B Dean (they, he)

Founder and Artistic Director of BODYSTORM

B is a white boi raised in occupied Arapaho / Ute lands (Colorado), they have been based in unceded Ohlone territory (Bay Area) for 13 years. B performs with Flyaway Productions, Sean Dorsey Dance, Joe Goode Performance Group, and Circo Zero. For 12 years, B has been a performer and facilitator with BANDALOOP, performing and teaching across six continents on skyscrapers, cliffs, and cranes; in the American Music Awards with P!NK, and in an upcoming music video with Pattie Gonia and Imogen Heap. As an Associate Artistic Director, they directed BANDALOOP productions for Maine's Biddeford Fringe Festival and a performance with Grammy-winning a cappella group Roomful of Teeth. For over a decade, B has facilitated somatic movement for veterans and elders with diverse abilities and engages in choreographic residencies with teens across the Bay. B’s work has been presented by Fresh Meat Festival of Queer and Trans Performance (2023), Bandaloop’s Vertical Performance Incubation (2024), Joe Goode's Gathering Room (2025), and will be featured in the 2026 Queering Dance Festival and at 2026 Trans March. They serve on the Board of GRAVITY.

TRANSMARSH Conspirators

Pangaea Colter (she/her)
Collaborator, performer for TRANSMARSH

Pangaea is a multifaceted Bay Area artist. As a mixed Black trans woman, she infuses her lived experiences into her singing, writing, costuming and set design, drag, and activism. Her work works to uplift Black and Brown, trans, and queer artists, by helping to build vibrant, inclusive creative spaces. She’s also one-fourth of the Bay Area collective The House of Perception.

House of Perception
Costume Designer for TRANSMARSH

House of Perception (HOP) is a San Francisco based multidisciplinary creative team founded in Chicago, born out of the historic club kid scene. An authentic Skidmark…, Bon Bon and Pangaea come together to create art that is accessible, with a mission to uplift marginalized communities. Fusing fashion and costume design with digital and performance art, House of Perception has collaborated with the Joe Goode Performance Group, pop star Isabella Love Story, and the creative team Oyster Knife among others. HOP’s installations, showcased at venues like the Yerba Buena Center for the Arts and the Harvey Milk Center, explore the dynamic interplay of balance, tension, and authenticity in transformative art.

Matt Leonard (he, him)
Technical Director, rigger for TRANSMARSH

Starting from a do-it-yourself ethic as a bored teenager in a small town, Matt spent 15 years as a musician and event producer - from running small concert venues to touring internationally as a live sound engineer and tour manager. While that lifestyle allowed some space for his volunteer activism, for the past 15 years he has worked full-time with international social and climate justice movements.

He has led high-profile campaigns and mobilizations through staff positions at Rainforest Action Network, Greenpeace, and 350.org - in addition to volunteering or consulting with dozens of other organizations and grassroots social movements. His wide-ranging experience reflects a deep understanding how to take an ambitious vision and turn it into reality - building a plan; creating a team; working with staff, volunteers, partners, and vendors; and harnessing the power of collective action and shared community experiences.

Matt has worked for the past decade as the Director of Special Projects for 350.org, and as the Production Manager for the international touring dance company Bandaloop. He lives in Oakland, CA. He is a co-founder of Aid & Abet, a Bay Area-based collective supporting progressive social movements, labor unions, artists, creatives, and changemakers through strategic organizing and event production.

Lawrence Tome (they, them)
Collaborator, composer, performer in TRANSMARSH

Lawrence Tome is a composer and performer whose practice lies at the intersection of sound, movement, and social transformation. They have collaborated extensively with choreographers and devised theater artists in the Bay Area, creating original scores and live accompaniment for dance works rooted in queer and diasporic identities, intergenerational connection, institutional failures, grief, and healing from racialized trauma. Their compositional approach blends electronic textures with acoustic instrumentation, often incorporating environmental samples and improvisation. They span genres and modes: from a capella songwriting, sampled sonic landscapes, and trumpet, vocal, and piano performance, to support choreographed, improvisational, proscenium, and site-specific work.
Recent collaborations include Before the Storm (2025), commissioned by Robert Moses Kin at Z Space, for which Lawrence composed the score, working with choreographer Nol Simonse and dramaturg Jim Cave. They created the original score for SanSan Kwan's Two Doors, which premiered at UC Davis Mondavi Center (2024), as a creative response to anti-Asian violence, and collaborated with their partner Melissa Lewis Wong and her mother Joy Chen Lewis on 花和霧 flowers and fog for Movement Research at Judson Church and their San Francisco world premiere (2024). Currently, they are developing a score for TRANSMARSH, a project led by vertical dance artist B Dean, exploring estuary as metaphor for gender fluidity, holding legacies of environmental and social change in the Bay Area. A full list of collaborations with some project information and samples is available at their website:www.lawrenceto.me.

Jes Deville (they, them)
Project & Production Manager for TRANSMARSH

Jes Deville is a dance-theatre-circus artist working in conversation with spatial, environmental, and healing justice movements. Through choreography, creative direction, and event management they have supported productions on stage and screen for over two decades. They are the founder of Openhaus Athletics, uplifting mind, body, and soil through projects such as feature film Transfinite, Sites of Memory’s roaming Free to be Free Amsterdam performances, RAWdance’s PORTAL in TJPA Salesforce Park’s global gardens, Kristen Damrow’s Hunters Point Shoreline ceremony Intentional Shift, educational programming for aerial dance company Bandaloop, dance science communication for PBS series Dragonfly TV, co-curation and strategic development of San Francisco Trolley Dances walking tours (2019-2021) with Epiphany Dance Theater and SFMTA. Deville’s Technical Direction / Stage Management for Navarasa Dance Theater's Jamaica tour of A Story and a Song featured collaboration with the High Commissioner of the Indian Foreign Service. Jes holds Bachelor of Arts degrees with honors in both Global & Community Health and Critical Race & Ethnic Studies from University of California, Santa Cruz. Their projects explore the dimensions of cultural memory, politics, and public health specific to the "fugitive dance floor".

Brooke Anderson (she, her)
rigger, photographer for TRANSMARSH

Brooke Anderson (she/her) is a freelance photographer and photojournalist based on unceded Ohlone land in Oakland, CA. She covers movements for social, economic, racial, and climate justice.

Among other places, her images have appeared in such publications as: The New York Times, Newsweek, CNN, Good Morning America!, Bloomberg BusinessWeek, The American Prospect, The New Republic, PBS, Democracy Now!, Mother Jones, YES! Magazine, Grist, Colorlines, In These Times, Capital & Main, Common Dreams, Truthout, The Electronic Intifada, Mic, Shareable, San Francisco Chronicle, The Mercury News, San Francisco Magazine, On KQED Magazine, KTVU, East Bay Express, SFist, Oakland Post, San Francisco Bay View, North Bay Bohemian, 48 Hills, News from Native California, Made Local Magazine, El Tecolote, El Mundo, iPondr, Pop-Up Magazine, Abolition Journal, and Street Spirit.

Her work has been featured in exhibits by Yerba Buena Center for the Arts, East Side Arts Alliance, Oakland Asian Cultural Center, Asian Resource Center, Studio Grand, CultureStrike, Silicon Valley De Bug, and Survival Media Agency. She regularly guest-lectures on photography and photojournalism in high schools and universities, and teaches digital photography and visual storytelling workshops for community organizations. Brooke first fell in love with photography while documenting the struggles of the low-wage workers (hotel housekeepers, port truck drivers, recycling workers) she was working with as a union and community organizer. She is a proud union member of the Pacific Media Workers Guild CWA 39521 AFL-CIO.

RAWHIDE Collaborators

jose esteban abad (they/them)
composer for TEETH

jose esteban abad (they/them) is an Afro-Caribbean Filipinx interdisciplinary performance artist nesting in unceded Ramaytush Ohlone Territory (San Francisco). Their work is rooted in the embodied and sonic poetics of relations, collaboration, and improvisation, as tools of resistance and liberation across geopolitical borders. abad’s work centers QT/BIPOC experimental collective process-based practices of re-membering and be-coming to highlight the most intelligent technologies that exist in this world—our bodies, ancestral wisdom, and the environment. Their practice is shaped by mentorship and communing with artists including Alleluia Panis, Ishmael Houston Jones, Anne Bluethenthal, Joanna Haigood, Keith Hennessy, Beatrice Thomas, Jess Curtis, Sherwood Chen, Sarah Shelton Mann, Meg Stuart, Florentina Holzinger, Brontez Purnell and others. They are currently the Co-Director of Bridge Live Arts, a core company member of Bandaloop, AD of fugitivity labs, and have engaged in creative and pedagogical exchanges nationally and internationally in the Philippines, Palestine, Chilé, Mexico, and Europe.

Clarissa Rivera Dyas (they, she, he)
co-director and performer for RAWHIDE

Clarissa Rivera Dyas (they, she, he) is a Black, Filipinx, Bay Area, Ohlone land, based movement artist, choreographer, and arts producer. Her artistic practice flows from the truthfulness of improvisation, is rooted in her communities, and centered around movement as a spiritual practice and a conduit of change.

They are a member of Queering Dance Festival’s Steering Committee and is a Co-Director of ROT Festival.They have been a company member of Zaccho Dance Theatre, Robert Moses’ Kin, and Flyaway Productions and have performed with Keith Hennessy, Lenora Lee Dance, Megan Lowe Dances, OYSTERKNIFE, GRAVITY, Sarah Crowell, and many others. Clarissa is a co-conspirator with black, queer artists in RUPTURE (2021) who premiered DIASPORADICA at Fort Mason Center August 2025. She is currently in collaboration with Sara Shelton Mann (2020) and Embodiment Project (2023). They have presented work in REYES Dance, Dance Thrill Fest (2021), Dresher Ensemble Artist Residency (2022), Queering Dance Festival’s FROLIC! (2023), KH FRESH Festival (2024), Dance Up Close East Bay (2025), and in the Black Choreographers Festival in 2020 and 2025. They were awarded Dance Magazine’s “25 to Watch” in 2024.

TEETH Collaborators

Other Recent Collaborators

Ben Juodvalkis

composes original music for dance, film, theater, and museum installations. He has created scores for over 50 organizations and has had his music performed on four continents. Ben is the creator of Maestro Modern, an innovative music platform that offers original music tailored specifically for dance teachers and choreographers. Try it out at maestro-modern.com

Board of Advisors

Jeanne Pfeffer (she her)

is a dancer, writer, producer, curator, and patron whose joy and purpose in life is to make dance possible for as many as possible for as long as possible. She works at the intersection of imagination and practicality to build and support systems, programs, projects, and above all relationships to fuel the power of dance worldwide. A Bay Area dance community staple since relocating to Oakland in 2009, Jeanne has held leadership positions with some of the most important Bay Area dance organizations working today. These include her work founding FACT/SF with Artistic Director Charles Slender-White, leading the first five years of the CounterPulse Capital Campaign to purchase a theater for experimental dance and performance in San Francisco with Artistic & Executive Director Julie Phelps, and defining the next era of legacy Bay Area vertical dance company BANDALOOP with Artistic Director Melecio Estrella. She is currently the Development Director of BANDALOOP and President of the Board for FACT/SF.

Jo Kreiter (she, her)

is a choreographer and site artist with a background in political science. She engages physical innovation and the political conflicts we live within. Kreiter’s tools include coalition building, a masterful use of place, an intersectional feminist lens and a body-based push against the constraints of gravity. Jo has spent 30 years building coalitions with women/ GNC folk marginalized by race, class, gender and workplace inequities. Noted partners include Essie Justice Group, SF Law, Tenderloin Museum, Empowerment Avenue, and the Turkx Taylor Initiative. She is also the director of GIRLFLY, an artist as activist summer program for youth. Her work has been supported by Guggenheim and Rauschenberg Fellowships, New England Foundation for the Arts, and the National Endowment for the Arts. https://flyawayproductions.com/

Keith Hennessy (he, him)

MFA, PhD Artistic director, Circo Zero, is a frolicker, imperfectionist, and witch working in the fields of dance, performance, activism, affordable housing, and queer sexuality. Always learning through improvisation and collaboration, Hennessy’s work is interdisciplinary and experimental. Born in Canada, based in San Francisco (Yelamu) for over 40 years, Hennessy tours internationally. Keith cofounded the thriving performance spaces 848 and CounterPulse and was a core member of Sara Shelton Mann’s Contraband. Collaborations include Ishmael Houston-Jones, Sarah Crowell, Snowflake Calvert, Jassem Hindi, Meg Stuart, And Peaches. Awards include Guggenheim, USArtist, NY Bessie, and Bay Area Izzies. www.circozero.org

Rebecca Fitton (she/they)

is a queer, mixed race asian american, disabled, and immigrant person. Their work as an artist, administrator, and advocate focuses on arts infrastructure, asian american identity, and disability justice. Their writing has been published by Triskelion Arts, InDance, The Dancer-Citizen, Etudes, Critical Correspondence, Dance Research Journal, and the American Journal of Arts Management. She holds a BFA in Dance from Florida State University and an MA in Performance as Public Practice from the University of Texas at Austin. They serve as a Co-Director at Bridge Live Arts and GRAVITY, two Bay Area-based arts organizations.

Clarissa Rivera Dyas (they, she, he)

is a Black, Filipinx, Bay Area, Ohlone land, based movement artist, choreographer, and arts producer. Her artistic practice flows from the truthfulness of improvisation, is rooted in her communities, and centered around movement as a spiritual practice and a conduit of change.