top of page

Image courtesy of Ruggio Pictures

Joshua Yago Mora

I am one of those “military brats” raised around the world. The earliest dance memories outside of kitchen dances with my family is watching my mom with the Filipino community of whatever city we were living in at the time. This love of community and art built the foundation of my interaction with dance.

I received my undergraduate degree in modern dance at Brigham Young University where I was involved with both the student choreography company “dancEnsemble” and the outreach dance company “Kinnect” which then again added to dance as a community builder, finding myself reaching over thousands of students a season in both performance and teaching. 


My pedagogy was strongly influenced at a conference attended with Kinnect as part of “dance and the Child international” (daCi) in Taipei, Taiwan. Every child deserves the chance to find artistic expression and self awareness, both of which is so easily found in dance. In addition, I firmly believes that no child, whether child in age or the child at heart, should be starved of their artistic potential.


After university I co-founded a small dance company: Triptych Figures with Monica Remes and Brooklyn Draper, and collaborated with other local Salt Lake City artists in the launch of Speakers’ Corner-a summer series for art and discussion based in activism. I danced in several project based works and a few companies, one of my favorites dancing in the American extension of “Everything Tendentious or M in Luck" a work by Tatraum Projekte Schmidt of Dusseldorf, Germany. 


Before returning to Utah I was a company member of Jacksonville Dance Theatre. Currently I am a graduate teaching assistant at the University of Utah where I am pursuing an MFA in Modern Dance. My current research interest lie in emboldening the body through examination of personal intersections of identity as well as intersections of power. My interests lie in finding how the divine feminine and cultural movement forms such as waacking and Filipino folk dance might help access the psoas as a communicative muscle rather than solely a functional one. I am an aspiring Somatic Abolitionist and hope to find movement ways that contribute to a collective healing.


For a detailed account of experience please email and request my

Background Image courtesy of Abby Smith Photography

bottom of page