Democratizing performance through the unexpected.
We are believers in the beauty of vulnerability and humanness.



Democratizing performance through the unexpected.
We are believers in the beauty of vulnerability and humanness.


Fall 2018

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Grass Stains Kick-Off

Grass Stains is a site-specific initiative created by the Pioneer Winter Collective and supported by the John and James L. Knight Foundation. Grass Stains focuses on the mentoring and commissioning of original site-specific, site-adaptive, and public art works by South Florida-based choreographers. Through Grass Stains, 14 choreographers and performance-based artists participated in a professional development May 21-25 with renowned choreographer and The Betsy Hotel South Beach Artist-In-Residence Stephan Koplowitz.

premiere of reprise

REPRISE is the latest dance performance premiere by the Pioneer Winter Collective. REPRISE uses contemporary dance and physical theater to explore memory, marginalization, and queerness - how our lives intersect. Please note this performance will contain challenging themes and nudity. The Miami Herald said this about the Collective's last premiere: "Pioneer Winter’s work, what he supports, what he thinks about and the ideas he voices, speak to and for people [...] it was provocative in just the way you want performance to be provocative, making you think about something you hadn’t or feel for someone you hadn’t identified with before; startling, exposed, unnerving, unexpectedly loving."



Alone Vignettes

Commissioned by the Harvey Milk Festival in Sarasota, FL.

Pioneer Winter
performed an evening of autobiographic solos and vignettes of his work, rooted in physical theatre, contemporary dance, and transmedia.

What critics have said about pioneer winter's solo work:

“Pioneer Winter’s solo is a raw, vulnerable performance piece that showcases his wit, sense of timing, and most importantly, his willingness to challenge himself and his audience. One of Miami’s most prolific dance artists, Winter consistently delivers thought-provoking explorations of gender and sexuality, among other human questions. This piece is no exception.” - Catherine Hollingsworth, Independent Dance Journalist

"Portraying himself, Winter delivers his text in a frank, sincere tone. He neither falls on his sword, nor does he hide from the audience […] Winter’s tap dancing skills transcend performance and create a rich metaphor […] Pioneer Winter’s charismatic presence and the show’s moments of clarity and humor make for an interesting performance." - Mia Leonin, Miami Herald


Commissioned by Tigertail Productions for Fire Gods in the Garden.

Pioneer Winter presented one of four short solos performed sequentially at Vizcaya Museum and Gardens on a moonlight evening celebration in April 2017.  

Hephaestus (Greek) was the Olympian god of fire (son of Zeus and Hera), metalworking, stonemasonry, architecture and sculpture. He has been credited with crafting the armor worn by Achilles and the cursed necklace of Harmonia, as well as creating of Pandora - the first woman - at the command of Zeus. 

Pioneer Winter embodied the duality of Hephaestus, which he found most interesting: born from power, rejected by that power, and then regaining that power. Hephaestus' being flung from Olympus (either by Zeus for intervening with his behavior, or by his mother Hera for being disabled) into water and then reborn from water and coming to power, reaching omnipotence, through fire.


A Love to Last 13 Hours

Commissioned by Elsewhere Museum for the Miami Goes Elsewhere Residency in Greensboro, NC.

Pioneer Winter physicalizes the tensions of romance and relationships by performing the act of maintaining a heavy, precariously balanced structure from collapsing for 13 hours - in 2016, Elsewhere had also been operating in its current state for 13 years. Scenographic elements include shards of found glass and mirror from Elsewhere, display cabinets that are suspended in a perpetual state of near collapse, and a 13 hour 9 minute playlist of break-up stories gathered while in residency.

This durational work challenges the endurance of the performer by placing the body in a constant state of remaking and negotiating, as fatigue sets in over the span of 8:30 AM to 9:39 PM.

A Love to Last 13 Hours explores several themes. Those that surfaced in the gathering of the break-up stories include intimacy, power, responsibility, fatigue, will, surrender, and heartbreak – the performance itself is treated as a purge of these themes.


In Progress



In Progress