A nationally recognized contemporary dance company founded in 1995, Robert Moses' Kin is a prolific and exciting dance company that has a repertory of over 100 works. The company's mission is to produce work which speaks to what is specific and unique in human nature. Robert Moses' Kin uses movement as the medium through which race, class, culture and gender are used to voice the existence of our greater potential and unfulfilled possibilities.
Robert Moses' diverse company is known for its eclectic movement vocabulary, demanding choreography, ferocious dancing, and provocative themes. Moses' focus on the expressiveness of the human body and his desire to speak with the voices of his African American heritage have produced works with regional, national and international recognition.
Robert Moses' diverse company is known for its eclectic movement vocabulary, demanding choreography, ferocious dancing, and provocative themes. Moses' focus on the expressiveness of the human body and his desire to speak with the voices of his African American heritage have produced works with regional, national and international recognition.
Services
Robert Moses' Kin is inviting SF Bay Area multidisciplinary teaching artists in movement, music and storytelling i.e. Each workshop within the program will incorporate multiple disciplines: movement, music and storytelling/creative writing. This is an intergenerational program that will be held in a couple SFUSD public schools and SF community centers.
RMK is thrilled to be performing at The Joyce Theater's sixth annual American Dance Platform alongside COMPLEXIONS. We will be bringing the East Coast premiere of The Soft Solace of a Slightly Descended Lost Life (Suck It), an immersive performance focused on the fractured heritage, risk, and theft of solace and safety from everyday life.
Contemporary classes from KINDance offer a special cohesiveness. Even as each individual teacher has their own unique style and approach, they all draw from their decades of experience dancing with and learning from Artistic Director and master teacher Robert Moses. By signing up for classes, you're joining the next generation of KIN.
The notes/works/writings here are in process. They come from yet to be published volumes, yet to be used stage text and dialogue, and lightly used speeches and articles. I am anxious to share them in this forum for a number of reasons. None of the notes here are complete, some are in the process of being updated.
Robert Moses' Kin celebrates over two decades of presenting dance as community service, engagement and inclusion, meeting our mission to hold humanity at its core. We use race, class, culture, and beliefs as mediums for focused expression.
National Endowment for the Arts, The Dream Keeper Initiative, Human Rights Commission, The International Association of Blacks in Dance, Center for Cultural Innovation, San Francisco Arts Commission, Grants for the Arts/San Francisco Hotel Tax Fund, Jonathan Logan Family Foundation, The William and Flora Hewlett Foundation, The Kenneth Rainin Foundation, National Dance Project/NEFA, Fleishhacker Foundation, Zellerbach Family Foundation, Sam Mazza Foundation (for educational programming), The San Francisco Foundation, and generous individuals.
National Endowment for the Arts, The Dream Keeper Initiative, Human Rights Commission, The International Association of Blacks in Dance, Center for Cultural Innovation, San Francisco Arts Commission, Grants for the Arts/San Francisco Hotel Tax Fund, Jonathan Logan Family Foundation, The William and Flora Hewlett Foundation, The Kenneth Rainin Foundation, National Dance Project/NEFA, Fleishhacker Foundation, Zellerbach Family Foundation, Sam Mazza Foundation (for educational programming), The San Francisco Foundation, and generous individuals.
Reviews (2)
Beverly L.
Feb 19, 2011
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I just watched cinderella principle followed by fable and faith. Both were not just visually beautiful, but used a variety of movement, music, props, dialogue, humor, and multimedia to compose thought provoking social commentary. It was engaging on so many levels that you just heard people gasping wow every time the curtains fell.
James M.
Feb 09, 2007
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I just watched "Woman Spelled This Way" being performed up at the Jewish Community Center, and it was incredible. It mixes older pieces along with a few world premieres, but it was all new to me.
Robert Moses' Kin exhibits Alvin Ailey/Judith Jamison ritual-like choreography, but uses a full repertoire of neoclassical and modern elements. More than other modern dance performances I've see, Kin can be ironic, use metaphor, or even be a little playful at any given time. The new piece, "slowly watching memory" was a delight, but the last piece "Speaking ill
Robert Moses' Kin exhibits Alvin Ailey/Judith Jamison ritual-like choreography, but uses a full repertoire of neoclassical and modern elements. More than other modern dance performances I've see, Kin can be ironic, use metaphor, or even be a little playful at any given time. The new piece, "slowly watching memory" was a delight, but the last piece "Speaking ill
