MFA
Dramatic Directing
Columbia University
2019
Jeffrey L. Page is an Associate Professor with tenure and Coordinator of Musical Theatre in the Department of Theatre Arts at Howard University’s Chadwick A. Boseman College of Fine Arts. An Emmy-nominated, MTV Video Music Award-winning director, choreographer, educator, filmmaker, and cultural preservationist, he treats Black performance as a living archive and choreography as a form of civic speech. His teaching and creative research examine movement as dramaturgy, rhythm as form, embodied knowledge, and the ethical responsibilities of artistic creation.
For three decades, Page has conducted field research in traditional dance, music, masquerade, storytelling, and ritual across Mali, Senegal, The Gambia, Guinea, and Guinea-Bissau, with related research in Cuba. As Founder and CEO of Movin’ Legacy, he leads The GRIOT Project and advances the C³ Standard, Consent, Context, Credit, an ethical framework for documentation, cultural exchange, and consent-forward creative practice.
On Broadway, Page co-directed and choreographed 1776 at Roundabout Theatre Company, earning the Douglas and Ethel Watt Critics’ Choice Award from the Chita Rivera Awards, and choreographed Violet. His reimagining of Ain’t Misbehavin’ was named a New York Times Critic’s Pick, and his direction of Cost of Living at Philadelphia Theatre Company received the 2025 Young-Howze Theatre Award for Director of the Year. Additional directing credits include Choir Boy, Lady Day at Emerson’s Bar and Grill, Running Man at Jazz at Lincoln Center, A Raisin in the Sun, Romeo and Juliet, and The Tragedy of Macbeth. His opera work includes L’Orfeo, Don Giovanni, The Turn of the Screw, and Candide.
Internationally, Page has directed and choreographed major Japanese-language productions for HoriPro, including Memphis and Everybody’s Talking About Jamie. His production of Memphis received recognition from the Yomiuri Theatre Awards and All About’s Musicals Awards. His commercial work includes choreography for Beyoncé’s “Run the World (Girls),” which received the MTV Video Music Award for Best Choreography, creative work with Solange, and choreography for FOX’s “So You Think You Can Dance.” His films include “Making Micheaux,” “TakTakShoo,” and “Blues People,” which have screened at festivals in the United States and Nigeria.
Page holds an MFA in Theatre Directing from Columbia University and a BFA in Dance Performance from The University of the Arts. He received honorary doctorates from Muhlenberg College and The University of the Arts and was the first African American recipient of Juilliard’s Marcus Institute Opera Directing Fellowship. Before joining Howard, he served as Lecturer in Theater, Dance & Media and Director of the Harvard Dance Project at Harvard University. A Fulbright Specialist and Strokes of Genius Fellow, Page is Artist in Residence at Geva Theatre and serves on the boards of Jacob’s Pillow and the Black Metropolis Research Consortium. At Howard, he brings together rigorous professional training, Black performance scholarship, cultural stewardship, and a commitment to preparing artists to engage the world with skill, imagination, and purpose.
Dramatic Directing
Columbia University
2019
THDN 067 invites dancers to move beyond execution and become active researchers, storytellers, and collaborators. The course begins with a central proposition: the body is not simply a tool for performing character and story. It is one of the places where character and story are discovered, composed, and written.
Students will investigate people, animals, trees, colors, objects, places, memories, events, rhythms, and social forces as possible characters. Through reading, discussion, field observation, recorded movement studies, and studio practice, they will identify the physical laws that make a character specific and alive. These laws may include rhythm, weight, timing, spatial appetite, desire, contradiction, repetition, and response to pressure.
Movement phrases will be treated as texts with syntax, punctuation, tension, release, indirection, emotional life, and consequence. Drawing from Black expressive traditions, Signifyin’, blues structure, Rep & Rev, the Viewpoints, world-building, and embodied dramaturgy, students will explore how story can emerge through stillness, rhythm, accumulation, rupture, relation, and change, not only through dialogue or conventional plot.
The course values the fearlessness dancers already bring into a creative process. It then joins that courage with curiosity, research, strategy, revision, and responsibility. Students will learn to propose ideas, test them through the body, examine what their choices produce, and revise with greater intention.
The semester culminates in an original embodied character and story score. Students leave the course better prepared to enter rehearsal rooms as researched, audacious, and responsible collaborators whose bodies do not merely carry the work. Their bodies help the work think.
• Mellon Foundation, 2026-2028. Support for Movin’ Legacy’s organizational, research, archival, and cultural-preservation infrastructure.
• Doris Duke Foundation, Grant #2025-0133, 2025-2026. Support for the post-production, preservation, and public presentation of documentation produced through The GRIOT Project.
• New York State Council on the Arts, Individual Artist Commission, 2025. Support for the development of Frederick Douglass: The Lion of Anacostia in partnership with Geva Theatre Center.
Movin’ Legacy is an artist-led research and cultural-preservation organization founded by Jeffrey L. Page. Its work examines how movement carries history, identity, social knowledge, and spiritual practice across Africa and the African diaspora.
Through The GRIOT Project, the Living Atlas of the Black Atlantic, and the C³ Standard, Movin’ Legacy combines field research, oral history, dance documentation, film, exhibitions, digital archiving, and curriculum development. Its consent-forward model centers Consent, Context, and Credit and treats the archive as a living relationship with the communities whose knowledge it holds.