Sarah Cecilia Bukowski

I am a freelance dance artist, activist, and community organizer based in New York City. I am a mixed-race Latinx queer woman. I was born in Barranquilla, Colombia and raised in the United States and Argentina. My bicoastal artistic career encompasses dance communities in New York, the San Francisco Bay Area, and Portland, OR.

I am currently pursuing my BA in Dance at Columbia University School of General Studies. My studies are focused around social justice issues in dance and the performing arts with an eye to racial justice, cultural equity, and workers’ rights. I have a long held passion for the written word and a deep inquisitiveness for its intersection with creative processes and the moving body. I consider it a personal mission of mine to use these platforms to create a just and more sustainable future for dance in the 21st century.

My performing credits include Amy Seiwert’s Imagery, Oregon Ballet Theatre, Dance Theatre of Harlem, San Francisco Opera, Oakland Ballet, Hope Mohr Dance, Robert Moses’ Kin, and Mark Foehringer Dance Project. Highlights of my repertory include works by George Balanchine, Merce Cunningham, Jerome Robbins, and Nacho Duato, among many others. I have participated in the collaborative creation of dozens of new dance works, including short films for the San Francisco Dance Film Festival’s Co-Laboratory project, video art installations by John Sanborn, and extensive collaborations with local artists. In 2017 I created a solo show as a resident artist for Deborah Slater Dance Theater’s Studio 210 summer residency program. I was honored to have been nominated for Isadora Duncan Dance Awards as an individual performer for my work with Amy Seiwert’s Imagery in 2012 and 2016.

As a classically trained artist moving in new experimental capacities I enjoy working with visual artists, filmmakers, photographers, musicians, and multidisciplinary professionals to break new ground in dance and performance art through cross-disciplinary collaboration.




Hope Mohr Dance
San Francisco, California
Artistic Director: Hope Mohr
The Bridge Project
Signals from the West: Bay Area Artists in Conversation with Merce Cunningham at 100
Cunningham repertory staged by Rashaun Mitchell & Silas Reiner
Solos and excerpts from Biped, Change of Address, Fluid Canvas, Roratorio, & Scramble

Robert Moses’ Kin
San Francisco, California
Artistic Director: Robert Moses
New works, improvised performance, and repertory by Robert Moses

Mark Foehringer Dance Project
San Francisco, California
Artistic Director: Mark Foehringer
New works and repertory by Mark Foehringer

Amy Seiwert’s Imagery
San Francisco, California
Artistic Director: Amy Seiwert
Lead artist and collaborator
New works by Amy Seiwert, Jennifer Archibald, Marc Brew, Val Caniparoli, Adam Hougland, Shinichi Iova-Koga, Matthew Neenan, KT Nelson, Gina Patterson, Scott Wells

Oregon Ballet Theatre
Portland, Oregon
Artistic Director: Kevin Irving
Featured in soloist roles in works by George Balanchine (Agon), Nacho Duato (Rassemblement), Nicolo Fonte, James Kudelka

San Francisco Opera
San Francisco, California
Ballet Master – Lawrence Pech
Show Boat – cover & dance captain

Oakland Ballet
Oakland, California
Artistic Director: Graham Lustig
Featured in soloist roles in works by Graham Lustig and Amy Seiwert

Dance Theatre of Harlem Ensemble
New York, New York
Artistic Director Emeritus: Arthur Mitchell
Works by George Balanchine, Arthur Mitchell, Geoffrey Holder, Robert Garland

Choreography / Collaborations

Don’t Be Dainty
Solo performance for Deborah Slater Dance Theater residency program 2017
Studio 210, San Francisco

Ligne Droite et Circle / Tue Mon Amour / Entre Nous / Ellipsis / EAGE
Directed by John Sanborn
Various international exhibitions 2016-2018

Created for Elastic{on} 2017 in collaboration with Kelly Creative Technologies
Wearable technologies and dance performance


Pointe Magazine
Standouts: Top 10 Favorite Performances of 2013

Isadora Duncan Dance Award
Nominated – Outstanding Achievement in Performance: Individual (2012 & 2016)

Torneos Juveniles Bonaerenses
Gold medal – Classical Ballet Duet (1997 & 1998)


Ekman’s Concise Guide to Natural Movement
Directed by T.M. Rives
Choreographed by Alexander Ekman
Commissioned by Dance Film / SF Colaboratory 2018
View trailer here

EAGE: The First Song Was A Love Song
Video art installation – Adam & Eve in the Garden
Directed by John Sanborn
View EAGE excerpts here

Barn Dance
Amy Seiwert’s Imagery
Djerassi Resident Artists Program
Commissioned by San Francisco Dance Film Festival Colaboratory 2013
Directed by Jon Haptas & Kristine Samuelson
Choreographed by Amy Seiwert
View Barn Dance here

Capacitor Dance
Directed by RJ Muna
Choreographed by Jodi Lomask
View Flock here

Performance Indeterminate Cage Opera (PICO)
Directed by John Sanborn
View PICO here

Hemingway & Gellhorn
HBO Films
Directed by Philip Kaufman
Choreographed by Robert Sund
Featured as Tropicana Club mambo dancer


ODC San Francisco     2010 – present
Ballet, modern, contemporary, release technique, Countertechnique, Feldenkrais

Mark Morris Dance Group      2019
Ballet, modern, repertory, music and rhythm training

Dance Theatre of Harlem     2006 – 2009
Ballet, pointe, pas de deux, modern, African, Pilates

Barnard College Department of Dance     2004 – 2005
Graham and classical ballet techniques

Kansas City Ballet School     2000 – 2004
Advanced ballet, pointe, pas de deux, jazz, modern

Ballet Estudio Maria Cecilia Diaz (Buenos Aires)     1997 – 2000
Vaganova ballet and pointe techniques

Central Pennsylvania Youth Ballet     1990 – 1997
Prestigious young dancers’ ballet program







“Sarah Cecilia [Bukowski] is that rarest of creatures: a true balletic chameleon. She has both impressive classical technique and also the ability to completely let it go. In choreographer Amy Seiwert’s SKETCH 3: Expectations showcase this July, [Bukowski] performed pieces by Val Caniparoli, Marc Brew and Seiwert—seamlessly falling to the floor, crawling and climbing, and rising into the arms of ever-changing partners. Yet when the choreography drew from the classical canon, the 27-year-old revealed impeccably honed attitudes, grands jetés and pirouettes. On pointe or in jazz shoes, she brought emotional intensity that was true to the work, as well as a special something that drew your eye over and over, without her trying to get your attention. Her transitions from one extreme to the other appeared effortless, and the effect was simply thrilling.”

Claudia Bauer, Pointe Magazine
The Standouts: Our Top 10 Performances of 2013


“There’s an unexpected softness in these strongly squared poses, from the duet to the group scenes, and the details — Sarah [Bukowski]’s proud shoulders in mourning, Colby Parsons’ go-for-broke jumps — are what makes the piece a complete experience.”

Celina Russell, The Oregonian/OregonLive
Oregon Ballet Theatre: Impact 2015
Nacho Duato’s Rassemblement


“While all the dancers gave this highly emotional work everything they had, their commitment and understanding of the subject informing their dancing, I couldn’t take my eyes off company artist Sarah [Bukowski], who gave a performance that was as passionate as it was political.”

Martha Ullman West, Oregon Arts Watch
Oregon Ballet Theatre: Impact 2015
Nacho Duato’s Rassemblement


“I was particularly taken with the centered, expressive dancing of Sarah [Bukowski].”

Martha Ullman West, Oregon Arts Watch
Oregon Ballet Theatre: George Balanchine’s The Nutcracker 2014


“The regal [Bukowski] elevates simple walks on quarter-pointe into high art.”

Carla Escoda, Huffington Post
Imagery SKETCH 3: Expectations 2013


“…the long-limbed Sarah [Bukowski], who seemed composed of so rare a substance that she barely touched the ground in her duet.”

Irene Hsiao, SF Weekly
Imagery SKETCH 3: Expectations 2013


“…at Triptych’s center [choreographer Val Caniparoli] placed a languid and intimate pas de deux for [Bukowski] and [Weston] Krukow, surely one of Caniparoli’s finest creations… The women’s trio [in Marc Brew’s Awkward Beauty] – with gorgeous [Bukowski] at its center – looked balletically demure until the women literally let their hair down.”

Rita Feliciano, San Francisco Bay Guardian
Imagery SKETCH 3: Expectations 2013


“I remember Sarah [Bukowski] aloft at an angle, arms and legs like a strong calligraphic exclamation”

Renee Renouf Hall, Woolly Western Eye
Imagery SKETCH 3: Expectations 2013


“Sarah [Bukowski] (a tall, stunning dancer with an almost terrifying extension) and Weston Krukow sizzle in their encounter.”

Allan Ulrich, San Francisco Chronicle
Imagery SKETCH 2: Women Choreographers 2012


“Hidden gems are [Bukowski] and Barocio who move so tenderly in tune with each other in their partnering… [Bukowski] shines once more; she approaches her segments with a glowing focus, not a sharp attack, but a gentle freedom.  She never shows the effort, only the lustrous result.”

Aimee Tsao, DanceTabs
Imagery SKETCH 2: Women Choreographers 2012


“…the Colombian-born Bukowski—a tall, muscular and assertive figure I found imposing on stage—once again a stand-out performer. I could have watched [her] dance all night long, and still have asked for more.”

Paul Hertelendy, ArtsSF.com
Imagery SKETCH at West Wave Dance Festival 2011


“…there were glorious passages in the duet for Bukowski and [Joseph] Copley… She is beautiful, and Copley is a devoted partner.”

Paul Parish, The Bay Area Reporter
Amy Seiwert’s Response to Change – Oakland Ballet 2011


“infinitely extended”

Allan Ulrich, San Francisco Chronicle
Oakland Ballet’s The Nutcracker 2010


“Sarah Bukowski, as Mrs. Stahlbaum, enlivened [the party scene] with her lyricism and charisma, which were also put to good use in her acrobatic Arabian dance.”

Claudia Bauer, Speaking of Dance
Oakland Ballet’s The Nutcracker 2010