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Groundwater Arts shapes, stewards, and seeds a just* future through creative practice, consultation, and community building.
*climate justice = racial justice = economic justice = a decolonized future our valuesWe value work that is both adaptive and regenerative, and which resources frontline communities. All of our work aligns with the principles of a Green New Theatre. |
the team
Annalisa Dias (she/her) is a Goan-American citizen artist, community organizer, and award-winning theatre maker working at the intersection of racial justice and care for the earth. She is Director of Artistic Partnerships & Innovation at Baltimore Center Stage, where she is responsible for new work development and civic programming. She is a TCG Rising Leader of Color. Recent work includes THE EARTH, THAT IS SUFFICIENT, a performance project about hope for the future in the face of the climate catastrophe, produced by The Welders throughout 2019 in Washington DC and globally.Annalisa has facilitated dialogue and presented on anti-oppression and decolonization at numerous national conferences including Theater Communications Group, Kennedy Center Directing & Dramaturgy Intensive, Association for Theatre in Higher Education, American Alliance for Theatre Educators, Shakespeare Theatre Association, among others. Annalisa has published several articles and book chapters on the subject of decolonization in artistic practice and higher educational contexts. She has been an invited guest speaker on issues of anti-racism, decolonization, and new play development in graduate classes at Tisch NYU, American University, Hollins University, and The Catholic University of America.
Tara Moses (she/her) is a citizen of Seminole Nation of Oklahoma, Mvskoke, director, multi award-winning playwright, co-Artistic Director in Residence at Red Eagle Soaring, Producing Artistic Director of telatúlsa, co-Founder and Senior Producer of #Binge, and co-Founder of Groundwater Arts.
As a director, her work has been seen in New York, NY; Tulsa, OK; Washington, D.C.; Bethesda, MD; Oklahoma City, OK; Palmetto, GA; Edmond, OK; and Hartford, CT. As a playwright, her completed works include Sections, He’eo’o, Quantum, Bound, the adaptation of Hamlet: El Príncipe de Denmark, Don Juan, Arbeka, and Patchwork, a 10-minute play. Her plays have been produced and/or developed with American Indian Community House (New York, NY); Safe Harbors Indigenous Collective (New York, NY); Sound Theatre Company (Seattle, WA); Good Luck Macbeth Theatre Company (Reno, NV); American Indian Artists, Inc. AMERINDA, (New York, NY); Yale Indigenous Performing Arts Program (New Haven, CT); Native Voices at the Autry (Los Angeles, CA); Oklahoma Indigenous Theatre Company (Oklahoma City, OK); telatúlsa (Tulsa, OK); University of Central Oklahoma (Edmond, OK); No Peeking Theatre Company (Jersey City, NJ); Furnace Fringe Festival (Boston, MA); #BingeTheatreCompany (Washington, D.C.); and Echo Theatre Company (Tulsa, OK). Additionally, her plays have been taught and/or are currently in the curriculum at Brown University, the University of Arkansas, the University of Arizona, UCLA, University of Washington, Oklahoma City University, and Northeastern State University. She is currently commissioned by AlterTheatre Ensemble, Kitchen Dog Theater, the New Now Commission with Lauren Gunderson, Geva Theatre Center, and Oregon Shakespeare Festival. She is on the Advisory Board of Broadway for Racial Justice; a Participant in New York Stage and Film’s inaugural NYSAF NEXUS project (2021); Playwright-in-Residence at AlterTheatre Ensemble (2020/21); Cultural Capital Fellow with First Peoples Fund (2020); Invited Playwright with HBMG Foundation’s National Winter Playwrights Retreat (2020); the Native Storytellers winner with the Yale Indigenous Performing Arts Program (2019); an observer with the SDC Foundation (18/19); fellow with the Intercultural Leadership Institute (18/19); member of DirectorsLabChicago (2018); member of the Directors Lab at Lincoln Center (2017); Senior Artistic Director Fellow, Allen Lee Hughes Fellowship at Arena Stage (2016/17); recipient of the Thomas C. Fichandler Award (2016); Management Fellow, Allen Lee Hughes Fellowship at Arena Stage (2015/16); affiliated artist with Unsettling Dramaturgy; associate member of the Stage Directors and Choreographers Society; and Dramatists Guild member. She holds a B.A. in Theatre from the University of Tulsa and is expected to attend Brown University/Trinity Rep as an M.F.A. Candidate in Directing in the fall of 2021. She is currently based on the Muscogee Creek Reservation or what is colonially known as Tulsa, OK. Twitter/Instagram: @taratomahawk www.taramoses.com |
core collaborators
Anna Lathrop (she/her) is a futures design researcher and facilitator based in Lenape territory (Brooklyn, NY). Her work is situated at the intersection of speculative visioning, design research and social justice. Recent projects include a month-long project with TONYC’s Rapid Response Troupe exploring the role of speculative design in imagining and actualizing just futures. Her background is rooted in directing and producing for theatres in Washington, DC and New York City. She is the former Executive Director of The Muse Project in New York City, and the co-founder of the Washington DC Coalition for Theatre & Social Justice. She was the Creative Director for Let’s Talk, an Instagram-native infographic detailing the psychological, neurological, biological, and cultural effects of trauma. She is currently an MFA Candidate in the Transdisciplinary Design program at Parsons School of Design, an Impact Entrepreneurship Cohort Fellow, and a recipient of the John L. Tishman Scholarship.
Ronee Penoi (Laguna Pueblo/Cherokee) is Producer at Octopus Theatricals, where she has advanced the work of DeLanna Studi (And So We Walked), Phantom Limb Company (Falling Out), Ripe Time (Sleep), Homer’s Coat (An Iliad by Denis O’Hare and Lisa Peterson), Theatre for One, and many more. Ronee also spent three years developing her facilitation and mediation practice with the Consensus Building Institute (CBI), supporting difficult conversations withwide-ranging clients such as Chevron, the World Bank, Osage Nation and the residents of Smith Island, MD.Previously, Ronee was National New Play Network Producer-in-Residence at Woolly Mammoth Theatre Company, Senior Producing Fellow and Directing Fellow at Arena Stage, and toured nationally with Anna Deavere Smith’s Let Me Down Easy. She is a two-time ISPA Global Fellow, and has been an APAP Leadership Fellow and TCG Rising Leader of Color. She is a NEFA National Theater Project Advisor, serves on Western Arts Alliance Indigenous and overall Conference Steering Committees and leads the Creative and Independent Producer Alliance (CIPA) Programs Committee. Ronee is a composer at work on two new musicals with collaborator Annalisa Dias under the banner of FLORA MUSICALS, and is a recipient of the DC Commission on the Arts and Humanities Individual Artist Fellowship for her composition work. BA, Princeton University.
Adam Hyndman is a queer, Black, and Filipino performing artist, activist, and curator who has worked extensively in the arts. As a performer he has appeared in NBC’s THE SING OFF, CHILDREN OF EDEN in concert at The Kennedy Center, and on Broadway in ALADDIN, ONCE ON THIS ISLAND, and HADESTOWN. He incubates projects as an independent producer as well as within the team at the Tony Award winning Octopus Theatricals. He was a co-producer for the Broadway production of THE INHERITANCE (Drama Desk Award, Tony Award Nomination). Adam serves on the board of directors for both Pipeline Theatre Company, as well as Broadway For Racial Justice; of which he is the active chair of the board and involved with curating community engagement opportunities through mentorship and volunteer programs. His purpose in this work is for disruption, radical accessibility, and conciliation. He continues in this vein as a founder of The Industry Standard Group (a community fund designed for BIPOC folx to invest and produce in commercial theater). He is a graduate of Princeton University, and periodically returns to Princeton as a guest teaching artist within the Lewis Center for the Arts, and as an anti-racism facilitator for the Office of the Dean of Undergraduate Students. Adam is passionate about creating possibilities for folks to activate their purpose; acting as a conduit of connection, and striving toward the manifestation of a diverse and inclusive world.
Estrellita Beatriz, who uses the pronouns starr, e, bea, or anything non-gendered offered gingerly, is a poly-disciplinary artistic facilitator, doula, educator, and change shaper. e started stage managing storefront theatres in Albuquerque, New Mexico, as a junior in high school. Since then, starr has facilitated over 200 theatrical productions as production manager, stage manager, designer, educator, producer and fellow at theatres across the nation, including The Kennedy Center, Woolly Mammoth Theatre, Steppenwolf Theatre Company, New Orleans Shakespeare Company, and Tricklock Theatre Company. bea’s work as an artistic facilitator mixed with starr’s ancestral healing practice lead e to become a death doula and ritual writer. Working at the praxis of grief, ritual, and theatre, starr hopes to help guide folks back to their bodies through boundaries, intentional conversations, and plant medicine.
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