapy and has created a dance class for people in recovery from homelessness, addiction and trauma through the Path with Art Program. As a dancer she is currently a soloist for both Scott/Powell Performance and the The Withing Project (Beth Grazcyk + Hope Wechkin) and has studied recently with Companie Marie Chouinard (Montreal), Eric Beauchesne (Kid Pivot) and Michael Schumacher (Ballet Frankfurt). An avid hiker and kayaker, she makes frequent ventures into the High Sierras, Channeled Scablands and San Juan coastal waters.

Ann Hamilton:
Ann Hamilton (U.S., born 1956) has created multi-sensory installations in numerous spaces, including The Hirshhorn Museum and Sculpture Garden, Washington D.C. (2003, 1991); The Wanås Foundation, Knislinge, Sweden (2002); The Pulitzer Foundation for the Arts, St. Louis (2009); and New York’s Park Avenue Armory (2012), among others. Hamilton is the recipient of many honors including a MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Tiffany Foundation Award, and Guggenheim Fellowship. This year, she was inducted into the American Academy of Arts and Letters. Hamilton represented the United States in the 1991 São Paulo Bienal and the 1999 Venice Biennale. In 1992, she established her home and practice in Columbus, Ohio, where she is a Distinguished University Professor of Art at The Ohio State University.
In 2004, Hamilton created the permanent installation LEW Wood Floor for the opening of the Seattle Central Public Library. The floor's raised letterforms, tactile underfoot, spell out the first sentences from books in the library’s collection in eleven languages. Most recently, Hamilton was selected from a pool of over 340 applicants for a large-scale, outdoor commission on the new public piers as part of Waterfront Seattle, a city-funded project to replace the Alaskan Way Viaduct with twenty-six acres of new public space, streets, parks, and buildings. 

Photo: Corrie Befort + Tim Summers

L I M I T S | Jason E Anderson + Corrie Befort

LIMITS : A virtual hallway, the displacement of a techno club, a doubling, a briefcase,
a permeable membrane

LIMITS is a Seattle-based performance art/music hybrid collaboration by sound artist/musician/designer Jason E Anderson and choreographer/set-costume designer/dancer Corrie Befort. LIMITS investigates the intersection of conceptual, abstract, and narrative methodologies generated through interactive performances, installations, films and records.

Upcoming Performances

March 25 @9PM | Kremwerk | $5
Debacle Records is pleased to bring you a stellar line up of the northwest's best experimental musicians + performance/art/sound/dance hybrid

Matt Carlson - PDX
LIMITS - Corrie Befort + Jason E Anderson
Garek Jon Druss 

Past Performances
Limits #003
Feb 28 | S1 Portland

More Information

In Residency: Maya Soto + Nico Tower

Maya Soto + Nico Tower are metaphysical space travelers. Their residency at 10degrees supports the research/development of Inner Galactic, their first endeavor as a creative team. In a clash of grit and whimsy, they embark upon an innergalactic journey of intergalactic proportions. They experiment with film and light projection in relationship to live sound scoring and dance to create a fantastical galaxy that exists within a human heart. For more than a decade each, these artists have been active in their respective communities. Maya Soto is a dedicated member of the Seattle dance community. She is a Velocity teaching artist, choreographer, performer and award winning arts educator. West Coast multidisciplinary artist Nico Tower is a passionate music educator, touring composer/performer, visual designer, and arts outreach advocate. Inner Galactic is made possible through Velocity Dance Center's Creative Resident Program, a special partnership with 10degrees.

More Information:

Work in Process Showing:
On the Boards Open Studio #10
March 29 | 3:30 PM
$5 Suggested Donation
Studio Theater
On the Boards

Peggy Piacenza in reflection at 10degrees

Peggy Piacenza is in reflection mode at 10degrees. She is reflecting on the Seattle premiere of her recent solo work - Touch Me HereFor audiences who missed the work there will be another opportunity to see it in the Fall of 2015. Stay tuned for details. AND if you saw Touch Me Here and would like to enter a dialogue with Peggy, she welcomes the conversation. Contact her at 

Peggy Piacenza | Photo: Tim Summers 

Peggy Piacenza | Photo: Tim Summers 

Peggy Piacenza's Seattle show in November

10d artist in residence Peggy Piacenza is performing Touch Me Here at Washington Hall on November 19-21, 2014. 

Read more below about the one-woman show - and check out her Hatchfund!

Touch Me Here

November 20, 21 + 22 8PM
 Washington Hall | 153 14th Ave, Seattle, WA 98122 

Touch Me Here is an evening-length solo performance created and performed by Seattle-based choreographer Peggy Piacenza with an original live score performed by cellist Scott Bell.

A luminary performer and a unique choreographic voice in Seattle’s dance community, Piacenza’s 25-year career includes her own evening-length works as well as star turns with Pat Graney Company, 33 Fainting Spells, Deborah Hay, Dayna Hanson and others. A very personal departure from her past work, Touch Me Here is a movement memoir in which Piacenza excavates her own lived experience to connect with audiences human to human.  

Piacenza straddles humor, fantasy, intimacy and sorrow in a multi-disciplinary solo inspired not only by her own life and career but also by Lotan Baba, the rolling saint of India, and Nights of Cabiria, Fellini’s cinematic tale of a prostitute in search of love. In Touch Me Here, a bracingly vulnerable Piacenza guides audiences in a hyper-human search of love, peace and profound understanding.

Mark Haim in residency at 10d

Renowned Seattle-based choreographer Mark Haim is dancing daily in 10 degrees to prepare for a collaborative, improvisational performance as part of the Seattle Festival of Dance Improvisation.

I am performing with improv greats Michael Schumacher, Kirstie Simpson, Darrell Jones and Tom Schumacher one evening during the Seattle Festival of Dance and Improvisation and needed some consistent alone time in a studio to feel myself moving again. Being and dancing in the intimacy and the safety of 10 degrees daily for two weeks leading up to the show is exactly what I needed.
— -Mark Haim

Mark Haim has been choreographing for over 30 years. He was Artistic Director of Mark Haim & Dancers from 1984-1987, and the Companhia de Danca de Lisboa from 1987-1990. He has created new works for dance companies such as the Nederlands Dans Theater, Ballet Frankfurt, the Limon Dance Company, the Joffrey II Dancers, and the  Rotterdamse Dansgroep, and has restaged his works on The Joffrey Ballet, the Bat-Dor Dance Company of Israel, Djazzex, and the Juilliard Dance Ensemble. His full evening solo project, The Goldberg Variations, has been performed at the American Dance Festival, the Danspace Project at St. Mark's Church, The John F. Kennedy Center, On The Boards and other venues in the U.S, Europe, Asia. His newest work, This Land Is Your Land, opened the ArtDanThe Festival in Paris, and has also been performed at the Joyce Theater in NYC and in the Nasher Museum of Art as part of the 2013 ADF performing series. Most recently, Mark has been choreographer for the Seattle Opera's productions of The Consul and Tales of Hoffmann. Mark has been on the faculty of the American Dance Festival since 1993 and was the Senior Artist in Residence at the University of Washington Dance Program from 2002-2008.