Dance Theaters
As a choreographer deeply rooted in Chinese traditional performance, my connection goes beyond mastering the classical and folk dance forms—it lies in how I process life itself. What I see, hear, and feel transforms into a powerful urge to express the human experience: the laughter, the confusion, the dilemmas, the struggles, and the resilience of those who share time and space with me.
The structure of my choreography has been profoundly influenced by storytelling traditions—Chinese opera in particular—with its character-driven narratives, vivid gestures, and emotionally charged depictions of everyday life. In contrast to the postmodern dance lineage, especially the Judson Church generation, which approaches space and movement from a minimalist, often deconstructed perspective, my work seeks meaning through narrative, symbolism, and emotional connection.
I have been fortunate to study under two master storytellers who deeply shaped my creative path: Deng Yi Jiang in China and Pina Bausch in Germany. From them, I learned that every movement must be driven by clear intention. Without true motivation, movement becomes hollow. For me, creation only happens when there is a fire in my heart and an urgent desire to speak through the body.
The following are selected works that reflect this creative lineage, spanning from 2007 to 2025.
Hope is Thing with Feathers
Hope is the Thing with Feathers (2015) is a 20-minute multimedia dance-theater piece commissioned by the Shanghai International Arts Festival. The work begins by exploring three tragic couples, raising the question, "When we talk about love, what are we really talking about?"
Bird Cage
Bird Cage (2008) emerged as an intimate exploration of my identity as a highly educated Chinese woman navigating the tensions of contemporary society. The work delves into the clash between deeply ingrained traditional Chinese family values and the rising ideals of modern female independence. This internal conflict, woven into the choreography, reflects the complexities of reconciling heritage with personal autonomy. The piece was selected to perform at the Gala Concert at the American College Dance Festival - West Region and was also presented at the L.A. Dance Invitational in Los Angeles, California, USA.
The Other Shore
The Other Shore (2008) delves into the complex relationship between what we desire and what we truly need. The stage design, deeply influenced by Japanese aesthetics, emphasized simplicity and beauty, with white-clad dancers and lanterns contrasting against a black backdrop. This piece was presented at the International Tanzfest NRW 2008, held in Wuppertal, Essen, and Düsseldorf, Germany, as part of the Pina Bausch Festival and Los Angeles Movement Arts
Los Angeles, CA.
Do We Understand This World?
Do We Understand the World? (2022) is a powerful dance theater piece that juxtaposes two contrasting narratives to explore profound themes of suffering and strength. The solo section is inspired by the tragic news of a Chinese woman who was chained and forced to bear eight children, symbolizing oppression and the brutal consequences of systemic abuse. This is contrasted with a group section that celebrates the resilience and empowerment of women, highlighting their strength and unity. The performance was presented at LeFevre Theater in Moraga, California.
Three sisters & Mr. Rabbit
3 Sisters and Mr. Rabbit (2019) is a dance-theater piece inspired by Heather Morris' Three Sisters and John Updike's Rabbit, Run. Through its four characters, the work delves into themes of waiting, avoidance, and the desire to escape. The performance was presented at LeFevre Theater in Moraga, California and American College Dance Association.
Between You and Me II
Between You and Me II (2013) is a 40-minute dance-theater piece that marks the culmination of two years of collaboration with my students at Santa Mary’s College of CA(SMC). This work explores themes of immigrant cultural identity and examines the representation of Asian male and female bodies in the U.S. The piece was performed at CounterPULSE Theater in San Francisco, California, and was later selected for the 3rd National Asian American Theater Festival in Los Angeles.
Dance Films
In 2006, a course at UCLA titled Dance for Camera transformed and expanded my understanding of expression—especially how I could connect with the world in new and unexpected ways. That year marked the beginning of my journey into choreographing for the camera, and also the start of a nearly two-decade-long collaboration with my dearest friend, Cari Ann Shim*Sham*.
The medium of dance film opened my imagination to entirely new dimensions: where movement could be created, how bodies relate to space, and how time and space can be structured through the lens, editing, and post-production tools. It offered me a profound sense of freedom—like creating within a multiverse, or on parallel planets governed by different rules: perhaps without gravity, or within architectures shaped like spiral shells; or in a mirrored world, where people exist in spaces that constantly reflect fragments of themselves, large and small.
What a magnificent form it is—boundless, imaginative, and endlessly expressive.
I is ANOTHER
I is ANOTHER is a short dance film inspired by the haunting visions of Claude Cahun and Sarah Pucill, whose works explore self-fragmentation, mirrored identities, gender masquerade, and the performance of self. Collaborating with cinematographer Benjamin Estabrook and retired principal ballerinas Qiran and YaoYao, the film was shot in July 2025 at the Six Joys Museum and hotel in Suzhou, China—a private art space designed and owned by American collector Mitchell Dudek.
I Love ABC
I lOVE ABC (2025 )is a short dance film blending realism and fantasy. The story follows two women exploring a 1920s Berkeley house, where they discover an origami horse that transforms into a life-sized one. Interwoven with this is an interview with two 10-year-old girls sharing their dreams and imaginations. As two worlds collide, the film asks: where has the innocent world of childhood gone? Did we lose it as we grew older? Who took it from us—was it ourselves?
I LOVE ABC has received international recognition, including the “Best Fantasy Short Film” Award from the South Film and Arts Academy Festival (SFAAF) in Chile and “Best Women’s Film” at the Asian Independent Film Festival in India. The film has also been officially selected by several esteemed festivals, such as Fotofilm International Short Film Festival in Istanbul, Turkey; Zero Plus Children’s and Family Film Festival in Russia; the Berlin Indie Film Festival in Germany; and the Golden Short Film Festival in Italy. Additionally, it was named a Semi-Finalist at the Mirada Corta Short Film Festival.
Chicken Boy
Chicken Boy (2012) is a dance film that metaphorically depicts a lonely individual’s search for peace and self-acceptance. Inspired by over 60 years of iconic dance moments, it blends humor and poignancy through a live accordion performance, a masked “Anonymous” figure, and four dancing chickens. The film has been showcased at leading international festivals, including the American Dance Festival, Gala Concert at the American College Dance Festival – West Region, Flimmer Film Festival (Sweden), Festival International de Vidéo Danse de Bourgogne (France), Dance on Camera at Lincoln Center (NY), Loikka International Dance Film Festival (Finland), and Sans Souci Festival of Dance Cinema.
Delicious Trees
Delicious Trees (2007) is a dance film that brings to life the spirits of trees, imagined as ethereal beings that emerge from the forest to dance and play. The film was created as a tribute to Eiko & Koma's Delicious Movement workshop, drawing inspiration from their exploration of nature and movement.The film has been recognized with several prestigious awards and screened at various international dance film festivals, including: Best Dance on Camera Award at the Jumping Frame International Dance Film Festival, Hong Kong, Sans Souci Festival of Dance Cinema, Boulder, Colorado, Attakkalari India Biennial International Dance Film Festival, India, Rice Dance Film Festival, Houston, TX, USA, EDIT – Screendance Basel International Short Film Festival, Switzerland, Dance Camera West International Dance Film Festival, Los Angeles, CA, USA, DANZ IM AUGUST Berlin International Dance Festival, Germany
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.