is an award-winning artist-activist, choreographer, director, producer and writer, renowned for socially aware creative work.
Sydnie founded SLMDances in 2010, which has grown into a values-centered collective where leadership and labor is shared, and artists feel whole, valued, and cared for.
Sydnie L. Mosley
Her repertoire of choreographic works, including critically-acclaimed evening length dances PURPLE: A Ritual In Nine Spells, The Window Sex Project, and BodyBusiness—as well as their creative processes and performance experiences—are a model for dance-activism. She was named one of Dance Magazine’s “25 to Watch” in 2024 and recognized by NYC Mayor de Blasio in 2017 for using dance to fuel social change.
A respected arts leader, speaker, and educator, Sydnie is often invited to share her wisdom on leadership, equity in the performing arts field, dance education, and arts activism. She has been an adjunct and visiting lecturer at Barnard College, Bowdoin College, Harvard University, and Marymount Manhattan College, in addition to teaching dance to people of all ages, from toddlers to elders, non-dancers and professionals. Her writing has appeared in ESSENCE, Dance Magazine, The Brooklyn Rail, and The Washington Post.
Sydnie was part of the 2017 Bessie Award winning cast of the skeleton architecture, the future of our worlds, curated by Eva Yaa Asantewaa. In addition to her own work—which she has performed from Lincoln Center to the legendary Apollo Theater—she has performed with Christal Brown's INSPIRIT and Brooklyn Ballet. She graduated from Barnard College in Dance and Africana Studies and earned an MFA in Dance Choreography from the University of Iowa.
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The Baltimore-born Mosley has been envisioning a future free from oppression—with dance as one way to get there—at least since 2010... Her vision persists; what’s changed, perhaps, is the world’s readiness to join her.
Siobhan Burke, Dance Magazine
Economic Profile
Inspired by SLMDances’ 2015 work BodyBusiness and fellow artist makini, learn about Sydnie's financial background, as makini says, “in the interest of being a resource to folks looking for specific models of how others have made things work as artists.”