“Lockstep” choreographed by Andrea Knowlton at the 2025 MADFest. (Photo by Christina Massad)
In 1993, Douglas Scott created the Modern Atlanta Dance Fest (MADFest), intending to showcase the diversity and excellence of Atlanta’s dance scene. During this year’s event, the lobby of the Emory Performing Arts Studio was bursting with excitement. Guests mingled and collected their tickets before the doors opened, after which they filed in and spilled into their seats.
About 20 minutes later, the stage lights dimmed, the crowd got quiet and Director Douglas Scott stepped onto the stage to share a bit about the festival and program. This was my first time attending MADFest, and I was looking forward to a new experience.
Full Radius Dance performed first — its dance Frost was choreographed by Scott. Watching them was like seeing bodies in conversation with one another, all telling different parts of the same story. The use of chairs and clapping to create more sounds was compelling, and I found it both beautiful and powerful to witness a dancer using a wheelchair in the performance. Full Radius Dance is a unique dance company in that it features dancers both with and without disabilities, creating inclusive and compelling performances that resonate with all who see them.
The second piece, Necromantic, was one of my favorites of the evening. Choreographed by Isa Newport, the duet began beneath a large, tan piece of fabric, immediately evoking the haunting stillness of Michelangelo’s Pietà. At first, the music was monotone as one dancer cradled the other, their movements subtly visible beneath the cloth.
As the music gradually began building the dancers emerged in flesh-colored clothing. They revealed, in their dance, a powerful exploration of connection, desire and embodiment. Through synchronized movements, punctuated by moments of closeness and kissing, the dancers created a sense of intimacy that felt both tender and raw, like watching a private moment unfold onstage.
I found the choreography to be mesmerizing with how in sync the dancers were with one another. As the piece reached its conclusion, one dancer’s body went limp, suggesting death or the end of something deeply felt. The fabric returned, gently covering the fallen figure, bringing the narrative full circle. It was stunning.
A two-part performance titled Ritual and Prayer was choreographed and performed by Haley Raye Schmitt of the Georgia Ballet, who was captivating and commanded the stage with ease. The piece showcased strong classical technique — pointed toes, clean lines and elegant lifts — blended with fast-paced, contemporary movement. The performance was technically impressive and visually striking, especially given its short duration.
Later, dancers performing Lockstep emerged in matching jumpsuits of varying colors. The choreography employed ropes to evoke ideas of being tethered — to things, people, responsibilities and even our phones. The performance, to me, spoke to a universal desire for connection while needing periods of solitude as well. That balance can be hard to strike in a world that is constantly connected. The choreography for this performance was created by Kennesaw State University Associate Professor Andrea Knowlton and paired with some of my favorite songs by Labi Siffre and many archival voice recordings, which added to the overall experience of the dance.
Jodie Jernigan put on a great performance in On Guilt & Clementines, which included an essay that she had prepared and paired with choir music. It was captivating to see how Jernigan was able to act and remember every word while not missing a beat with the dance moves. I was very impressed by this one-woman show and to know that Jernigan choreographed and arranged the performance on her own.
The show concluded with Hope Horizon, choreographed by Gregory Catellier and Kristin O’Neal. This piece featured many dancers who were at times in sync and at other times performing separately. Occasionally, dancers stared out into the audience — or beyond — as if they were searching for hope on the horizon
In my research, I learned that MADFest is one of the only professionally juried dance festivals in the Southeast. Since 1993, Full Radius Dance has presented more than 90 companies and independent choreographers on the MAD stage and has welcomed approximately 1,200 dancers and paid more than $60,000 in honoraria to MAD participants. The festival builds community for local artists and companies, offering joint classes and community events, and cultivates new audiences through a festival format.
Attending MADFest for the first time felt like more than simply observing a dance performance — it was an introduction to the depth, creativity and inclusivity that defines Atlanta’s dance community. I was thoroughly impressed. From the emotional resonance of each performance to the thoughtful curation of the evening’s programming, I left feeling inspired, moved and deeply grateful for the opportunity to see these performances in person.
MADFest is more than a showcase; it’s a celebration of artistic voices and human connection. This may have been my first year, but it certainly won’t be my last. I already can’t wait to return next year. And next time, I’ll be bringing friends along to experience the magic, too.
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Jhazzmyn Joiner (aka Jhazzy) is a writer, poet and creative spirit with a soft spot for storytelling that uplifts community voices. She’s the editor-in-chief of Three Panels Press and leads communications at L’Arche Atlanta. With a background in gerontology, media and making meaning out of everyday moments, her work lives at the intersection of art, equity and expression. A singer, traveler and lover of bold ideas, she’s often deep in a playlist, scribbling a poem or wandering an art show, dreaming up her next big project.
