She is one of the founders of Jacob Jonas The Company (along with Jonas and William Adashek). She’s been dancing with the company since its inception and recently added a producer title to her resume by producing, along with Jonas, the films.dance festival that launched yesterday.

The company produced fifteen new dance films that will be unveiled one-at-a-time over 15 weeks. The first film, Kaduna, was released yesterday. Wilson dances in two of the films: Match (debuts on February 15th) and Same Sky (debuts March 22nd.)

Last week I spoke by phone with Wilson about contemporary definitions of dance, working on these films and how dance might thrive with or without superstars. What follows are excerpts from that conversation that have been edited for length.

I’ve watched all fifteen films you’ve produced. It left me wondering is all movement dance?

That’s a great question that comes up a lot actually. Dance is movement, but I wouldn’t say all movement is dance. It has to do with intention and where your intention lies in the movement to make it into a dance.

How did these fifteen films become the projects Jacob Jonas The Company opted to produce?

We brought in a group as a committee to brainstorm to create films that intersect dance styles and artists who may not typically work together because of geography or their dance style. We did research and invited individuals we thought would be interesting pairings. Many had never met in person. We produced all fifteen films early in the pandemic. We found a safe way to create them and wanted to build a community.

Did you build into the films a thematic through-line amongst the films? If not, did you in hindsight discover there was one?

There were a few themes we kept in mind when creating the series. One was celebrating the human spirit and using dance to celebrate that authentic meaning of being human. One was celebrating diversity in dance. Another strong theme was the relationship to nature and how do we use the backyards of these countries in the films.

How much of the work do you think is a response to the pandemic since they were all created after the pandemic closed theaters around the world?

It’s definitely a reflection of the time – this new area that we as artists and everyone in the world has entered into. We have a deeper understanding of each other because we’re having a shared experience. Whether intentionally or subconsciously, those ideas are running through artists as they create. We might not have created a film specifically about isolation, but the themes are there as we express ourselves.

What is, or should be, the role of narrative in dance films?

I don’t think it is necessary, but I think it exists and when it does it could allow for individuals who might not have a strong connection with dance to connect to it more. Dance can sometimes be misunderstood by those without experience. One of the beautiful things about dance is its ability to communicate without words. Having worked on these films across continents and cultures you can see the universality of the movement telling the story.

One of the films you produced, Another Serious Dance Film, is making fun of dance films. What are the pitfalls that have to be carefully navigated so that projects don’t fall victim to everything this film is spoofing?

I love it’s tongue-in-cheek nature! I think it is a great reminder to not take things so seriously. We can get so in our head and this is a reminder that we can celebrate and have fun and make something to laugh about and bring people together in a light-hearted way.

Looking at some of the films it made me wonder when an editor might be just as responsible for the success of a given film as much, if not more so, than the choreographer. What was your experience on these fifteen films in that regard?

Not only the editor and choreographer, but the director is really important for the films we produced. We made sure people could come together and share their creative ideas as a team and create the best results. Something I’ve learned from this process is seeing how many versions of one film there could be. If you had two different editors on the same film you could make two different films with the same material. It comes down to artistic practice.

For you personally, what did you get out of these projects as a producer versus what satisfies you as a dancer?

The global community has been something that has been something I really treasure and am grateful to be a part of. I feel much more involved. As a dancer you have to improvise to be a dancer, as a producer you oversee it all with the director, the choreographer, the dancers. My community gets broadened.

Legendary actor, dancer, director and choreographer Gene Kelly told Interview Magazine that “The future of dance will always be tied up with the public’s acceptance of the star. If they accept the star, then they’ll accept the dance.” We have very few actual dance stars today of the kind he was describing. From your perspective, what will the future of dance be tied up with moving forward?

The first thing that comes to mind is the feeling and the emotion. There’s something so powerful about dance. People, especially now, need the time to dive deep into their feelings. I read a New York Times article talking about arts and artists right now. Much of the world is very constrained and art is something that can help us exhale. Dance is one of the ways we can do that. That’s something to recognize – the power of the art form.

Main Photo: Jill Wilson (Photo by Jacob Jonas/Courtesy Jacob Jonas The Company)

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Each week a new film will debut on Mondays at 9:00 AM PST/12:00 PM EST. The films can be seen at the films.dance website, on their Instagram account and their Facebook page. The first film debuts on January 25th and the last film debuts on May 3rd.

Here is an overview of the line-up:

Kaduna – January 25th

Brothers Victory and Marvel Ebinum are filmed in their homeland of Nigeria and explore family bonds. Kaduna was directed by Ridwan Adeniyi and Jacob Jonas with choreography by Vinson Fraley. This is one of my favorite films in the festival.

Toke – February 1st

Danish dancer Toke Broni Standby stars in this film set in London. Toke was directed by NONO and choreographed by Stuart Shugg.

Pássaro Distante – February 8th

Four dancers, Luís Fernando, Jovani Furlan, Luanna Gondim and Maitê Nunes, reunite in Joinville, Brazil just after the pandemic hits. Gabriela Mo directed the choreography is by Cassi Abranches.

Match – February 15th

This wonderful and thoroughly entertaining film finds 46 dancers from 20 different countries performing the work of five choreographers. Together one seamless piece of dance is created through precision editing by directors Peter Walker and Emily Kikta. The choreographers are Kikta, Jamar Roberts, Oliver Starpov, Peter Walker and Xin Ying.

Edging Normal – February 22nd

Dancer Desmond Richardson, who, along with Dwight Rhoden founded Complexions Contemporary Ballet, stars in this film directed by Andre Bato and choreographed by Jacob Jonas.

正念 – NOW – March 1st

Solo dancer Li Kehua (Lico) stars in this film from director Robin Mahieux and choreographed by Gypsy Snider. The film is set in China.

Dadu – March 8th

The town of Spaarnwoude in Northern Holland serves as the backdrop for this film starring and choreographed by Jesse Callaert, Mikaela Kelly, Kele Roberson and Annika Verplancke. The film is directed by Ian Robinson.

Another Serious Dance Film – March 15th

As the British might say, Another Serious Dance Film takes the piss out of dance films. This tongue-in-cheek pieces examines all the trappings of making a dance film. New York City Ballet’s Sara Mearns stars in the film which was directed by Ariel Schulman and Henry Joost. Andrea Miller choreographed. The film features a score by Antonio Sánchez.

Same Sky – March 22nd

Joy Isabella Brown, Miguel Alejandro López, Mike Tyus and Jill Wilson – all members of Jacob Jones The Company – star in this film by director Andy Hines. Rauf “Rubberlegz” Yasit choreographed.

Sit Still – March 29th

Seven-year-old Adeline Kerry Cruz Krumps her way through this film by Vincent René-Lortie and choreographed by Russell “Gutta” Ferguson. When Cruz gets older, and if she can sing, perhaps she can play Matilda in Tim Minchin‘s musical.

Galope – April 5th

Gonzalo Garcia, principal dancer with the New York City Ballet, stars in this film directed by Nur Casadevall. There is no choreography credit in the press materials, so it is probably safe to assume Garcia created the movement himself. The music is by film composer Alex Somers (Captain Fantastic).

Xeno – April 12th

Mexico City dance company Nohbords founder, Diego Mur, choreographed this film starring two circus artists from Montreal: Natasha Patterson and Sabine van Rensburg. The film is directed by Amy J. Gardner

Torn – April 19th

Three dancers with State Ballet Hanover – Conal Finn Francis-Martin, Robert Robinson and Jamal Uhlmann – battle for dominance in this film from director Torben Loth. The choreography is by Waddah Sinada.

Plume – April 26th

Animation and dance are combined in this film from Beren D’Amico (who also did the animation) and Francisco Cruz. Violinist Hilary Hahn performs the score as 21 acrobats are shown performing. They are Tia Balacey, Kristián Mensa, Aurélien Oudot, Kevin Beverley, Joy Isabella Brown, Kaisha DW, Seirian Griffiths, Beren D’Amico, Luca ‘Lazylegz’ Patuelli, Nic Walton, Quentin Greco, Yvonne Smink, Brin Schoelkopf, Keaton Hentoff-Killian, Sadiqua Bynum, Francisco Cruz, Mathieu Forget, Daniel Liddiard, Chernih Denis, Louis Gift, Dominic Cruz.

Weakness of the Flesh – May 3rd

Jacob Jonas (the person, not The Company) choreographed this film featuring his company’s Emma Rosenzweig-Bock. He co-directed with Kevin McGloughlin.

Photo: Joy Isabella Brown in Plume (Photo courtesy films.dance)

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Jacob Jonas The Company, which was named “Artist in Residence” for 2018/2019 at the Wallis, has received more than its share of positive press coverage. They have variously been referred to as “Best New Dance Force,” one of “12 Standout Companies,” “25 to Watch” and more. Not bad for someone who is all of 26 years old and started the company five years ago.

The pieces being performed this week are Transfer, Make a Toast and Crash (all three choreographed by Jonas) plus Unknown Territories choreographed by Donald Byrd and Cupido choreographed by Omar Román De Jesús.

When I spoke with Jonas by phone last week, we talked about his ambition, balancing acclaim with work and lessons learned.

Why so many world premieres for this engagement?

This was the first summer of our company we weren’t sharing or performing work. We had a lot of time to be in the studio creating. I think it’s a big honor and opportunity to be “Company in Residence” at the Wallis and I wanted to take advantage of the opportunity and not just show repertoire. I wanted to give the audience the honor it deserves and come out full-fledged.

Is there a common theme to be found amongst the five world premieres?

I don’t think there is one. It’s just exciting and diverse. We talked about the theme for the season and it is definitely like equality, inclusion, diversity – this feeling of a global theme. I’m a Jewish artist; one of our guest choreographers is African-American and one is Puerto Rican. There are musicians from Israel, Cuba and all around the world. It really feels like this inclusive program.

With all the attention and acclaim you and your company have received during its first five years, how do you juggle that kind of attention and the expectations that come with it? How does it inspire you rather than inhibit your growth as an artist and as a company?

That’s funny. One of the first reviews I ever got wasn’t very positive from the New York Times. I looked at it as a positive thing. I talked with someone I looked up to and he said “Don’t take anything personally – positively or negatively.” It was really good advice for me at the time.

I think the expectation that I have is with myself. We’ve been consistent with our success with audiences and our reactions from people. I don’t think about the press or any of that stuff going into the show. I want to make the work the best it can be. If I’m content, I’ll follow my instincts and make it the best it can be. There are many artists and organizations that I admire and they’re people making change and that’s what I wake up to in the morning and I want to do that work and at that level.

Can you really make change in the world through dance?

That’s a great question. I think about it three ways. Selfishly I see what dance does for me personally. I have something to look forward to and I’m becoming a better person. I see what it is doing for my dancers, my organization and the audiences we attract. Not just the work onstage, but on Instagram. I get messages all the time that the work inspires. And through education. I just think about the power of the arts. Not just my work, but the exposure to creativity. What the world needs is more funding into the arts and arts education. You’ll se the impact it makes on kids and the future generations.

When you start a company at a young age, what was hardest to learn about the cultural landscape and what are the mistakes you made that informed who you are today?

I think the biggest is not mixing laziness with patience. The ability to be patient is really important in running a company like this. It won’t all happen tomorrow. Having short-term and long-term goals is something I’ve learned. Building a team that is like-minded. There are people who can do what you can do from dance to administration. You can choose the people around you and identify with what your vision is. I think that’s what’s most exciting – to build that team confidently.

Fredrich Nietzsche one said “I would believe only in a God that knows how to dance.” Why do you think dance inspires even as noted a skeptic as Nietzsche?

Because it is just dope. Dance is amazing. I think you can’t really lie. You can’t lie with dancing. You can turn a normal person into a pop star with a good producer. You can find someone on the street and make them an actor. You can’t just be a dancer. It requires so much rigorous training. It’s just such a powerful art form that’s very human and real.

You have talked about being bullied in school for your interest in dance. Five years into having your own company, what would you tell the young boy being bullied if you had the chance to do so?

I don’t know if I would tell him anything different. I think people bullied me because I was dancing. If you wanted to be a ballet dancer anywhere else in the world you are encouraged. But in the States, you say you want to dance and people just judge you for that. It takes a lot of courage, not for me personally, to pursue a life in the arts. Especially because most parents won’t be supportive of it. I think for any artist you have to continue believing in what you want to do, do good work and surround yourself with good people.

Photo and Videos courtesy of JacobJonas.com

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