Meet Dana Lawton

Choreographer, Dancer, Educator

Photo credit: Gail Beck

Dana Lawton is a Bay Area choreographer, performer, and educator whose work asks a simple but persistent question: what does it mean to move through the world together? As the founder and artistic director of Dana Lawton Dances, which she established in 2007, she has built a company around the conviction that dance is most alive when it reflects the full range of human experience, across generations, backgrounds, and ways of being in a body. Her choreography has been presented on stages from San Francisco to Bangkok, Belfast to Brooklyn.

Dana received an Outstanding Performer award in the 2000 Vision Series for her own choreographic work, and was nominated for an Isadora Duncan Award in 2002 for her performance in Garrett & Moulton Productions' Garrett’s Wayfarers.

Photo credit: Irving Wilshire

Teaching is as central to Dana's practice as making work. As a tenured Professor of Dance at Saint Mary's College of California, she brings the same rigor and curiosity to the classroom that shapes her choreography. She also teaches open classes at Shawl-Anderson Dance Center in Berkeley, welcoming dancers from beginner to advanced. For Dana, teaching isn't separate from the artistic work; it's another way of investigating what movement can do and who it belongs to.

“Teaching, for me, is about guiding students toward a deeper relationship with alignment, breath, and the expressive capacity of their bodies. I start slowly, inviting grounding, curiosity, and clarity, and build toward movement that is fearless, musical, and deeply textured,” says Dana.

”Above all, my classroom is a space where each dancer is encouraged to bring their full self, intellect, instincts, vulnerabilities, power. We work hard, we sweat, we breathe, we research sensation, and we celebrate what becomes possible when the body is both disciplined and wildly alive.”

Dana holds an MFA in Choreography from Mills College and a BFA in Dance from the California Institute of the Arts, two institutions with deep roots in experimental and contemporary practice. That training informs everything DLD makes: work that is formally rigorous, emotionally direct, and genuinely interested in the people in the room, both on stage and off.

“I’m trying to carve out a world where humanity, rigor, and imagination can coexist without apology,” says Dana. “Each new work begins with a felt sense, a tug in the body, a question in the gut, a fragment of atmosphere, and my job is to follow that thread until it reveals its deeper truth. I’m always trying to create environments where dancers can inhabit themselves fully: emotionally honest, technically alive, and connected to each other in ways that feel both ancient and urgently present.”