Chunky Move is located on the unceded lands of the Boon Wurrung and Wurundjeri people of the Kulin Nations. We respectfully acknowledge the significant contributions of Australia’s First Peoples, and are committed to supporting the continuity of culture and relationship to this land.
Jasmin Sheppard
Director
Jasmin is a contemporary dancer, choreographer and director, a Tagalaka Aboriginal woman with Irish, Chinese and Hungarian ancestry.
Jasmin spent 12 years with Bangarra Dance Theatre, performing numerous lead roles such as ‘Patyegarang’, in which critics described her performance as “powerfully engaging, fluent dexterity” (Sydney Morning Herald). She choreographed one major work for the company, ‘MACQ’, on the 1816 Appin Massacres under Governor Macquarie which toured Australian capital cities, regional Australia and Germany. In 2012 Jasmin was nominated for an Australian Dance award for ‘Best Female Contemporary Dancer’, and her work ‘MACQ’ was nominated for a Helpmann Award for best dance work as a part of ‘OUR Land People Stories’ in 2017, and in 2018 received a Helpmann for best regional touring program.
Other works include: ‘No Remittance’ for Legs on the Wall and ‘Choice Cut’ for Yirramboi festival, which made its proscenium arch debut at Ryerson Theatre, CA, at Toronto’s ‘Fall For Dance North’ Festival, 2019.
Jasmin premiered her first full length work “The Complication of Lyrebirds” in 2021 at Sydney Festival; Campbelltown Arts Centre. This work was also supported by The Australia Council for the arts in conjunction with CAC and Native Earth Theatre Company.
In 2021 Jasmin co directed “Value For Money” alongside Sara Black for Guts Dance. This work received rave reviews and had seasons at Araluen Arts Centre and Darwin Festival.
Jasmin created ‘Given Unto Thee’ for Sydney Dance Company’s New Breed program, and most recently was performer, movement director and associate writer for the major theatre work by S Shakthidharan: 宿 (stay)
Her work is passionate, political and has been described as “surreal and highly evocative” (The Australian).