Bridge Project 2026

New works by Miguel Almario, Olivia Anderson, Jessica Jobaris & General Magic

Three brand new works and fresh takes

Bridge Project is Velocity’s Emerging Creative Incubator, a multigenerational, intensive process aimed at connecting artists to each other and audiences to dance artists. This year’s Bridge Project features the work of Miguel Almaria, Olivia Anderson, Jessica Jobaris after an intensive 5-week rehearsal process at 12th Ave Arts. As an audience member, you will be invited to engage in a written feedback process that provides the choreographers with valuable information to help with their artist development.

Miguel Almario | Working TItle: Hard Feelings

Hard Feelings is about cost.  The toll of belonging to a community built on community and competition, or pushing a body past what it can give, of choosing an art form that never stops asking for more.

The work aims to honor the Black and Brown American roots of street dance while challenging the way these forms are seen, consumed, and contained. Hard Feelings carries the weight of both community and confrontation, and showcases the body as an archive: tracking years of physical pursuit. Every step adds interest. Every injury compounds debt. Through the eyes of an aging mover, Hard Feelings examines the balance between respect and rivalry, devotion and decay.

Jessica Jobaris | Fucking Mercy

Relentless, irreverent, and oddly hopeful, Fucking Mercy, doesn’t ask for forgiveness; it just wants to see if we can still look each other in the eye after the world’s gone feral. A social autopsy of cruelty, performed in motion, this trio becomes a crucible where the urge to dominate collides with the ache to belong. Mercy here isn’t some soft-focus virtue; it’s weaponized, withheld, begged for, and occasionally, miraculously, offered. The dancers, and audience, stagger between the wretched and the sacred, testing how much humanity can survive in a body that’s fighting to stay alive.

Olivia Anderson | Untitled New Work

This dance is rooted in improvisation—an act of listening, surrender, and response. For me, movement begins not with choreography, but with a need: a physical and spiritual need to express what lives inside the body. Dance is first a form of prayer, a way to connect to self and spirit, before it becomes performance. As fascism casts a shadow on our horizon, I wonder: What can art do now? I believe it can do what it has always done—offer a space for resistance, for remembering, for rehumanizing. In this piece, my body becomes both question and answer. Through breath, emotion, and embodied storytelling, I seek to communicate in a language that bypasses intellect and speaks directly to the nervous system. In moving, I hope to move something in you.