In a city where cultures intersect on every corner, dancer and choreographer Hyun Ji Jeon stands out as an artist deeply rooted in tradition — and profoundly committed to sharing it. Born and raised in South Korea, Jeon now calls New York City home, where she creates and performs works that blend Korean emotion, heritage, and storytelling with contemporary dance.
We sat down with Hyun Ji Jeon to talk about her recent performances, her creative process, and how teaching has become an extension of her mission to build cultural bridges through movement.
Q: You’ve been quite active on stage recently. Could you tell us about your recent performances?
A: Yes! I premiered my solo piece To Home on March 8 at the Triad Theater as part of Breaking Broadway Borders, hosted by Breaking Borders. The event brought together international artists from diverse backgrounds, and I was honored to share the stage.
I had another opportunity to perform To Home again on May 23 at the 12th anniversary of Friday Night Fever. The piece was inspired by the Korean folk song Arirang, specifically Youn Sun Nah’s version. It tells the story of a woman longing for a loved one — a feeling I think everyone can relate to, regardless of where they’re from.
Q: That sense of emotional connection seems central to your work. Are there other pieces that follow similar themes?
A: Definitely. On April 12, I performed The Moon of Seoul at the Asian Culture Performing Arts Showcase, hosted by QIAA. It was inspired by the song “Seoul’s Moon” by Kim Gun Mo.
The idea came from looking at the moon in New York and realizing it’s the same moon shining over Seoul. It made me reflect on how we carry memories of home with us, no matter where we go. Through this piece, I wanted to express that universal sense of nostalgia — something that connects people across cultures.
Q: You’ve also been involved in collaborative work with local dance companies. Can you share more about that?
A: I’ve been performing with The Next Stage Project (TNSP), a New York-based company composed of international dancers. We recently staged Finding Light at the Peridance Center on March 28 and April 4. I danced in a piece called Yin Yang, choreographed by Marijke Eliasberg, who’s also a Tai Chi Sifu.
The choreography was grounded in Tai Chi philosophy and explored balance, opposition, and harmony. It was such a beautiful fusion of Eastern thought and contemporary dance — very aligned with what I aim to do in my own work.
Q: Outside of performance, you’re also deeply involved in dance education. How has that shaped your practice?
A: Teaching is a huge part of my life. I work with children aged 4 to 13 at the New York Tutoring Center (NYTC) in Flushing. I teach ballet, contemporary, and K-pop dance — and what I love most is watching the kids grow more confident with each class.
Some students come in very shy, even hesitant to speak. But over time, I see them step onto the stage with pride and express themselves through movement. It’s not just about technique — it’s about helping them believe in themselves.
In our K-pop classes, when they sing along to Korean lyrics or ask questions about Korean culture, I feel a deep sense of joy. It reminds me that even in a small studio in New York, I’m able to pass down pieces of my heritage to a new generation.
Q: What’s next for you as an artist and educator?
A: I’m working on new choreography that incorporates traditional Korean stories and women’s experiences. I’m also planning to continue building meaningful relationships with communities here in New York — not just through performance, but through mentorship and education.
As a Korean artist living abroad, I feel a strong responsibility to share my culture. I want to introduce the beauty and emotional depth of Korean stories to audiences here, and inspire young dancers — especially Asian American youth — to explore their identities and take pride in their roots.
