“Maura The Dancer” is Creative Collective facilitated by Maura García.

Current legal structure: registered sole-proprietorship with separate EIN

OUR MISSION

To inspire people to liberate themselves by channeling the sensual rhythms of the natural world.

STATEMENT OF CHANGE

We believe that liberation is communal. By connecting people more deeply with themselves, other humans and the earth around them, we create space for joy, pleasure, and healing.

WHAT WE DO & HOW WE DO IT

We provide impactful Dance, Entertainment, Multimedia Productions, and Workshops.

Dance & Entertainment: Vibrant and captivating, Maura García is a performer who brings creative visions to life by channeling the energy of the sun and earth. She is skilled in multiple dance styles, performing choreography and/or improvisation, with a specialty in rhythm based styles, martial arts fusion and sensual dance.

Multimedia Productions: Multimedia dance performances, interactive dance experiences and community arts projects created by a stellar team of Indigenous and other POC artists and creatives. Our creations uplift Indigenous cultural values, uncover stories hidden by colonialism and unleash the power they have to change our realities.

Workshops: Custom-designed workshops, master classes and residencies taught by Maura García and other Indigenous and POC artists. Through dance, language, music, story and original choreography, participants explore movement as a vehicle for understanding and connecting with the world.

WHERE WE DO IT & FOR WHOM

For performance audiences, community groups, private clients and other creatives via:

OUR VISION

Our work is part of the shared work of liberation.

Our art is one of the sparks that frees people by giving them permission to express their true selves.

Another world is possible. We inspire new ways of seeing the world and solving problems by sharing traditional Indigenous cultural values.

Through our outreach, we heal and create more space for joy and pleasure by connecting people more deeply with themselves, other humans and the earth around them.

GUIDING LIFEWAYS

(the first three are traditional Cherokee values taught to Maura García by Dotsuwa (tsigesv) - the late, great Mr. Benny Smith)

1) ᏕᎦᏓᏎᎳᏗᏍᎨᏍᏗ Degadaseladisgesdi

We uplift one another in all things - with every part of our being - words, songs, dance, art, actions, etc

2) ᏂᎦᏯᎢᏐ ᎦᏚᎩ ᏂᏧᏁᏍᏗ Nigayaiso gadugi nitsunesdi

We have an ongoing continuous spirit of working together in cooperation for the benefit of all.

3) ᎤᎵᏍᎨᏗ ᏕᎦᏓᏰᎷᎵᏎᏍᏗ Ulsgedi degadayelulsesdi

We are to hold all beings as sacred and of great importance.

4) We recognize that body sovereignty is one of the values of precolonized southeastern Indigenous societies and that the freedom to consensually share sensual and sexual expressions is one of the foundations of world liberation. (This value was developed through lived experience and research about Maura García’s sexworker ancestors, the power of femme bodies and pre-colonization/non-christian beliefs concerning sexual freedom).

LIFEWAYS IN ACTION

We believe that every interaction with a living being is an opportunity to positively affect the world, so there are infinite opportunities perpetuate these ancestral values and activism. We use them to guide all aspects of our work and actively practice these ways by:

1) Using kind words and loving language in business correspondence, meetings and rehearsals.

2) Uplifting and helping to sustain other Indigenous artists by hiring them, listening to them and sharing resources with them. This is a reciprocal process.

3) Creating opportunities to work in and with communities so that we can all have new and enriching experiences.

4) Using spoken Cherokee language in performances and choreographic patterns in defiance of US policies which attempted to extinguish our languages.

5) Disrupting the settler colonial narrative which erases Indigenous existence, by creating choreography and shows grounded in our values, designs, stories, work patterns and/or movement qualities.

6) Activily defying repressive colonial systems which seek to control our sensual pleasure and body sovereignty, by providing dance performances, art, and experiences that embrace the erotic as a normal and natural part of human existence.

7) Actively respect the living earth through consideration of the affects of performances, the creative process and production on all beings. Using processes that are less harmful, less wasteful and more beneficial to entire ecosystem.

STAKEHOLDERS

S.W.O.T ANALYSIS

Strengths:

1) ability to pivot and willingness to do whatever is necessary to keep things afloat

2) deep and numerous connections, many untapped, in terms of allies, colleagues, presenters and supporters

3) multiple streams of income and various services provided

4) versatility of settings where able to work

5) work is/has been offered via personal/professional connections

Weakness:

1) dependence on others’ subjective opinons (for hiring, awarding ,etc) and/or perceived inability to generate income without being chosen/approved

2) lack of business infrastructure and overall financial planning

3) lack of representation

4) lack of team

5) risk of returning to the “old ways of doing things” and going it alone

Opportunities:

1) angel donor provided funds to contract with professionals for the purpose of consults, grant working, and market research. This increases portential for expansion and lowers risk of burn out.

2) relocation to a new city

3) timing - harnessing recent national recognition in the field as a starting point to reach out to and begin conversations with potential agents, producers, and/or managers

4) timing - harnessing the momentum of the strategic planning process to approach and/or welcome in core/ongoing mission partners and collaborators

5) recent grant award has created time and space in schedule for restructuring without panic

Threats:

1) Frequent relocation which can threaten ability to establish roots, community and stability

2) ICE, immigration and travel restrictions, and human rights issues which affect the wellbeing, and//or restrict the movement of my collaborators, or myself, in and out of the “United States”.

3) lack of personal financial stability

4) no scheduled engagements - not “gigged out” for the future

5) unpredictable budget cuts across the arts sector which have unforeseen direct and trickledown affects

STRATEGIC PRIORITIES - People & Timeline

I. Deepen Partnerships: Activate existing community, and develop new alliances, to create meaningful, ongoing pathways for involvement and collaboration.

By the first dark moon after the fall equinox 2025: Maura, Desteney, MGL, Ahyoka, Monday, Gosdayi, John, April, Andy, Kenneth, Laura G., Creative Disruptors, artistic and administrative collaborators, culture bearers, organizations/people/venues that have presented the work in the past, organizations that have funded the work in the past, grants/fellowship panelists who have positively reviewed the work in the past, people who have provided testimonials for the work, etc

II. Build Sustainable Creative Infrastructure: Lay the foundation to transform project-based work into a sustainable, values-aligned artistic business.

By the first dark moon after the winter solstice 2025: Maura, MGL, Dancer Resource Transition Center (BC), Vivian of CC, Landa

III. Grow Reach (Touring + Local Performance): Expand impact, visibility, and income by increasing performance opportunities.

By the first dark moon after the spring equinox 2026: Maura, Izzy, Desteney

IV. Get Professional Representation & Producing Partners: Expand impact, visibility and income by aligning with the right representation

By the first dark moon after the summer solstice 2026: Maura, Yassin/Kamūn, Neon Entertainment, Courtney, Olivia, Laura G., Rachel - Cadence, Marÿa

V. Grants & Funding: Nurture sustainability and ability to care for team by aligning with the right funding partners

By the first dark moon after the fall equinox 2026: Maura, Lauren, Shelby, other grant writer

STRATEGIC PRIORITIES - Tasks

I. Deepen Partnerships: Activate existing community, and develop new alliances, to create meaningful, ongoing pathways for involvement and collaboration.

1) Identify consistent allies, audiences, champions, partner(s), etc

potential partners, including MGL and Izzy
familial, personal, tribal and/or cultural allies and champions: Ahyoka, Gosdayi, MGL, Lizz, Duke, Ty, Gaylene
past and present artistic collaborators including, MGL, Ahyoka, Madeline, Adrian, Gosdayi, Soumitra, Zion, Izzy, Mona, Karen, Elisa, Andre B, Victoria, Gaby, Citlali, DeAnna, Devin, Skinny Kid, lighting director at MCA Chicago
past and present administrative or marketing collaborators including Desteney, Izzy, Lauren, Buddy, Taylor L, Monday
continuing allies of the work including Merindah, Yura, LiberArte, Karen, Ayllu Arts, Amber, Veterans Art Movement, Jhon, Monday
donors including April, Amy, Arias, SKL and Tuvara
past personal presenter contacts (research CV) including Allison P, Teagan, gossipy chick from MCA, Gabey Tayec, Ojeya, Beth of museums
past testimonial givers (research website) including Connecticut College professor, Portland Arts director, Ruben
past presenters, not so close contacts (research CV for past 10 years) Producer Hub, Performance Space
past dance companies/choreographers/productions performed with (research CV for past 10 years) including Elisa, Malcolm X, Toby, Oscar, Tampa folks, Barbea
people who engage with the email list (search mailchimp analytics & saved inbox comments) including Erin L, Janice, Aunt Lois, Denise Barnes
interested producers including Marÿa, Courtney, Laura, Olivia, Heather
interested agents including Assis, Laura Colby, Phyllis Rush, Jody Kaplan, Rachel Cohen, Neon Entertainment
consistently supportive Native Arts Advocacy organizations and people including, Emily, FNPA, IPAA, AIP, Ayullu Arts
consistent organizational partners (search CV and honors) including KCIC, Ackland, Matriarchs Uprising, Talking Stick Festival, Blak Dance, Houston MET Dance
past and present granting organizations (research CV for past 10 years) including MAP Fund, Dance/USA, WAA, WA state artist grant, Snapdragon, Rau. Emergency Funds, Demil Art Fund
past and present organizations for whom I served as a panelist (research CV) including Native Arts and Cultures, McKnight, CSF, Atlanta Dance Festival

2) Reframe collaboration as collective opportunity, not individual burden

3) Invite trusted/qualified colleagues and professionals into the strategic planning process to critique certain aspects of plan

graphic designer to help with a basic website readability review, with a specific focus of suggestions to streamline the EPK pages

4 people to review intent, effectiveness and clarity of mission, vision and “how we work” statements
seek informational interviews with performing arts professionals who have admirable/inspirational careers. Ask questions about their career trajectory and specific actions that resulted in performance opportunities, increased sustainability and relationship/community building

4) Create new partnerships with aligned organizations and collaborators by relocating to a geographic location that has a sizeable Native community with organizations/groups that regularly host public community gatherings (culture nights, story telling events, craft nights, pow-wows, round dances, community garden work shifts, etc) and a viable local dance gig economy, studio residencies, professional level dance classes in relevant styles, and a vibrant local working professional performing artist community (ie community of committed professionals who make their livelihood from their work as performing artists)

investigate, attend and network at local performing arts venues and events that present or feature local paid talent
join (within financial/time capacity) and network at local performing arts/mixed arts councils, societies and/or guilds.
attend and network at professional dance classes in relevant styles
investigate local dance companies. If aligned attend their classes and potentially develop a collaborative relationship

5) Tweak communications to feature engagements as part of a long-term vision, not just individual shows

6) Host and schedule updates that foster transparency and shared purpose

7) Begin informally, yet intentionally, collecting feedback at all public events (immediately following the show/workshop/event) - either via video, audio, and/or by writing down testimonials or quotes

II. Build Sustainable Creative Infrastructure: Lay the foundation to transform project-based work into a sustainable, values-aligned artistic business.

1) Develop a unifying mission and long-term vision that connects all projects

2) Seek targeted advice, input and/or assistance from knowledgeable professionals to set up basic business systems (budgets with overhead, fiscal planning, legal structure, regular check-ins) specifically:

dance business financial planners, entrepreneur financial resource centers or financial counselors who can help facilitate the shift from survival mode to intentional, regenerative planning
work with these helpers to determine what type of support is needed in terms of reporting, communications, and back-end operations

3) Begin building core team and clarifying roles by activating current network of colleagues, personal and professional connections.

discuss current strategic planning work, goals and the types of help desired
be open to suggestions for other individuals and/or organizations to contact as potential team members
building on work done in goal I, clarify and annotate core team roles including but not limited to people in the artistic, financial, representation, production and admin fields.
invite, recruit and/or contract with identified core team members in accordance with their roles (if necessary). Create a “reach out” schedule if necessary

III. Grow Reach (Touring + Local Performance): Expand impact, visibility, and income by increasing performance opportunities.

1) Contract with someone to search and apply for financially feasible festival performance opportunities (for dancer/entertainer or multimedia productions). They will:

Research the prospective list of festivals (provided by Andy H.) and identify which are still viable and whether or not they accept submissions
Of the vetted festivals, determine which are financially feasible
Create a yearly submission spreadsheet and schedule
Apply/submit to feasible festivals in accordance with the created schedule

2) Search and apply for new, relevant dancer/entertainer audition opportunities and open call concert dance presentation opportunities (for multimedia productions) via:

one paid platform (Backstage)
multiple free platforms with listings (playbill, dance opportunities, seattle dance, etc)
email list announcements (Creative Capital, IPAA, etc)

3) Contract with someone to search and apply for financially feasible industrial performance opportunities (for dancer/entertainer or multimedia productions). They will:

Research the prospective list of industrials (provided by Andy H.) and identify which are still viable and who the producing entity is
Contact the producing entity and determine whether or not they accept submissions AND if the fees paid are sustainable and feasible
Create a submission spreadsheet and schedule
Apply/submit to feasible opportunities in accordance with the created schedule

IV. Get Professional Representation & Producing Partners: Expand impact, visibility and income by aligning with the right representation

1) For Aniwisvsgo’i, EveryBody's Dance, Step This Way, Site-specific commissions and Workshops

search the APAP list for potential booking agent/agency matches, contact them and submit materials and/or request an informational interview
determine if a separate public performance and industrials representation is needed
obtain a booking agent(s) for work mentioned above (could potentially be one entity or multiple entities)

2) For sensual work and work deemed adult entertainment

enlist aid of erotic labor colleagues to locate a trustworthy, ethical and efficient individual who is interested in finding and booking gigs on behalf of Maura The Dancer
begin meetings with candidate(s) and contract with someone on a percentage cut basis

3) For Hawinaditlv, Hey Google! and Lessons of Erotic Labor

research the CIPA, SPA and Producer Hub lists for potentially aligned producers
sign up for preliminary free consultations with aligned producers
begin conversations with and begin working with an aligned producer (individual or individuals) and/or producing organization(s)

4) Upon relocation, investigate potential local commercial/industrial production companies or event planning companies. If feasible sign with them (as Dancer & Entertainer talent, for Multimedia Productions and/or Workshops)

5) For “Maura The Dancer” overall trajectory

search the APAP list for potential manager matches, contact them and submit materials and/or request an informational interview
if possible and feasible given scope of work, obtain a manager

6) Upon relocation, research local dance companies and nightclubs. If the potential work/representation offered is mission aligned and fiscally feasible - network, go to class and/or audition and obtain a contract either as a guest performer or regular performer.

7) Research the possibility of having a agent and/or manager specifically for museum commissions, performances, remounts and workshops (dedicated booking agent or agency). If aligned and feasible, begin working with this person or agency.

V. Grants & Funding: Nurture sustainability and ability to care for team by aligning with the right funding partners

1) Contract with someone to research, locate and schedule grant funding opportunities in accordance with mission, values, the different areas or work of Maura The Dancer and/or specific multimedia productions.

2) Work with contracted grant researcher to apply for scheduled grants

3) When awarded, contract with an meticulous admin assistant to create contracts, manage any required grant data, complete or assist with grant reporting and other administrative tasks related to the fiscal and/or project-related activities of the grant

MEASURES OF SUCCESS

To be assessed at the beginning of each lunar month

1) Core Team Identified & Engaged

partner(s) (exact profile TBD via working strategic plan, options may include career management, business management, visioning partner and/or core artistic partner)
artistic crew [exact profiles TBD via working strategic plan, options may incude an ongoing dramaturg, choreographer, tech director, stage manager, costume designer, musician (s) and/or dancer(s)]
cultural check-in crew (exact profiles TBD via working strategic plan, will include Cherokee culture bearers and other Indigenous performing artists)
local/regional representation for industrial performances (production company or event planner)
local/regional representation for talent (dance company, nightclub and/or production company)
touring representation for museum commissions, performances, remounts and workshops (dedicated booking agent or agency)
touring representation for industrial performances and workshops (dedicated booking agent or agency)
touring representation for public performances (dedicated booking agent or agency)
touring representation for erotic/sensual engagements (dedicated person)
producer and producing partners for Hawinaditla, Hey Google! and Lessons of Erotic Labor (dedicated producer per show or one for all)

2) Engagements: 35 per year (48 weeks in a year = 35 “on” weeks, 4 weeks off for vacation and fasting, 9 weeks for rehearsals, production and/or intensives)

minimum of 28 dance performance events per year, TBD later if the breakdown matters in the context of the greater mission (venue? touring? local? industrial or public? solo or ensemble? hired dancer or dancer/creator? full length? excerpts?)
minimum of 7 workshop/masterclass events per year

3) Expenses Fully Covered

36K salary per year for Maura García
TBD partner salary and/or fee
TBD artistic crew per engagement fees
TBD cultural check-in crew stipend

Project and/or show specific expenses outside of artistic fees, including but not limited to airfare/mileage, ground travel, meals, lodging, supplies, contractor
As needed contracting with an accountant (or financial advisor), physical therapist, and administrative assistant

4) Financials

Assessment of income needs completed with a focus on sources of income and whether or not there needs to be additional sources other than artist fees, grants and donors. Options may include rental income, merch, and/or inkind subsidization of certain costs (ie Maura is a building super in order to have free personal rent thereby reducing the 36K salary requirement, Maura works at a community garden in exchange for food, thereby reducing the 36K salary requirement, Maura wins a studio residency which allows for free ensemble rehearsal space, Maura teaches a class at a dance studio in exchange for free solo rehearsal space, etc)
Maura The Dancer budget created (yearly, possibly 4 year) including line items such as overhead
Completion of fiscal planning process with goals of Maura The Dancer being a business that has a carryover profit for each event and year