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Jocelyne graduated from the University of California, at Irvine with a MFA in Dance. Among her professors were Eugene Loring (“Billy the Kid”), Jillana, Edward Villella, Israel Gabriel, Donald Bradburn (video), master classes with Bella Lewitzky, Robert Joffrey, Simone Forti. She studied Limon technique with Leonore Lattimer and Hawkins technique with Kathy Ward in New York. She worked with Jerzy Grotowsky during his residency at the University of California at Irvine. She later studied video and multimedia at the University of San Francisco. She was a fellowship recipient for at pilot project for Learning applications to documenting dance - in partnership with The National Initiative to Preserve American Dance, World Arts West, The San Francisco Performing Arts Library, Bay Area Video Coalition and Théâtre Artaud in San Francisco. She has also worked with numerous artists as a choreographer, dancer and video artist in Los Angeles, San Francisco, New York and Paris. Among her collaborations: Charles Moulton, Sara Shelton Mann (Contraband), Ibrahim Quraishi, D.J. Spooky. In 2001-2002 her work was shown in Munich at the Muffathalle theater and the National Theater of Manheim in collaboration with the director Ibrahim Quraishi and his french theater company Faim de Siecle. Her work has been shown in Europe and United States. More recently, the company has toured France with the solo Breath cycle, the group work Transplant. Her films have been featured in the Internation Festival of videodance in Tel Aviv (2006) and in Montevideo (2007). Her current research is focused on a body centered approach to theatrical dance training and transdisciplinary approaches to dance making.

Le monde entre parenthèses 2009 (The world between parentheses)
(translation of excerpt)... We already have tasted the radical concept of the orthopedic corset in the solo Breath cycle last year. The esthetic shock has been slightly softened, yet without losing its power. It is troubling to see the the body through that which constrains it… or that which supports it. Sophisticated, asymetrical, instinctive movements cultivate an interesting ambiguity… accompanied by Vivaldi, Haendel, or Chostakovitch. Alternating between subjectivity and objectivity, are all of these characters trying to liberate themselves from social constraints? This can be quite a big job but J.Danchick has the ability to introduce distance and humor just at the right moment...
Presse : ...On avait eu plus qu’un avant-goût du concept radical et orthopédique de Breath Cycle avec un solo ici même l’an dernier. Le choc esthétique initial est donc un peu amorti. Mais sans perdre de sa force. Évidemment déja d’un point de vue érotique: la vue d’un sein jaillissant de la prison d’un corset rigide interpelle plus qu’une franche nudité. Il y a heureusement plus à voir ici qu’une offensive fétichiste. Il est troublant de montrer le corps en montrant ce qui le contraint... ou ce qui le soutient. Les mouvements cassés, asymétriques, sophistiqués ou instinctifs, cultivent tout au long cette intéressante ambiguïté. Au son lancinant du cri du cuir. Et au fil de Vivaldi, Haendel, Chostakovitch, pour une mise en perspective historique, de la poupée baroque aux corps industriels, et l’incursion d’inquiétantes araignées charnelles. Tous ces personnages tentent-ils d’être libres dans leur liens, et d’être sujets autant que d’être objets? On entend Freud aussi, pour nous en dire la difficulté. Manier tout cet attirail peut être pesant, J.Danchick introduit aux bons moments une distance ironique bienvenue... (Guy Degeorges, un soir ou un autre )

Other recent work
The Transplant cycle 2005-2010
music Peter Whitehead, Berangère Maximin with Melanie Brockmann, Onenn Danveau, Miguel Ganiko, José Luis Pages, Dady St. Thomas