Since 2018 Avery has focused on creating projects using a reparations framework, which explores how to center healing and historical repair in our decision making processes. Avery has focused on relationship-centered processes, leading to collaborations with nonprofits, municipalities, social service agencies, universities, farms, community centers, prisons, art galleries, and private homes.

They have independently created over 25 original productions and led organizing projects concerning: food sovereignty, environmental justice, reparations, clean energy, and forming cooperatives. Their work has received recognition from the Bessie Awards (Outstanding Visual Design), Elliot Norton Awards (Outstanding Design), and Lavender Magazine (Outstanding Performance), and support from the MAP Fund, Zellerbach Community Arts, East Bay Fund for Artists, TBA CA$H Grant, Dresher Ensemble Artist Residency, and Kenneth Rainin Foundation: NEW

They have worked with Mission Cultural Center for Latino Arts, San Francisco Youth Theatre, and the Teatro Project, served as Vice-Chair of the Arts Education Alliance of the Bay Area, and now sit on the board of Aviva Arts.

As a grant writer, Yiyo has helped secure funding from the San Francisco Arts Commission, Center for Cultural Innovation, and Parks Alliance, including a $50,000 Arts Equity Grant for Tradición Peruana Cultural Center. They also received SFAC support for Fantasmitas: Cinco Sueños Regresando al Sur, which premiered nationally in 2024. Alongside advocacy, Yiyo performs with Magic Theatre (The Travelers, Dirty White Teslas Make Me Sad), Los Angeles Theatre Company, Brava Theatre, and dances with Afro-Peruvian ensemble Jaranón y Bochinche.

They hold a B.A. in Sociology and Theatre & Performance Studies from UC Berkeley, where they earned the Mark Goodson Award for Distinguished Artistic Talent.

Joti’s choreography draws from Bhangra, Punjabi folk traditions and West African dance from Guinea, using these forms as vessels of memory, protest, and belonging. Her work uplifts South Asian radical histories and builds solidarity across diasporas, particularly between South Asian and Black communities. Joti’sJoti’s choreography draws from Bhangra, Punjabi folk traditions and West African dance from Guinea, using these forms as vessels of memory, protest, and belonging. Her work uplifts South Asian radical histories and builds solidarity across diasporas, particularly between South Asian and Black communities. Joti’s choreography includes “Half and Halves,” about Punjabi-Mexican farmworker histories in California, and “Ghadar Geet: Blood and Ink,” inspired by her great-grandfather Bhagwan Singh Gyanee’s leadership in the Bay Area-based Ghadar Party, an anti-colonial movement that fought for India’s independence. Joti’s work has been supported by the Creative Work Fund, California Arts Council, San Francisco Arts Commission, and the Alliance for California Traditional Arts, and she is the 2024 recipient of the Gerbode Special Award in Dance and the 2025 New England Foundation for the Arts (NEFA) National Dance Project grant. She founded the World Dance Program at Ruth Asawa San Francisco School of the Arts and continues to teach widely. A mother of two, Joti’s practice is rooted in cultural advocacy, storytelling, and creating spaces of joy, resistance, and liberation. choreography includes “Half and Halves,” about Punjabi-Mexican farmworker histories in California, and “Ghadar Geet: Blood and Ink,” inspired by her great-grandfather Bhagwan Singh Gyanee’s leadership in the Bay Area-based Ghadar Party, an anti-colonial movement that fought for India’s independence.

Joti’s work has been supported by the Creative Work Fund, California Arts Council, San Francisco Arts Commission, and the Alliance for California Traditional Arts, and she is the 2024 recipient of the Gerbode Special Award in Dance and the 2025 New England Foundation for the Arts (NEFA) National Dance Project grant. She founded the World Dance Program at Ruth Asawa San Francisco School of the Arts and continues to teach widely. A mother of two, Joti’s practice is rooted in cultural advocacy, storytelling, and creating spaces of joy, resistance, and liberation.

Maddy previously served as Cultural Strategist in Government for the City of Oakland and was part of Intersection for the Arts’ THRIVE cohort of BIPOC arts leaders. As an arts-worker, she’s done everything from composing the score for Flyaway Productions’ aerial dance piece Apparatus of Repair, to producing a hip-hop album about climate change (downCHANTS), to helping launch a Black feminist podcast called What’s Pimpin’?

Maddy’s writing has appeared in KQED Arts, Hammer & Hope, and Teen Vogue. She’s been featured on Last Week Tonight and collaborated with More Perfect Union. Lately, Maddy has been delving into new media and narrative strategy—amplifying points of interconnectedness between the work of artists and social justice organizers.

Ronice is also a dance artist and cultural organizer. With Dancing Earth, Ronice performs and teaches at the intersection of dance, ecology, and cultural resilience, and with Diana Lara Projects, they collaborate in international residencies and performances exploring Honduran ancestry and Indigenous resistance. Ronice is a co-founder of RECLAIM, a dance gathering for BIPOC and/or Queer communities. RECLAIM creates intentional spaces where dance, rest, and solidarity become tools for liberation and collective care. Through these roles, Ronice is dedicated to cultivating inclusive spaces where creativity drives belonging, justice, and collective transformation.