“Perfection is Boring so let’s Twirl for the Gods”

-Tina Thompson


"It's not my problem where it touches them, As long as it touches them!"- Nina Simone

 SKIN- The Tina Thompson Dance Company has been an innovative force in the dance field and we strive to continue our growth constantly. We have performed locally at the Ailey Citi-Corp Theatre, Tribeca Performig Arts Center, Staten Island St. George Theatre, Symphony Space and Aaron Davis Hall Marian Anderson Theatre. Our repertoire includes 12 works. We were given the 2007 Carmen DeLavallade Award in choreography at the 2007 New York International Dance Festival and the DCA Arts Fund Award in choreography in 2009. Some of the company’s signature works are “THRU” and ROBE. Our newest works include 'Evolution of Purpose', ‘SON OF SONS’, Constellation, GRACEOLOGY and our SKINTACULAR show. The size of the company is presently about 20-25 dancers from many backgrounds and cultures.

Led by Founder/Artistic Director Tina Thompson-Pope, SKIN- TTDC was established in 2003 as a vehicle for artistic value and self-expression through the language of dance. SKIN- TTDC seeks to provide the opportunities, challenges and infrastructures for personal growth to its artists, students, community members and future generations to come. As a diverse, four dimensional (physical, mental, emotional and spiritual) performing arts organization, We strive to create and perform choreography based on storytelling and universal themes in a contemporary-fused modern dance style that is accessible and relatable. Through spirit, passion, self-awareness and pride we celebrate the art of DANCE!

In 2011 SKIN DANCE COMPANY dedicated ROBE to Dr. Hazel N. Dukes the President of the NAACP New York State Conference, a member of the NAACP National Board of Directors, a member of the NAACP Executive Committee and well as and active member of various NAACP board sub-committees. Ms. Dukes is a woman of great strength and courage. Her dedication to human rights and equality is exemplified by her role linking business, government and social causes. Ms. Dukes is an active and dynamic leader who is known for her unselfish and devoted track record for improving the quality of life in New York State.
A harsh system of civil and human injustice persists; intimidation, violence, and the recent rash of “nooses,” speak to the widespread de facto absence of a civil and human rights agenda in America says Dukes, and the fires of frustration continue to burn.”

choreographed by Tina Thompson
She was born Freda Josephine McDonald in St. Louis, Missouri, on June 3, 1906 to washerwoman Carrie McDonald and vaudeville drummer Eddie Carson. Eddie abandoned them shortly afterward, and Carrie married a kind but perpetually unemployed man named Arthur Martin. Their family eventually grew to include a son and two more daughters.

Josephine grew up cleaning houses and babysitting for wealthy white families who reminded her "be sure not to kiss the baby." She got a job waitressing at The Old Chauffeur's Club when she was 13 years old. While waiting tables she met and had a brief marriage to Willie Wells. While it was unusual for a woman during her era, Josephine never depended on a man for financial support. Therefore, she never hesitated to leave when a relationship soured. She was married and divorced three more times, to American Willie Baker in 1921 (whose last name she chose to keep), Frenchman Jean Lion in 1937 (from whom she attained French citizenship) and French orchestra leader Jo Bouillon in 1947 (who helped to raise her 12 adopted children).

Josephine toured the United States with The Jones Family Band and The Dixie Steppers in 1919, performing various comical skits. When the troupes split, she tried to advance as a chorus girl for The Dixie Steppers in Sissle and Blake's production Shuffle Along. She was rejected because she was "too skinny and too dark." Undeterred, she learned the chorus line's routines while working as a dresser. Thus, Josephine was the obvious replacement when a dancer left. Onstage she rolled her eyes and purposely acted clumsy. The audience loved her comedic touch, and Josephine was a box office draw for the rest of the show's run.