Eyes Of The Skin

Concert Dances

Beats Me

Begin Again

For more repertory samples please contact Jennifer. Current repertory available for reconstruction or reimagining spans from 1995 to present. She is also available to make new work and can tailor it to budgetary limitations and production needs. She is familiar with making dances on all levels of dancer, from professional to complete beginner and has an ability to create work efficiently based on her cast’s strengths, while also pushing dancers into unfamiliar territory.


Jennifer Salk is currently most interested in site-specific work, and collaborating with other artists. She is exploring perspective – how meaning and perception are altered depending on proximity, spatial limitations, and time. Her newest work is investigating the idea of making and destroying – avoiding preciousness in art making – researching the concept of art being destroyed and the impact that has on history. 

Jennifer is an associate professor at the University of Washington, and the director of the dance program there. She received her MFA from Ohio State University and her BFA from the University of Utah. She teaches contemporary technique, choreography, experiential dance history, teaching methods, and The Creative Process. She also teaches graduate seminars in teaching methods, and composition.  She spent seven years in NYC touring and dancing with various choreographers including David Dorfman and Chris Burnside,  and was also the artistic director of her own company. Jennifer was an assistant professor in the dance department at the University of South Florida prior to coming to the UW in 2002.

Jennifer has taught master classes and choreographed for companies and schools around the country, as well as in Istanbul, Turkey and Asuncion, Paraguay. She is recognized for her lively and highly physical technique classes as well as her unique way of teaching choreographic methods to new choreographers.

Photographer: Tim Summers

She is on faculty at the Staibdance Summer Dance Intensive in Sorrento, Italy. She has performed with Mark Haim in Paris at the ArtDanThe Festival and at ADF, and at the Joyce Theater in NYC. She is a frequent guest at the National High School Dance Festival and has presented at the International Association for Dance Medicine and Science and National Dance Education Organization conferences several times. She has taught at American Dance Festival and is on faculty at the Florida Dance Festival. Her DVD, Experiential Anatomy in Dance Technique: Eight Skeletal Explorations just went into second printing. Jennifer is the recipient of the Fulbright Specialist Roster Grant, and the Distinguished Teaching Award at UW in 2006 and the Donald R. Petersen Endowed Fellowship and Professorship. She is currently the Floyd and Delores Jones Endowed Chair in the Arts. 


Her contemporary technique classes are designed to allow people to discover their strengths and individual differences, and empower them to make choices for themselves. The eclectic blend of styles, from more “traditional” foundational work that has echoes of Limon, and Cunningham, to release-based concepts, are combined with lots of moving in and out of the floor.  Time is spent luxuriating in what we think of as transitions, which are often the most interesting part of dancing. We begin with general movement, for warmth, progress to specific skills that build a strong technical foundation allowing people to fall off of center and come back safely and with intelligent alignment, and progress to long, complex phrases in the center and across the floor that accumulate over time. Experiential anatomy is folded into the class without taking away from time dancing. We focus on phrasing and dynamic range – the spices in the stew. Emphasis is on dancing. The technique class is an ecology of sorts. We build a supportive community while allowing for individual expression and modification.

About Jennifer’s Experiential Anatomy in Technique methodology for instructors:

Jennifer developed an approach to integrating anatomy into technique class that she has taught all over the world at schools, festivals, and conferences. How do we keep students current with anatomical and kinesiological principles and language while still allowing the technique class to be about dancing? How do we teach students to self-correct? How do we help them expand their qualitative palette? How do we as teachers, keep our vocabulary and movement language rich and vital? Salk developed this pedagogical DVD with 8 skeletal explorations, movement material to expand on and borrow from, and clear directions on how to develop your own plans.