Year of production: 2010
The choreography in Mile 21 simultaneously explores the emotions that occur when one has been forced out of their society and is desperately searching for a place to escape to. In this piece, the dancers experience a tug-of-war of emotions as they constantly move between feelings of despair and hope.
Year of production: 2008
Supplant takes the stance that there is freedom in not having an identity imposed on oneself. Through movement that keeps the dancers constantly disconnected from the ground and ever-changing groupings, Supplant speaks to the shunning of labels and stereotypes, as well as the joy in being able to move fluidly between different groups of people.
Bask In The Shade
Year of production: 2013
Bask in the Shade is a piece that explores the “benchmark” for certain levels of acceptance and inclusion into various social circles. Bask in The Shade investigates the layers and complexities of intra and interracial cohesion. The use of traditional Malian dance combined with an evolved contemporary African technique helps show the tug of war between more traditional and modern values. Bask in The Shade, highlights the individual’s differences, celebrates those differences, and shows how those independent traits shape a larger community.
The People Vs
Year of production: 2014
The OJ Simpson trial of 1995 for the murder of Nicole Brown Simpson and Ronald Goldman, was a veritable five-ring circus encompassing issues of race, gender, celebrity, media and justice. “The People vs.” will take a new approach to audience engagement by making discussions on diversity and influence central to the process of experiencing the work. Within this piece, we ask the question: “Was justice served?” This case has had implications up to our present day, as new decisions are made based upon the outcomes of cases that have come before. Is our justice system fair, or is it failing us, particularly when issues of race are present? JJDC has created a layered multi-media experience that can be shaped and varied by all the players (including the audience) as the narrative of the case unfolds.
Temple Burn It Down
Year of production: 2016
The Temple, Burn it Down plays with the subtle contradiction of the body as an honored temple of art while also serving as a debilitating instrument that a dancer assiduously manipulates during his or her career. In the dance field, the body is elevated as a valued vessel of expression and yet is destroyed during the creation of the art. In order to reach the higher stratosphere where diligence meets art, the body is consistently broken down through acts such as rigorous practices or a feverish lifestyle of instability. The work questions what we are truly gaining from daily dogmatic training.