Ballet Commissioned Works
Starting in 2016, I was honored to be commissioned to create two one-hour works by Li Ying and Pan Jiabin, Artistic Directors of Suzhou Ballet Theatre—one of China’s five major professional ballet companies at the time. It was an incredible journey to bring my Chinese and contemporary choreographic experience into this traditionally rooted ballet company.
The Classic of the Great Wilderness
The Classic of the Great Wilderness (2018) Following the success of my previous collaboration with the company in 2016, I was commissioned to create this piece, which draws from Shanghai Jing, an ancient Chinese text that chronicles sacred spirits and mythical creatures, the work reimagines the mythical love stories between these otherworldly beings. By blending ancient mythology with contemporary ballet movements, the piece explores the convergence of old and new, offering a fresh perspective on these timeless narratives. Through its fusion of Eastern mythology and Western dance, the performance creates a rich tapestry of movement and storytelling that transports the audience into a world of wonder and enchantment.
No More Than Skins
No More Than Skins (2016) unfolds in a non-narrative structure, where a contemporary ballerina waits for her "prince" to save her, longing for the fulfillment of the traditional "happily ever after" dream. In this exploration, I blend classical ballet techniques with elements of Chinese Classical dance, incorporating concepts such as breath, internal energy, spirals, and rotations. Through these movements, I craft a "classical" female dream, reinterpreting familiar expectations in a contemporary context. The work challenges and redefines classical ballet vocabulary, creating a distinctive movement language on pointe shoes. Through this fusion of techniques, the piece offers a unique expression that merges both Western ballet and Chinese Classical dance elements, pushing the boundaries of traditional dance forms.
Interactive experiment
My artistic vision extends beyond choreography into the theoretical realms that shape performance. I am fascinated by the interplay between maker, performer, and viewer, and I draw from frameworks such as Epic Theater and Political Theater to create thought-provoking works.
Mis Choice
Mis Choice (2022) is a solo tap dance piece featuring three distinct visual patterns projected onto the dancer’s body. The piece takes inspiration from the characters of Elizabeth Bennet, her sister Jane, and their mother, Mrs. Bennet, from Pride and Prejudice. These characters embody the complexities of being judged and misunderstood, themes explored in Melanie Walker's Mis Choice portrait. Just as these women are often defined by external assumptions, the piece delves into the tension between personal identity and societal expectations. The performance was presented at the Museum of Art in Moraga, California, offering a poignant reflection on how women's true essence can be obscured by the judgments of others.
Echoes of Illusion
Echoes of Illusion (2024) is an interactive performance that invites the audience to influence the unfolding action. Dancers perform in four distinct styles, with their movements driven by the applause and reactions of the audience, creating a dynamic and chaotic competition between the performers. The piece is accompanied by satirical text projections that critique the rampant media sensationalism and the capitalist systems that often shape public discourse and values. This performance creates an engaging and thought-provoking dialogue between art, audience, and the world of spectacle, highlighting the tensions between entertainment and ideology.
Practice-as-Research
At the heart of my practice is my dedication to “Practice-as-Research,” a methodology that bridges the gap between theory and practice as complementary forms of inquiry. My research on themes such as feminism, gender, immigration, equality and other social injustice informs every aspect of my work. These explorations are not confined to the studio; they form the soul of my creative output and the foundation of what I share with my students. Teaching is an extension of my artistry, where the cyclical exchange of ideas and feedback fosters mutual growth and innovation.
MAMA/MEDEA
MAMA/MEDEA (2013) explores the intersections of identity and cultural hybridity through the lens of the classical Greek figure Medea. In this powerful solo performance, Jia Wu examines her own complex identities—Eastern, female, mother, sorceress, and the "exotic other"—as she navigates the constant negotiation of self, language, and authenticity in a changing world. By traveling through the literary terrain of Euripides’ Medea and merging it with the physicality of her own body, Wu reflects on the continual translation of identity in the present moment. This work was part of her Artist Residency at CounterPULSE Theater in San Francisco, CA, where it gained recognition for its deep cultural exploration and emotional resonance.
ME/DEA
ME/DEA (2013) The shorter version of MAMA/MEDEA. I was invited to perform my recent choreography ME/MEDEA at the "Decentering Dance Studies: Moving In New Global Orders" conference at the Culver Center of the Arts in Riverside, CA. The work is conceived as a series of encounters: a Chinese dance-theatre artist engages with the Western myth of hysterical motherhood; a young dancer in the U.S. struggles with the translation of her movement identity; and a mother faces the gap between her reality and ideals. Additionally, I presented a paper titled "Self-Interview: MAMA/MEDEA" at the Canadian Association for Theater Research seminar, Dancing at the Edge: Moving (in the West). The seminar aimed to explore the aesthetic, political, and historical aspects of dance-making on the West Coast and the Pacific Rim.
Jia Wu is fiscally sponsored by Shawl-Anderson Dance Center, a 501c3 non-profit organization.
