Love Protagonists (2015)

Love Protagonists had its World Premiere at Bric Gallery on July 29th, 2015.  This piece features FHP and the audience members in an interactive installation on Race, Gender, Personal History, and Love. The experience of Love Protagonists is rooted in providing a safe space for authentic communication and the interactive format allows for a uniquely personal experience at each performance. Honest and raw dialogue is facilitated through movement, spoken word, song, and multimedia projections.Throughout the work, the audience is escorted through the space and encouraged to inhabit the choreography themselves. During each section, participants become the protagonist of their own story within the piece.

THE LOOK OF FEELING (2013)

In The Look of Feeling Francesca Harper examines the life of her mother Denise Jefferson, who fearlessly directed The Alvin Ailey School for over 25 years. Jefferson nurtured the institution, and its artists onto international acclaim. From Monticello to Manhattan, Harper recreates her mother's miraculous journey through choreography, song, and visual projection. The Look of Feeling celebrates Jefferson, a pioneer of American dance who courageously fulfilled her dreams. The piece also illuminates Harper, a bold choreographer in discovery of her own legacy.

Deconstructing Flack (2016)

Deconstructing Flack is a tapestry created in response to The Look of Feeling. It had it's World Premiere at The Holland Dance Festival in 2016, with live musicians and vocals by Francesca Harper featuring Roberta Flack songs from her first album First Take. Three intimate female dancers portray that weave the politics and revolutionary tone of the 1970's to the lives of three millennials. The work is a soulful research into the evolution of the empowered voice.

Maladjusted pride (2015)

An unrelenting work in which artists from varying backgrounds challenge and confront their personal histories through movement and emerge forever transformed. With pulsating music by Bjork this riveting work takes the audience member on a journey and path only few have the courage to travel.

The work was inspired by a Martin Luther King speech: 

"There are some things in our nation and in our world to which I'm proud to be maladjusted…I never intend to adjust myself to segregation and discrimination. I never intend to become adjusted to religious bigotry. I never intend to adjust myself to economic conditions that will take necessities from the many to give luxuries to the few, and leave millions of people perishing on a lonely island of poverty in the midst of a vast ocean of prosperity. I never intend to adjust myself to the madness of militarism, and to the self-defeating effects of physical violence...

And I call upon you to be maladjusted to these things until the good society is realized."

creatures of prometheus (2012)

Creature of Prometheus pairs the scope of Beethoven's original score (1801) with Francesca Harper's interpretation of the classical ballet myth. Her choreography is performed to full orchestra. Creatures of Prometheus finds Harper's dancers evoking an eternal struggle; finding balance in a life lived at the edge of peril. Ballet is used here to illustrate forces natural and primordial, elegant and dramatic.

CONFIRMED DANCES (2015)

Originally performed with a live strong accompaniment by Attacca Quartet as part of their Metropolitan Museum of Art Residency, Confirmed Dances challenges ideas of feminine beauty, strength, community, relationships, self-reflection, and self-worth in a powerful piece set to the works of American Composer John Adams. The diverse cast dances a series of pieces created to parts of Adams' Book of Alleged Dances (1994), in which, according to Adams, the dances were "alleged" because "the steps for them had yet to be invented."

fractured beauty (2012)

Fractured Beauty is a contemporary ballet inspired by Francesca Harper's realization of her own mortality after struggling to witness her mother's battle with cancer. Originally commissioned by Dance Theatre of Harlem, Harper collaborated with six ballerinas to create this portrait of the universal experience of life and loss. Her contemporary approach to pointe celebrated the unique journey of the individual amidst limitations of form and fragility. In Fractured Beauty, The dancers illustrate Harper's passion for and reconciliation with the human experience.