“Before you can think out of the box, you have to start with a box” - Twyla Tharp.

While immersive theatre and movement is his medium, the content of his work is focused on self-expression. Central to his current work is the self-expression of chosen identities and identities projected onto oneself. All of his past experiences inform who he is as an artist.

In the marching and pageantry arts, he has performed with Little Elm High School, The University of Louisiana, Crossmen Drum and Bugle Corps, Cypress Independent, and The Academy Drum and Bugle Corps. In addition, he has worked with various groups across Texas and Louisiana such as Marcus High School, E.D. White High School, and The University of Louisiana either as a tech, choreographer, or director.

Professionally, he has danced with Lafayette Ballet Theatre in The Nutcracker and Sleeping Beauty, Basin Arts Dance Collective, and the Acadiana Symphony Orchestra.  He has also appeared in the music video People Like Me by Dustin Sonnier, as a chorus member in Jambalaya The Musical, among other appearances. He has also produced performance events in partnership with local businesses in Louisiana and universities in Texas and Louisiana.

“When you’re a man and a woman, you can do anything! You can almost have sex in the streets if you want to! The most anybody gonna say is ‘Hey get a hump for me!’ But when you’re gay, you monitor everything you do. You monitor how you look, how you dress, how you talk, how you act. ‘Do they see me? What do they think of me?’ ”

— JUNIOR LABEIJA

Artist Statement

Movement is how I understand the world, and my world is made up of the communities I live with. Movement is my language and commerce of choice. Dancemaking, for me, is a conversation with the community I am sharing it with. The movement language of each community is unique, valued, and intricate. I am a polyglot of movement languages. I can speak in the language of academia when I share dance on a university stage, change to flag on a football field when spinning with a color guard, and speak the language of cunt when I Vogue the house down at the Kiki. Learning the nuance of each is my greatest challenge and my greatest joy. I pay for my time in this world with my spins, tricks, and teaching. Pulling from all of my experiences across my communities, I have a steady supply to meet demand. With my earnings, I continue the traditions and culture of my communities. My dancemaking has its form and functions thanks to the amalgamation of cultures that make up who and what I am. A mix of musical theatre camp, balletic grace, Latin heat, the power of martial arts, dexterity from color guard, and personality from Ballroom Culture are a few of the contributions given to me by my cultural experiences. With these parts, I make dance that speaks many languages. Language is about connecting and understanding, and that is what my dancemaking is all about. Creating connections between ideas across cultures in a language that my audience can understand, whether they are in a seat in the theatre or next to me on the dance floor.

Let me get that homepage out ya.