Welcome, JACQUELYN ELDER

Jacquelyn Elder was a featured soloist of the prestigious Martha Graham Dance Company in NYC from 2005 - 2012. Jacquelyn is currently based in Paris, France and is performing with Liz Santoro and Pierre Godard's pieces titled Mutual Information, Maps, Noisy Channels, and Learning, Vincent Thomasset’s Carrousel, Olivier Dubois’s Auguri and Tragedie, Lenio Kaklea’s A Hands Turn and Detours, Maud Le Pladec’s 27 Perspectives and Boris Charmatz’s XX Dancers for the XX Century.

Since 2021 she has been a choreographic assistant, collaborator, and rehearsal director for the Ballet National de Marseille, under the direction of (LA)HORDE. In her collaboration with (LA)HORDE, she was invited to be a part of the choreographic team on Madonna's Celebration Tour 2023 as well as Ivo Van Hove's I Want Absolute Beauty, featuring the music of P.J. Harvey and starring Sandra Huller.

Throughout the years Jacquelyn has had the privilege of working with artists such as Robert Wilson, Eleanor Bauer, Olivier Dubois, Maud Le Pladec, Boris Charmatz, Michael Helland, Aszure Barton, Rachid Ouramdane, Larry Keigwin, Kate Weare, Vincent Thomasset, (LA)HORDE, Ivo Van Hove, and visual artist Fabrice Samyn.

Jacquelyn has taught workshops and master classes at NYU Tisch School of the Arts (NY), Hellerau (Dresden, Germany), DansenHus (Oslo, Norway), Ballet Du Nord/CCN (Lille, France), Le Gymnase (Roubaix, France), The Martha Graham School (NY), Alvin Ailey/Fordham University (NY), The Joffrey Ballet School (NY), Centre Choreographique National d'Orleans  Orleans, France), Biennale de la Danse (Lyon, France) and at the Ballet National de Marseille (France).

Alongside of her performing career, Jacquelyn is an MFA graduate from University of the Arts / Bennington College and has recently directed a short observational documentary film titled No Longer / Not Yet focusing on the very few moments before a performer steps on stage. In this liminal time and space we are "no longer" rehearsing, and "we are not quite yet" on stage. No Longer / Not Yet makes visible this pre-acceleration removed from the performance itself and aims to expose the labor of the dancer as being something more than just the physical or expressive act of “dancing”.