Biography 

  • MFA, dance, New York University, Tisch School of the Arts
  • BFA, modern dance, University of Utah

Jillian Harris has had a distinguished professional career, touring nationally and internationally with the Ririe-Woodbury Dance Company and Kun-Yang Lin/Dancers.  She appeared in the Metropolitan Opera world premiere of “Benvenuto Cellini” and played the feature role in the PBS broadcast of Della Davidson’s "Night Story." A youngARTS award winner, Harris has performed works by noted choreographers such as Doug Varone, Murray Louis, Laura Dean, David Rousseve, and Moses Pendleton.  She has shown her work at venues like Joyce SOHO (New York City), Chi Movement Arts Center (Philadelphia), The Rose Wagner Performing Arts Center (Salt Lake City), and Bravo Caffe (Bologna, Italy).  Jillian is the producer, featured dancer, and assistant choreographer for Red Earth Calling (http://www.redearthcalling.com/), a short dance film that won the Best Narrative Short award at the 2015 Maui Film Festival (Maui, Hawaii), Best Experimental Short award at the 2015 Toronto Independent Film Festival, and Best Narrative Short award at the Moondance International Film Festival (Boulder, CO).  The film has also been an official selection of the Athens International Film and Video Festival, Citizen Jane Film Festival, Columbia Gorge International Film Festival, Toronto Independent Film Festival, Action on Film International Festival, Movies by Movers Festival, and Pineapple Underground Film Festival (Hong Kong). Current projects include an interactive movement installation and an upcoming premiere in collaboration with the Mendelssohn Club and Chamber Orchestra of Philadelphia.  In addition to choreographing, Harris maintains an active teaching schedule, teaching undergraduate and graduate courses at Temple University and conducting master classes in the United States and abroad. 

Works and Publications 

“Transforming Spaces for Dance.” Dance Chronicle 35.1 (2012)

"Dynamic Souls, Shifting Landscape: Dance Training In The Post-Judson Era.” Dance Chronicle 32.2 (2009)