Choreographer Robert Moses takes to the street to find music for new piece

Carla Meyer, San Francisco Chronicle

January 8, 2018

It is Saturday, two days before the new year, on San Francisco’s Powell Street, where tourists laden with shopping bags and curiosity slow foot traffic. Then there’s the guy who just stops on the sidewalk, every 30 feet or so. To listen.

“Do you hear that?” asks Robert Moses, founder and artistic director of the acclaimed dance company Robert Moses’ Kin. Moses, 55, is on the hunt for street musicians to contribute to his new dance piece.

On the brink: Robert Moses dancer Crystaldawn Bell making big noise

Claudia Bauer, San Francisco Chronicle

October 11, 2017

Bell is too self-effacing to seek the stardom she deserves. But she can’t help stealing the spotlight — tall, technically commanding and alluringly musical, she dances with riveting emotional presence and tractor-beam charisma.

Robert Moses’ Kin Drops ‘Cultural Time Bombs’

Carla Escoda, KQED

May 17, 2017

As a whole, the work seems to champion the individual and paint the resilience of a community. The juicy, poetic dance language – remarkably unified between the three choreographers – feels innate to each of the performers, while also amplifying and exalting the differences between them. The wide range of physiques and skin tones in this seemingly tight-knit company make a powerful statement of inclusivity. With its hints of martial arts, ballet, folk and street dance, the choreography defies tidy classification. The individual dancers defy classification, too.

Too much message for Robert Moses’ fine dancers

Allan Ulrich, San Francisco Chronicle

May 14, 2017

“Trick Bags/Trap Doors/Painted Corners” is the title of Moses’ premiere triptych, all danced by the members of Robert Moses’ Kin. The parts of the work have been choreographed by Moses, Terence Marling and Latanya d. Tigner, and Moses requested that they all deal with the problems faced by children of different races growing up together and the problems of inherited advantage.

San Francisco/Bay Area Round-up May 2016

Heather Desaulniers, CriticalDance

May 21, 2016

The latest full-length contemporary dance from Robert Moses’ KIN has a memorable title, 21 Fully Realized Incomplete Thoughts. The number twenty-one, of course, is in honor of the company’s twenty-first season. Then, there are two contrary states placed in the same container – ‘fully realized’ and ‘incomplete’. Choreographed by Moses, the world premiere work lives into its title with a series of highly developed episodes, each one independent and in progress yet also part of a whole. Individual segments strung together like beads that in the end, created a unique work of art.

Moses' Kin 'Incomplete Thoughts' Completely Worthwhile

Steven Winn, San Francisco Chronicle

May 20, 2016

The air came alive Thursday, May 19, at Z Space, where the dance companyRobert Moses’ Kin opened a four-performance premiere run of “21 Fully Realized Incomplete Thoughts.” Kinetic force fields of aggression and empathy, conflict and community crackled through the alley-like space artistic director and choreographer Robert Moses devised by folding in the theater’s risers and seating the audience in two long rows along the floor.

On the Way

Rita Felciano, Dance View Times

May 19, 2016

Even after twenty years, Robert Moses succeeds in surprising us, not so much for his movement language -- high speed, densely layered, embracingly fierce -- as by the formal questions that he asks of himself.

Robert Moses, SF Ballet’s Tan win Izzie Awards

Allan Ulrich, San Francisco Chronicle

March 22, 2016

San Francisco Ballet principal dancer Yuan Yuan Tan, choreographer Robert Moses and the San Francisco Dance Film Festival are among the winners of the 30th annual Isadora Duncan Dance Awards. The ceremony, dedicated to honoring the best in Bay Area dance, was held Monday evening, March 21, at the Yerba Buena Center for the Arts Forum.

Keep on Keeping On: Robert Moses' Kin’s NEVABAWARLDAPECE

Debra Cash, Bates Dance Festival Scholar in Residence

August 2015

When he was growing up in Philadelphia, Robert Moses’ mother, whose family had come north with the Great Migration, had a saying: nothing beats a hit but a miss. One of those paradoxical put-your-head-on-straight adages, the choreographer recalls the line warmly but understands it as a challenge. If you try to do something and you get beaten down, staying down is not an option.


So it is with social movements. America’s liberation movements, insurrections and revolts are the thematic warp and weft of Moses’ NEVABAWARLDAPECE, a rumble of a title that said aloud threatens “never be a world of peace.” Created in collaboration with Carl Hancock Rux, Laura Love, and Corey Harris, it’s a dream project for Robert Moses whose over 70 works, his website says, express his “concern with the honor, dignity, truth and potential of real people.”

Bodies get a workout in Robert Moses’ Kin BY Series

Allan Ulrich, San Francisco Chronicle

June 19, 2015

It is always interesting to see the results when choreographers play curator. Will they choose dances that accord with their own aesthetics? Or will they select works founded in an unfamiliar artistic philosophy? Robert Moses seemingly has it both ways in the current edition of his semiannual BY Series, which opened its run Thursday evening at ODC Theater. 

Robert Moses’ Kin Dancers Go Beyond Their Comfort Zone

Rita Felciano, KQED

June 19, 2015

Choreographer Robert Moses knows that relationships thrive when periodically you step back for a breath of fresh air. That’s why in 2012 he created The BY Series and Draft in which the choreographer and his dancers go beyond their comfort zone. Moses, rather uniquely among dance makers working in the U.S., takes a dual approach to risk-taking.


Heather Desaulniers

May 15, 2015

Dregs, grounds, deposit, sediment. These are just some of the many synonyms for the term silt. The material that is left over; the substance that remains. Robert Moses has chosen this penetrating concept for his latest contemporary dance. With its reflective nature and investigative questions, SILT is a marvelous beginning to Robert Moses’ Kin’s twentieth anniversary season.

Great dancing triumphs in Robert Moses dance installation

Allan Ulrich, San Francisco Chronicle

May 15, 2015

Sensible shoes and a periscope were necessary equipment for attending Robert Moses’ “Silt,” which the choreographer’s troupe, Robert Moses’ Kin, introduced during the weekend at the Yerba Buena Center for the Arts Forum. The 75-minute presentation marked the 20th anniversary season of the troupe, and while some dance makers might celebrate the occasion with a vacation in the tropics, Moses gifted himself with his first installation. Like most presentations of the ilk, the admirable and the annoying vied for supremacy.

Watching Up Close

Rita Felciano, Dance View Times

May 14, 2015

Robert Moses' newest work, created on the occasion of his company's 20th anniversary, is tough, uncompromising and formally one of the more original attempts in the now so fashionable installation genre...

Robert Moses channels African American experience into dance

Rachel Howard, San Francisco Chronicle

May 9, 2015

Moses is a firm but reliable father figure to his troupe, Robert Moses’ Kin, which will present its 20th anniversary season Thursday through next Sunday at San Francisco’s Yerba Buena Center for the Arts Forum. He’s also a pillar of Bay Area dance who’s beginning to break out on the national scene with his work, a hybrid of ballet, modern and street-jive that vacillates between tension and tenderness.

SF Choreographer Robert Moses Finds Inspiration in Indian Dance

India West (Kolkata, India)

October 6, 2014

Renowned American choreographer Robert Moses, who tries to bridge racial and cultural differences with dance, has said that he finds Indian classical dance inspiring for his contemporary dance group.

"Indian classical dance is at the core of tradition. It is very strong and inspiring," said Moses who runs the Robert Moses’ Kin Dance Company (RMK) in San Francisco, during his India tour.

Dance Like a Man

By Manpriya Singh, The Tribune (Chandigarh, India)

September 11, 2014

There is so much that dance can be-a non-verbal body language, dynamic medium for social change, an alternative idiom of movement. Unfortunately, the pool of infinity that contemporary dance as a genre encapsulates has often been wrongly mistaken for abstraction. Haven't we just known it to be as spirited foot-tapping?

Brief Encounters with Robert Moses' Kin

By Philippa Myer, Seattle Dances

June 5, 2014

San Francisco-based Robert Moses’ Kin presented a varied lineup at Meany Studio Theatre as part of the UW World Series on May 20-31. For the evening’s finale, artistic director and choreographer Robert Moses invited 16 UW students, alumni, and local Seattle dancers to join his company of eleven inDraft, the culmination of a six-day residency process. 

Robert Moses brings polished, demanding dance to Meany Hall

By Alice Kaderlan, The Seattle Times

May 30, 2014

There is such a ferocity to Robert Moses’ choreography and an intensity among his dancers that it makes you want to bounce along in your seat as you watch a performance of his company Kin. In this first outing of Kin to Seattle, at UW’s Meany Studio Theatre, Moses’ sexy, eclectic style is on full view in three different pieces, starting with the dramatic anti-war “Speaking Ill of the Dead".


Heather Desaulniers

January 25, 2014

Opening the program was the premiere of “Profligate Iniquities”, an intoxicating dissertation on the importance of the ‘in between’.

'Rise' review

Allan Ulrich, San Francisco Chronicle

January 24, 2014

The most satisfying entry on the bill was Moses' return to dancing after several years' hiatus. "The Slow Rise of a Rigid Man" (premiere) finds the artist in baggy, casual clothes, conveying the creeping infirmities of age. Moses is rooted in place, but his repeated patting of his worn knees and the fierce lunges of the torso hint at a defiance of nature that seems downright heroic.

'Nevabawarldapece' Review

Mary Ellen Hunt, San Francisco Chronicle

January 29, 2013

There's a beautiful moment in Robert Moses' latest work "Nevabawarldapece" - which had its premiere Friday night at the Lam Research Theater in Yerba Buena Center for the Arts - when the dancers shift from frenetic ricochets and lunges across the stage into an instant of stillness, with a thrust of the solar plexus like the beating of a heart the only movement. In a world of seemingly endless chaos and confrontation, it feels like a plea for a return to core principles.

Passion and Resonant Imagery From Robert Moses

Janice Berman, San Francisco Classical Voice

January 25, 2014

There’s an underlying sense of perpetual harmony, the potential for conciliation overcoming violence, and from that, more than a shred of hope.

Peace corps

Rita Feliciano, SF Bay Guardian

January 22, 2014

The impetus for Neva, explains Moses, came less from the specifics of historic revolutions and contemporary challenges to the social order than from the people who gave their all attempting to bring about fundamental change — only to see their efforts dissipated, co-opted, or met with failure. "It's about idealism, the loss of it, and then what you do? What are you left with if the rage, the energy, and all the sacrifices you have made fall by the wayside? Can you pick up and keeping moving forward? I don't know," he says.

Robert Moses Kin review: Sophisticated dance

Mary Ellen Hunt, San Francisco Chronicle

April 2, 2012

Robert Moses' choreography not only moves you, it makes you want to move. A sexy jolt of the hips, a sinuous dip of the shoulders - as you watch the unfolding of his enigmatic "Helen," which premiered Friday night at the Yerba Buena Center season opener for Robert Moses' Kin, you might be thinking that you could steal a few of those moves next time you go out dancing.

Robert Moses’ Kin launches ‘Iliad’ mashup

Emmaly Wiederholt, The Examiner

March 28, 2012

The dancers roll, gesture and lunge to the audio landscape of writer and performer Carl Hancock Rux. The movement is exacting, athletic and birdlike. Rux’s recording lends a feeling of funk to the scene. This is the world of Robert Moses’ Kin, one of San Francisco’s leading contemporary dance companies.

Robert Moses' Kin Does it Again

Larissa Archer, The Huffington Post

May 27, 2012

Known since 1995 for blending diverse traditions in dance -- including African, street, classical ballet and his own distinct choreographic motifs -- as well as combining music, dialogue, poetry and video installations for his pieces, Moses creates works with emphatically political and social messages. 

Past, present, future: Choreographers Robert Moses and Sean Dorsey discuss their new, history-inspired works

Rita Feliciano, SF Bay Guardian

March 27, 2012

Moses' Helen, inspired by the myth of the beautiful Greek whose face launched a thousand ships, is at Yerba Buena Center for the Arts; Dorsey's The Secret History of Love, based on how LGBT people used to meet, plays Dance Mission Theater. Both choreographers started dancing in their hometowns — Philadelphia for Moses, Vancouver for Dorsey — and began choreographing professionally in San Francisco. They recently talked to the Guardian about how they came to be where they are now.

Teach the Children Well: Modern Dance show Fable and Faith is aimed at both adults and kids

Julie Mullins, City Beat

March 20, 2012

His Fable and Faith offers a multi-layered, multi-faceted mash-up of dance, theater, myths and mores. His renowned San Francisco-based company, Robert Moses’ Kin, will perform his new evening-length piece at the Aronoff Center this weekend, as part of Contemporary Dance Theater’s longstanding Guest Artist Series.

Sense of family informs dancers

David Lyman,

March 18, 2012

Robert Moses isn't up for small talk today.

He's incredibly busy. His students from Stanford are participating in the American College Dance Festival in Modesto, two hours east of San Francisco, where his company - Robert Moses' Kin - is based.

Dance review Kin explores family in all its forms

Sid Smith, Chicago Tribune

February 25, 2011

The kids are indeed all right. Sperm donor and same-sex parenting are now part of our fabric. With more seriousness than you'll find on a sitcom, choreographer Robert Moses and company explore the topic in "The Cinderella Principle: try these on, see if they fit."

Robert Moses' Kin review: An enchanted spell

Allan Ulrich, San Francisco Chronicle

February 21, 2011

Although one waited a small eternity, when it arrived Friday evening at Yerba Buena Center for the Arts' Novellus Theater, Robert Moses' "Fable and Faith" proved one of the season's great charmers. The 11 dancers of Robert Moses' Kin and a host of collaborative artists have scrutinized the Western heritage of fairy tales and re-interpreted them with a pinch of irony and a huge helping of imagination.

Robert Moses' 'Cinderella' in San Francisco

Allan Ulrich, San Francisco Chronicle

February 25, 2010

It's a risk, of course, but, over the past 15 years, Moses' evolution, from superb solo dancer to creator of interdisciplinary group works that probe issues of identity and social cohesion, has been a gratifying chapter in local modern dance history. Moses may have attempted nothing more ambitious than his latest opus, "The Cinderella Principle: Try these on, see if they fit."

Please reload

© 2020, Robert Moses' Kin   |   Site Map

  • Black Facebook Icon
  • Black Instagram Icon
  • Black Twitter Icon
  • Black Vimeo Icon