FACT/SF Summer Dance Lab - 2018

Information for participants

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August 12 - August 17, 2018
10am-4pm, including a 45-minute lunch break.


Joe Goode Annex
401 Alabama St (at 17th)
San Francisco, CA  94110 

When arriving at the Joe Goode Annex, please buzz at the gate and someone will let you in. Enter the courtyard. The Annex is up the short flight of stairs and through the first door on the right.

Public Transit

The Joe Goode Annex is just a 10 minute walk from the 16th Street/Mission BART station, and is additionally accessible on the 33, 27, and 22 MUNI lines.

All BART trains running through San Francisco stop at the 16th Street/Mission BART Station.

Participants flying into SFO or OAK can take BART from the airport to San Francisco's Mission District.

Driving Directions

From US-101 N (Northbound, from peninsula or South Bay)
Exit Vermont St. Turn left onto Vermont St. Turn left onto 17th St. Annex will be on the left.

From US-101 S (Southbound, from Golden Gate Bridge)
Slight left onto Lombard St, Turn right onto Gough St. Gough St turns slightly right and becomes Otis St. Turn left onto 13th St (which is also called Duboce St). Turn right onto Harrison St. Turn left onto 17th St. Annex will be on the left.

From I-80 W (Westbound, from Oakland or East Bay)
Exit toward Civic Center. Slight left onto Harrison St. Turn left onto 17th St. Annex will be on the left.


Public transit is the best mode of transportation and parking is often difficult. Street parking is sometimes available in the area, but limited during weekday business hours. FACT/SF anticipates that there will NOT be sufficient time during the Dance Lab to move vehicles parked in 1 or 2-hour spaces. Participants are encouraged to use public transit if they can.

helpful suggestions

What to Bring

  • Comfortable dance clothes (including long-sleeved shirts and socks)
  • Many clothing layers for outside as the weather this time of year can shift quickly
  • Water bottle
  • Lunch (there are not many food options near the Annex)
  • Pen & Paper

Local Food Suggestions


If you have any questions or would like more information, please email the Dance Lab Registrar, LizAnne Roman Roberts, at workshop@factsf.org. Or, call 415.349.0878.


Movement can be a way to investigate consciousness, and research into consciousness can shape our presence and possibility for movement.

In this workshop, we will work with methods for compositional practice developed in the setting of the Forsythe Company. Within this practice, we will aim to establish an axis of orientation in relation to the statement above. We will thoroughly get to know principles provided by these methods, and allow ourselves to use these methods as a departure point and facilitator for engaging with various compositional fields. In this setting, we will work on achieving specific forms of presence and consciousness.

We will use our curiosity and access our sensation on physical and proprioceptive alignments and relationships as carriers of information and practice differentiation through reflection on how we work with the task at hand. We will also acknowledge our impulses in order to allow ourselves to move beyond thinking about the method towards the manifestation of shifts in presence and consciousness.

When working we will acknowledge the role of action-taking and situatedness. We will investigate how we react to new situations and also old situations, how we make decisions and create new situations. This will be the setting through which we can move from the bodily practice into the field of compositional possibilities.

We will also be working in dyads and triads and encourage the verbalization of the experience and the discoveries.


Over the past decade, FACT/SF has established itself in the SF Bay Area with a unique blend of technical precision, intellectual rigor, and emotional expressivity. Working with sections from FACT/SF’s 2017 works, Platform and Remains, participants will learn complex phrase work while applying principles from Countertechnique and Forsythe Improvisation Techniques.


Working Better for Better Work: Tips on Being a Pro focuses on the logistical and administrative necessities for working effectively and equitably within the dance field. The session will cover basic strategies for presenting oneself in a professional manner, building a community and a network, maintaining and developing relationships, and articulating and pursuing artistic and professional aspirations. After over a decade in the field, Charles Slender-White has witnessed a great number of dance artists unintentionally misrepresent themselves. With helpful tips and frank criticism, we’ll work collectively to identify how we can consistently put our best foot forward. If requested, Slender-White will additionally review and propose changes to participants’ CVs.


Joy Davis is a dance artist, educator, and scholar. Under the moniker joy davis project, she produces collaborative and location-based dance performance since beginning in 2006. She was a Chicago Dancemakers Forum (CDF) Greenhouse Artist, received a choreographic residency at the Workspace for Choreographers in Virginia, and has premiered work in Northampton, Boston, Chicago, Nashville, Knoxville, Seattle, Philadelphia, and San Diego. She is currently creating a new work for New Dialect in Nashville, TN. She has danced in works by Erica Mott, Chris Aiken, Kathleen Hermesdorf, and Katie Martin; and collaborates with Mountain Empire Dance Collective, School for Contemporary Dance and Thought, and most recently with Sarah Gamblin and Matthew Cumbie. Joy began training in the Countertechnique with founder Anouk van Dijk in 2005 and completed the CTTT teacher’s certifications in 2012 and 2016. She has taught Countertechnique workshops at Gibney Dance (NYC), Moving Target (Boston), BodyVox (Portland), Fact/SF (CA), New Dialect (TN), Mocean Dance (Halifax, NS), Seattle Festival of Dance Improvisation, and looks forward to joining the faculty at the American Dance Festival for the summer of 2017. Joy received an MFA in Choreography and Performance from Smith College and has since taught on faculty at Smith College, Wesleyan University, Harvard University, and the Boston Conservatory at Berklee.  

Joy Davis is a dance artist and educator steeped in Countertechnique, improvisation, and performance. Her joyproject is a collaborative framework for the creation, production, and curation of multidisciplinary performance which elevates and contemplates inner life and social connectivity. She recently created works for New Dialect, Urbanity Dance, and Scottsdale Community College; collaborates with Alexander Davis, Mountain Empire Performance Collective, and School for Contemporary Dance & Thought; and has premiered solo work in Boston, San Diego, Seattle, and Nashville. Joy holds an MFA in Choreography and Performance from Smith College and was certified to teach Countertechnique in 2012. Her recent teaching endeavors include Gibney Dance, FACT/SF, Seattle Festival of Dance Improvisation and Velocity Dance Center, Moving Target Boston, Lion’s Jaw Dance + Performance Festival, Arizona State University, and the American Dance Festival, amongst others.  She has taught as Visiting faculty at Smith College, Wesleyan University, and Harvard University. Joy is an Associate Professor in the Dance Division of the Boston Conservatory at Berklee. (Photo by Stephanie Mitchell)

Nicole Peisl Headshot.jpg

Nicole Peisl is a dancer, teacher and choreographer. She joined the Frankfurt Ballet in 2000 and has continued to work with William Forsythe as a member of The Forsythe Company until 2014. Peisl’s trilogy Vielfalt, Ueberblick, and Spiefeld I, II have been staged in Frankfurt, Dresden and Vienna. Peisl has also worked as a freelance collaborator with, among others,  Anouk van Dijk, Joseph Tmim, the Episode Collective (with Richard Siegal und Prue Lang), and with Daghdha Dance Company (with Michael Klien).

Nicole Peisl has worked widely as a teacher. She has taught dance at Impulstanz in Vienna, at Anton Bruckner Private University of Linz in Austria, the Justus Liebig University of Giessen in Germany, and the University of Limerick in Ireland. In addition, she is a guest professor at the University of Dance and Circus (DOCH) in Stockholm.

Peisl is a certified practitioner of Craniosacral Therapy (Milne Institute) and also Somatic Experiencing (Peter Levine).  In 2014 she moved to the United States to begin the Phd program in Performance Studies at the University of California, Davis. She lives in Berkeley with her family.

Charles has been a Countertechnique practitioner for 13 years, and became a Certified Teacher in 2012; there are 28 Teachers worldwide. Charles has taught Countertechnique at the University of Calgary, Loyola Marymount University (Los Angeles), the University of San Francisco, CSU East Bay, L’Artere (Quebec City), Circuit-Est (Montreal), Love-In (Toronto), and at numerous dance centers throughout the SF Bay Area. He began his dance career in 2006 with Tatiana Baganova’s Provincial Dances Theatre in Yekaterinburg, Russia. In 2008, he returned to his native California to start FACT/SF in order to make his own contributions to innovation and excellence in contemporary dance. FACT/SF and Chunky Move (Australia) are the world’s only Countertechnique-trained dance companies. Over the past 8 years, Charles has created 26 works, with commissions by the US Department of State, CounterPulse, Acid Rain (Chelyabinsk), Dialogue Dance (Kostroma), the Yekaterinburg University of the Humanities (Yekaterinburg), and others. Described as ‘utterly absorbing’ and ‘mesmerizing’ (SF Bay Guardian), Charles’ work with FACT/SF has been performed throughout California, in Portland, Oregon, and in 7 cities across Russia, working with the US Department of State to share contemporary American culture with local Russian communities as part of their ‘American Seasons’ Program. Throughout 2012, Charles was a mentee of Elizabeth Streb as part of CHIME Across Borders at the Margaret Jenkins Dance Lab. Charles graduated with honors from the University of California, Berkeley, with degrees in Dance & Performance Studies and English Literature. (Photo by Kegan Marling)