About

Sarah Cecilia is a classically trained, creatively inclined dancer and movement artist. Born in Barranquilla, Colombia and raised in the United States and Argentina, she began her ballet training at the age of three.

Sarah is currently a freelance performer and choreographer as well as a senior dancer and collaborator with Amy Seiwert’s Imagery. She has danced with Oregon Ballet Theatre, San Francisco Opera, Oakland Ballet, and Dance Theatre of Harlem, among others. In 2012 and 2016, she was nominated for Isadora Duncan Dance Awards as an individual performer for her work with Imagery. In 2017 Sarah wrote, choreographed, and designed a solo performance, “Don’t be Dainty”, as a Resident Artist with Deborah Slater Dance Theater in San Francisco.

Sarah enjoys working with artists, filmmakers, photographers, musicians, and technological engineers to break new ground in dance and performance art through interdisciplinary communication and collaboration.

 

Upcoming

San Francisco Dance Film Festival
Double Play
World premiere of short film “Ekman’s Concise Guide to Natural Movement”
Directed by T.M. Rives with choreography by Alexander Ekman

October 11, 2018
Brava Theater, San Francisco
Tickets and information
View trailer

 

Resume

Dance

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
Works by George Balanchine, Nacho Duato, 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
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

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

Awards

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)

Film

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

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

PICO
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

Training

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

Barnard College Department of Dance
Graham and classical ballet techniques

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

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

Central Pennsylvania Youth Ballet
Prestigious young dancers’ ballet program

 

Gallery

 

 

Press

“Sarah Cecilia Griffin 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, Griffin 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 Griffin’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

 

“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 Griffin, who gave a performance that was as passionate as it was political.”

Martha Ullman West, Oregon Arts Watch
Oregon Ballet Theatre: Impact 2015

 

“I was particularly taken with the centered, expressive dancing of Sarah Griffin.”

Martha Ullman West, Oregon Arts Watch
Oregon Ballet Theatre: The Nutcracker 2014

 

“The regal Griffin elevates simple walks on quarter-pointe into high art.”

Carla Escoda, Huffington Post
Imagery SKETCH 3: Expectations 2013

 

“…the long-limbed Sarah Griffin, 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 Griffin and [Weston] Krukow, surely one of Caniparoli’s finest creations… The women’s trio [in Marc Brew’s Awkward Beauty] – with gorgeous Griffin 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 Griffin aloft at an angle, arms and legs like a strong calligraphic exclamation”

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

 

“Sarah Griffin (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 Griffin and Barocio who move so tenderly in tune with each other in their partnering… Griffin 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

 

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