Alyce Finwall Dance Theater was established in 1999 by artistic director and choreographer, Alyce Finwall. The mission of AFDT is to blend an
unabashed movement language with dramatic expression to create a powerful vehicle for theatrical dance. Originally based in Minneapolis, MN, AFDT has produced more than 40 works throughout the
company's history. In 2001, after much encouragement by AFDT's Board of Directors, Alyce Finwall moved the company's operations to New York City in order to present her work on a larger
platform and to a wider audience. While in New York, AFDT presented many new works at such venues as P.S. 122, Dance Theater Workshop (New York Live Arts), White Wave Theater, 92nd Street Y and the
Joyce SoHo. In 2007 AFDT moved to San Francisco where it has become an important participant in the Bay Area dance community and continues to present work across the U.S.
Alyce Finwall Dance Theater utilizes a combination of high intensity contemporary and classical forms to investigate the complex dimensions of life and the human experience. Alyce's unique
artistic voice comes from a dedication to experimentation and reinvention, and her approach delivers an intelligent and evocative style illuminated with vision, insight and imagination.
Choreography is the essential language of Alyce Finwall's voice - through the manipulation of theatrical modes, Alyce creates layers of meaning that demand discussion, analysis and emotional
investigation. She has explored various movement styles throughout her career, which are all reflected in her current dance vocabulary. Her early work with the avant-garde ballet company, Ballet of
the Dolls, still influences her work today – Alyce was associated with the company for seven years, and became a guest choreographer while employed as a dancer. It was through Ballet of the Dolls and
the artistic director, Myron Johnson, that she was encouraged to form her own company. During this time, Alyce accepted an invitation from Lena Wennergren-Juras to study with the Cullberg Ballet and
choreographer Mats Ek in Stockholm, Sweden. She also studied the Cunningham technique at the Cunningham Foundation in New York City through a grant from the Jerome Foundation. These travels to study
different techniques have helped to foster her own unique movement vocabulary, one that is rooted in classical ballet, and which springboards into a world that embraces an athletic, contemporary and