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Curriculum Vitae

Tanya Chianese


840 47th Street #3, Oakland, CA, 94608




The University of Oklahoma; Norman, OK (2006 – 2010)

Bachelor of Fine Arts (Summa Cum Laude) – Modern Dance

Bachelor of Arts (Summa Cum Laude) – Art History




ODC Dance; San Francisco, CA (2018-present)

Adult Modern Dance Guest Teacher

LINES Ballet; San Francisco, CA (2018-present)

Teen Modern and Ballet Guest Teacher

Saint Mary’s College; Moraga, CA (2017-present)

MFA Dance Program: Dance Production Class Guest Lecturer

San Francisco State University; San Francisco, CA (2016-present)

Beginning, Intermediate and Advanced Modern Dance Guest Lecturer


RoCo Dance; Mill Valley, CA (2016-present)

Advanced and Intermediate Teen Modern

Performance Workshops


City College of San Francisco; San Francisco, CA (2016-present)

Beginning Modern Dance Visiting Artist


Berkeley Ballet Theater; Berkeley, CA (2013-present)

Advanced and Intermediate Teen Modern


Shawl-Anderson Dance Center; Berkeley, CA (2012-present)

Adult Basic Ballet Barre

Teen Intermediate Modern

Youth Ballet

Youth Jazz

Youth Modern

Creative Movement


Specialty workshops: improvisation, partnering, turns, ballet variations


Ace Dance Academy; Walnut Creek, CA (2011-present)

Teacher Assistant Program Coordinator

Junior Leader Program Coordinator

Lead Teacher Trainer

3yr-Teen Ballet

7yr-Teen Contemporary

7yr-Teen Jazz

7yr-12yr Tap

Sweatshop Dance; Denver, CO (2018)

Guest Professional Level Modern Dance Teacher

The College Preparatory School; Oakland, CA (2018)

Guest Choreographer and Teacher

Alameda Ballet Academy; Alameda, CA (2018)

Modern Dance Teacher


Dance Mission Theater; San Francisco, CA (2015-2016)

Adult Modern Dance Visiting Artist


Berkeley High School; Berkeley, CA (2015)

Dance Program’s Modern Dance Visiting Artist and Commissioned Choreographer


Danspace; Oakland, CA (2011-2014)

All levels of Ballet Teen and Adult

All levels of Teen Modern


Performance Workshops

Creative Movement

Nutcracker Lead (set choreography and organized performances with Oakland Ballet)


Berkeley City Ballet; Berkeley, CA (2013)

Guest Summer Intensive Modern Dance Instructor


Oklahoma City Ballet, City Arts Center & NewView Oklahoma; Oklahoma City, OK (2011)

Ballet for the Visually Impaired and Blind for adults and youth. Received a grant through Devon Energy for the program.


Academy of Dance Arts; Yukon, OK (2010-2011)

Advanced Youth and Teen Ballet

Intermediate Youth Jazz


The University of Oklahoma; Norman, OK (2010)

Beginning Modern Dance Visiting Artist for non-majors, Intermediate and Advanced for majors


Los Angeles Arts Enrichment Program; Los Angeles, CA (2004-2006)

Assistant Dance Instructor of after school programs in low income elementary schools, funded by a grant from the City of Los Angeles.


Glendale Community Center; Glendale, CA (2006)

Creative Movement


Burbank Dance Biz; Burbank, CA (2004)

Youth Beginning Ballet



Dance Magazine's "25 To Watch"; January Edition (2019)

• One of twenty-five "up-and-coming artists we believe represent the future of our field."

Endorsement from Senator Dianne Feinstein (2019)

• In personalized endorsement letter on U.S. Senate letterhead, Feinstein writes "Your efforts to educate your community of the complexities of general-based harassment while supporting the creative arts is truly inspirational."

100 Artists Putting The East Bay On The Map; San Francisco magazine, June Edition (2018)

• Chosen alongside Marc Brew, Graham Lustig, Antoine Hunter, and Randee Paufve along with 95 other artists of various fields.

Endorsement from Senator Elizabeth Warren (2018)

• Public shout out and personal phone call from the office of the Senator in response to Nevertheless, to congratulate Tanya Chianese and team on the “inspiring and important” work about sexual harassment and assault.

Facilitator for ODC Pilot Program; San Francisco, CA (2018)

• Curated by ODC/Dance and mentored by Kimi Okada and Lizz Roman

CA$H Grant; a program of Dancers' Group (2018)

• Awarded $3,000 grant for Nevertheless

The inaugural Frank Shawl Artist-in-Residency at Shawl-Anderson Dance Center; Berkeley, CA (2018)

• 40 hour four month residency


JUNTOS Collective (2018)

• Commissioned guest choreographer for Guatemala program

Zellerbach Family Foundation (2017)

• Awarded $1,000 grant for Nevertheless


Graduation Ceremony Guest Speaker at San Francisco State University (2017)

• Gave 8-minute speech at the Graduation Ceremony for the School of Theatre and Dance


Phyllis C. Wattis Foundation (2016)

• Awarded $6,000 grant for Readymade


Lighting Artists in Dance, a program of Dancers’ Group (2016)

• Awarded $1,600 grant for Lighting Design and supplies for Readymade


San Francisco State University (2016)

• Commissioned guest choreographer for School of Theatre & Dance


Ellen Webb Dance Foundation; Oakland, CA (2016)

• 80 hour three month residency


Audience Choice Award at ODC's Take 5 Program (2015)

• First Place and $500 Rehearsal Space Stipend


SAFEhouse Arts; San Francisco, CA (2015)

• 50 hour eight month residency


Audience Choice Award at Luna Dance Institute's CHOREOFUND (2014)

• Awarded $300 Rehearsal Space Stipend


Shawl-Anderson Dance Center; Berkeley, CA (2014)

• 100 hour one year residency


Devon Energy Grant (2011)

• In collaboration with Oklahoma City Ballet, City Arts Center and NewView Oklahoma. Awarded to teach ballet to visually impaired and blind individuals for 6 weeks


Mary Gray Thompson Award for Outstanding Contribution to the College of Fine Arts (2010)

• Awarded to one college senior each year

Undergraduate Research Opportunities Program Grant (2009)

• Awarded $700 for an illuminated and inimitable innovation

CHOREOGRAPHIC WORKS (select 2006-2018)

Fledge (2018)

Presented all over Guatemala on tour with JUNTOS Collective. Score: Ezio Bosso. Costume Design: Amy McMurchie

(7 dancers, 5 minutes)

Nevertheless (2018)

ka·nei·see | collective with guest Cat Call Choir. Score: Ramallah Underground, Lawrence English, John Kander, Richard Reed Perry, Heather Arnett, Colleen, Dustin O’Halloran, Ekkehard Ehlers & Paul Wirkus, Michael Gordon.Text:Mitch McConnell, Fox News, Women’s Self Defense Tutorial. Lighting Design: Linda Baumgardner. Costume Design: Carol Salmon, Tanya Chianese, Heather Arnett.

Please Don’t (2017)

Seattle International Dance Festival, Shawl-Anderson Dance Center, and ka·nei·see | collective. Score: Lawrence English, Richard Reed Perry, Colleen, Michael Nyman, Peter Broderick. Text: Fox News March 11, 2017. Costume Design: Carol Salmon.

(6 dancers, 19 minutes)

Epoch (2016)

San Francisco State University. Score: Lawrence English, Bryce Dessner. Costume Design: Wendy Amorose.

(17 dancers, 12 minutes)

*Commissioned work.

Readymade (2016)

ka·nei·see | collective. Score: Lawrence English, Ólafur Arnalds & Nils Frahm, ISAN, Clogs, Peter Broderick, Ezio Bosso, Colleen, Balmorhea, Trio Mandili, Bruno Coulais, Keith Kenniff, Michael Nyman. Text: Marcel Duchamp, David Batchelor. Lighting Design: Linda Baumgardner. Costume Design: Carol Salmon. Prop and Scene Design: Tanya Chianese

(10 dancers, 1 hour)

*Supported by the Phyllis C. Wattis Foundation and Dancers’ Group’s Lighting Artists in Dance Grant.


Masses (2016)

ka·nei·see | collective. Live violin: Lucia Petito. Score: Ólafur Arnalds, Nils Frahm. Text: Lighting Design: Linda Baumgardner. Costumes: Mallory Markham and Emma Salmon.

(12 dancers, 20 minutes)


Please Don’t (2016)

ka·nei·see | collective. Score: Richard Reed Perry, Colleen, Michael Gordon. Text: Fox News. Lighting Design: Jessi Barber. Costume Design: Mallory Markham.

(5 dancers, 13 minutes)


Half Full / Half Empty (2016)

ka·nei·see | collective. Score: Colleen.

(2 dancers, 7 minutes)


Exchange / Engage (2016)

ka·nei·see | collective. Score: Ólafur Arnalds, Balmorhea, Clogs, Peter Broderick, Ludovico Einaudi. Text: Alan Watts. Costume Design: Emma Salmon, Mallory Markham, Tanya Chianese. Lighting Design: Tyler Eash

(11 dancers, 17 minutes)


Ex Urbis (2015)

Berkeley High School. Score: Ólafur Arnalds, Rachel’s, Bruno Coulais

(16 dancers, 30 minutes)

*Commissioned work.


Cookie Cutter (2015)

ka·nei·see | collective. Score: Portico Quartet, Gustavo Santaolalla, Sesame Street's Cookie Monster, Zoe Keating, Balmorhea, Ólafur Arnalds, The Avett Brothers, Peter Broderick, PETA “The Dairy Industry in 60 Seconds.” Text: Diane Kometa (Dishin' With Di), Jim Gaffigan (Comedian), Bruce Hamilton (Sierra Club), Kip Anderson (Filmmaker Cowspiracy), Heather Cooley (Pacific Institute), Dr. Will Tuttle (Environmental & Ethics Author), Kirk R. Smith, MPH PhD (UC Berkeley), Dr. Richard Oppenlander (Environmental Researcher), Kaymar Guivetchi (CA Dept. Water Resources), Michael Pollan (Environmental & Food Author), Demosthenes Maratos (The Sustainability Institute), Marcus Benedetti (Clover-Stonetta Dairy), John Taylor (Biralve Organic Dairy), Wenonah Hauter (Food & Water Watch), Howard Lyman (Author Mad Cowboy), Will Potter (Author Green is the New Red), Josh Tetrick (Beyond Eggs), Dr. Michael A, Klaper, MD (Physician, True North Health Center), Shane Bernardo (Earthworks Urban Farm), Ethan Brown (Beyond Meat). Lighting Design: Jessi Barber. Costumes and Props: Tanya Chianese.

(5 dancers, 1 hour)

*Featured as cover story of SF Chronicle. Toured to Los Angeles, CA


Excuse Me, But I Was Speaking (2015)

ka·nei·see | collective. Score: Ludovico Einaudi.

(3 dancers, 3 minutes)


pas de deux (2014)

ka·nei·see | collective. Score: Zoe Keating.

(2 dancers, 7 minutes)


Against the Rocks (2014)

ka·nei·see | collective. Score: Ólafur Arnalds, Balmorhea.

(6 dancers, 10 minutes)

Premiered at Dance Mission Theater (San Francisco, CA). Also presented at The CONCEPT series produced by RAWdance at Joe Goode Annex (San Francisco, CA).


embarked (2014)

ka·nei·see | collective. Score: Balmorhea.

(5 dancers, 5 minutes)


When in Doubt, Bake (2011)

ka·nei·see | collective. Score: Gustavo Santaolalla. Text: Diane Kometa (Dishin' With Di).

(1 dancer, 2 minutes)


Autonomous Waltz (2010)

American Dance Festival. Score: Yann Tiersen.

(1 dancer, 2 minutes)


TerSIS (2010)

BFA Thesis, University of Oklahoma. Score: Bruno Coulais, Philip Glass.

(2 dancers, 10 minutes)

*Second iteration as screendance in collaboration with Andrew Hajek of Dallas, TX


an illuminated and inimitable innovation (2009)

University of Oklahoma. Original Score Collaboration: Bruce Chianese. Costumes: Aubrey Gamble

(6 dancers, 8 minutes)

*Awarded the Undergraduate Research Opportunities Program Grant.

1 of 10 student works curated out of 80 to be produced by the University for the School of Dance.


Feathered Drums and Turning Points (2008)

University of Oklahoma. Score: Bruno Coulais. Costumes: Aubrey Gamble. 1 of 10 student works curated out of 80 to be produced by the University for the School of Dance.

(5 dancers, 7 minutes)


Introverted Intro (2008)

American Dance Festival. Score: The XX

(2 dancers, 2 minutes)


Museum (2006)

Glendale Community College. Score: The Books

(8 dancers, 10 minutes)



Founder, Artistic Director, Manager

ka·nei·see | collective; Oakland, CA (2014-present)


Outreach & Volunteer Coordinator

Epiphany Productions Sonic Dance Theater; San Francisco, CA (2012-2014)


Grant Writer, Event Planner

dance anywhere; Berkeley, CA (2012-2013)


Company Manager

Blind Tiger Society; Oakland, CA (2011-2013)



Oklahoma City Ballet; Oklahoma City, OK (2010-2011)



Rogelio Lopez & Dancers – Rogelio Lopez, Artistic Director (2015)

Empty Spaces at Shawl-Anderson Dance Center in Berkeley, CA. Soloist.


Garrett + Moulton Productions – Janice Garrett & Charles Moulton, Artistic Directors (2014-2015)

The Luminous Edge at Yerba Buena Center for the Arts in San Francisco, CA


Blind Tiger Society – Bianca Cabrera, Artistic Director (2011-2014)

The Aftermath Affair at ODC Theater in San Francisco, CA. Soloist.

Sunk in Sleep at CounterPULSE in San Francisco, CA.

Blind Tiger Ball, site specific evening length work in Oakland, CA.

Feral at LEVYsalon and other variety shows


Kristin Damrow & Company – Kristin Damrow, Artistic Director (2012-2014)

Behind Closed Doors at The Garage in San Francisco, CA. Soloist.


paufve | dance – Randee Paufve, Artistic Director (2012-2013)

• Toured to Portland, OR

So I Married Abraham Lincoln at Dance Mission Theater, San Francisco, CA

• 8x8x8 collaboration with Dandalian Dance Theater at The Uptown, Oakland, CA


dNaga – Claudine Naganuma, Artistic Director (2013)

Shaking & Shocking at Laney College, Oakland, CA. Soloist.


Sarah Bush Dance Project – Sarah Bush, Artistic Director (2011-2012)

• Toured to Sacramento, CA

• Performed for one season at various venues and dance festivals.


Clawson Dance Initiative – Cheyla Clawson, Artistic Director (2009-2010)

Moments, Thoughts, and Revelations at Reynolds Performing Arts Center, Norman, OK


Contemporary Dance Oklahoma – Austin Hartel & Derrick Minter, Co-Artistic Directors (2006-2010)

• Toured to China for 10 days. 1 of 5 female company members chosen to tour out of 40.

• Four home seasons

• Toured to Kansas Dance Festival

• Highlighted performed works included choreographers Alvin Ailey (restaged by Derrick Minter), Helen Simoneau, Robert Battle, Darrell Grand Moultrie, Nathan Trice, and Christopher Huggins.


Pacific Ballet Dance Theatre – Natasha Middleton, Artistic Director (2004-2005)

• Apprentice for one season.




“When she debuted with 2015’s Cookie Cutter, Chianese, the 29-year-old director of Oakland’s ka·nei·see | collective, already possessed complex abstraction, refreshing humor, and insightful theatricality. Who else could use toilet-paper rolls as props, as in 2016’s Readymade, then about-face to this April’s Nevertheless, a scathing referendum on sexual harassment? Many try, but few succeed like Chianese.”

Claudia Bauer

San Francisco magazine’s “100 Artists Putting The East Bay On The Map” / June 2018

"If you’re in the area, go see it and if you’re not, make a special trip. Tanya Chianese and ka·nei·see | collective are important players in the emerging contemporary dance scene."

Heather Desaulniers

Critical Dance / Review / Jan 2015


"Her [Tanya Chianese] work is distinctly, handsomely, “retinal,” and this is exactly one of her strengths...Chianese is a structural and spatial wizard. Both in Cookie Cutter and now Readymade, Chianese arranges and re-arranges objects and humans in positively feng shui-esque configurations."

Sarah Chenoweth

BAYWATCH / Review / Oct 2016


"Chianese’s formidable choreography, innovative yet technically grounded at the same is impossible not to mention the company’s noteworthy and impressive spatial awareness."

Heather Desaulniers

Critical Dance / Review / Oct 2016


"...busting into the Bay Area dance scene, garnering immediate critical acclaim, and selling out every seat…"

Sarah Burke

East Bay Express / Preview / May 2015


“[Tanya Chianese's work] is accessible and provocative, as well as unafraid to meld innovation with time-honored dance conventions.”

Nirmala Nataraj

SF Chronicle / Cover Story / Jan 2015


"If Chianese’s intentions were to braid together her passions for contemporary dance and abstract art into an eruption of connected patterns within themes of imagination, fear, play, control, oblivion, and seeing the world through a positive lens, then she, and the dancers, certainly succeeded."

Brandy Miceli

Xpress Magazine / Cover Story / Nov 2016


"The actual dancing in this work would blow anyone away. The ka.nei.see | collective’s movement encapsulates the distinct blend of thrust and sinuosity that seems to be dominating the contemporary dance appetite. This can be chalked-up not only to Chianese’s own training and performance experience, but also the dancers’ preeminent facility. Requiring both the classical training to execute triple pirouettes and soaring extensions, and the modern training to devour floor space and fulfill gesture, these dancers are downright superstars."

Sarah Chenoweth

BAYWATCH / Review / Oct 2016


"What is also very clear and uncompromising is the choreography and its execution by the dancers of ka·nei·see | collective. The movement quality was robust both in temperament and reach. The dancers never gave up, committing fully to each change of mood and intensity."

Michelle R. LaVigne

SF Dance Matters / Review / Oct 2016


"The choreographic points of view impressed and in every instance, the dance artists handily communicated the breadth, range and distinctness of the material...Musical arpeggios and articulated limbs were married. No part of the work dominated the other – the achieved cohesiveness was stunning and rare."

Heather Desaulniers

Critical Dance / Review / Feb 2016


“Unapologetic dance.”

Rita Felciano

East Bay Monthly / Critic's Choice / Jan 2015


“Berkeley’s Shawl-Anderson Dance Center has been incubating modern dancers and choreographers since 1958. Lately it’s been especially fertile ground, nurturing resident artists like Tanya Chianese and Stranger Lover Dreamer, whose recent performances garnered critical and audience raves.”

Claudia Bauer

Speaking of Dance / Interview / March 2015


"Performers are serving up sweet steps...beautiful art can sprout from the seeds of self-doubt."

Michelle Mills

Pasadena Star News / Feature / Jan 2016


“Tanya is a young and talented emerging artist with the will to create in a conscious and compassionate way that will contribute significantly to the cultural landscape of the Bay Area to the benefit of its audiences”

Rebecca Johnson

Executive Director, Shawl-Anderson Dance Center / Nov 2014


"Artistic Director Tanya Chianese of ka·nei·see | collective has a knack for creating ensemble works that have both strong technical choreography and deep narrative themes. And she has a keen ability to translate these goals to a large-scale format for a large cast – Masses is proof of this."

Heather Desaulniers

Critical Dance / Review / Jul 2016


"The two exciting young companies [ka·nei·see | collective and Peter & Co.], both launched in 2014, already have produced some impressive work."

Andrew Gilbert

Mercury News / Recommended Show / Jul 2016

"Please Don’t delves into weighty and vital subject matter...While indeed a heavy work, Chianese also cleverly injected moments of humor...and moments of hope. The most significant observation for me in Please Don’t was the eye towards sisterhood and shared understanding...And not to detract from the serious narrative theme, but the technical acuity of the company must be mentioned."

Heather Desaulniers

Critical Dance / Review / April 2017

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