Featured Image Julienne Doko prior to the performance of 9/16ths: below: Worth Of My Body
(W.O.M.B) At East Street Arts

Julienne Doko: Jazz/Hiphop/Alvin Ailey -’to liberate yourself you must reconcile your body,
heart and your feet: (as a teacher) my goal is not the perfection of steps: No, I want to see you! I
always work with the release of the back in order to free the students bodies….I am happy when
the students feel liberated at the end of the week to take the space…do the choreography solo,
engage in dialogue with each other and the musician…..(paraphrase from Juliet interview 2024
Patience and Perseverance)
Patience_and_perseverance_An_interview_with_JulienneDoko
Julienne’s roots across Chad, Sudan, South Sudan, DR Congo, Republic of the Congo, and
WHO: Julienne Doko is a French dance performer, teacher, and choreographer with roots in
the Central African Republic and based in Copenhagen, Denmark. Trained in Senegal, France,
Canada, America, Brazil, Denmark she studied a range of traditional and contemporary dance
styles including ballet, jazz, Hip Hop, Samba, West African and Afro-Brazilian.
Since 2002, she has performed with various companies in festivals, musicals, and on television.
In her dance practice, Julienne explores connections between different dance styles and uses
contemporary dance as a space of hybridisation, a vehicle for synergy between dance
techniques and expressions. Her movement and dramaturgical line take inspiration from her
homelands and the journeys she has taken in between. Her stage and video work has been
shown internationally.
One of the ensemble Juliet Doko German uses Raven Brings Runes (a medieval ritual to the
dance in the woods),there are several versions
Looking forward to an ensemble midsummer-nearly time to embody our careers to fit the needs
of women across the lifespan: dance should support the fact that women will want children will
want a family life…or not! This means if you want to fund dancers who have children then you
need to afford the affordances, funders….
