Ep 12: Genevieve Jae | The Danger Den Podcast w/ Danger Foley @SXSW

In Episode 12 of the Danger Den Podcast, Danger Foley is joined by Genevieve Jae, a multidisciplinary artist and creative visionary with a passion for embodiment, healing, and co-creation. Recordedat SXSW inside The Danger Den, this episode unpacks the messy, beautiful process of returning to your art—and yourself.

Genevieve opens up about stepping away from traditional creative roles, healing from burnout, and building intentional community through collaborative work. This is a raw, soul-nourishing conversation about choosing presence, trusting your body, and embracing the evolution of your creative identity.

Whether you’re a creative on the brink of change or someone seeking more meaning in your path—Genevieve’s wisdom will resonate deeply.

Topics Include:

• Breaking free from burnout & creative blocks
• Embodiment practices for artists
• Trusting cycles of rest and return
• Reclaiming your artistic voice
• Leading with intuition and vulnerability

Follow Genevieve on Instagram:@genevievejaepresents

Connect with The Danger Den:
Website: https://www.thedangerden.com
Instagram: @dangerdenco
YouTube: @TheDangerDenCO

Transcript

0:04

I am Danger Foley and we are at the Danger Den house here in Austin, Texas for South by Southwest. I'm here with Genevieve Jae. She is an alchemist of, awe and she's a dancer. She's everything to do with experience. And so welcome to the Danger Den. First of all, so good to have you here. Yes. For sure. So one of the things that I wanted to chat with you about is the art of femininity. I've seen you show up in such an authentic way. Just both live and in your performances, but you also translate that so well. And so I wanted to give you the opportunity to introduce yourself and share a little bit about what you actually do when you are performing. Wow. Yeah, I've been dancing since I was two years old this first time I was on stage, so I have many years of feeling the experience of movement in my body and doing that on a professional level for a very long time as well. I've studied a lot of different dances from around the world, from belly dance to classical Indian to ballet to hip hop to all these different styles, to a lot of circus arts as well. And the through line is that they each have their own personality and characters. And so if you're moving through them in the feminine body, in a woman's body, or even just being a feminine energy, they can show up in different ways and they have different personalities and flavors and archetypes. And I think what feels really good is that it's not like there's like one narrow view of like and just being like a little fairy and like, totally that this is one way. It's like being fierce and wild and, you know, full abandon is also incredibly feminine as it is to just be soft inside, whether it's like very sensual and obvious or even if it's, you know, kind of more like the classical kathuk which is like there's, even you your ability to do that somehow, just the little movements that you do there, it's you've got it down. Has it has this always been something that you've been able to emulate and just translate so well? Yeah. It's honestly yes. Through physical movement, being able to kind of channel in a way like different stories and archetypes has always felt pretty easeful. As a little girl, I’m an only child. So I would just create my own little worlds all the time and just play by myself a lot and create all I was, all the characters in my story. So I just for a long time, have been able to play across these different kind of shapeshifting energies of like, yeah, characters. And so then studying more allowed me to learn the different styles like that classical Indian, you know, Slight gaze and kathak or intehesion which is more fierce and powerful, but still steady all these different styles. And I think we're all giving different gifts, right? Like, I can move my body easefully. But if you ask me to sing I’m gonna be like, I'm learning, I'm learning though I'm getting more confident. But. So singing is something that you're pursuing now? No. No. Yeah. What I'm doing is, being more open to singing and, like, experiences where people are singing and not just being like. So it really is a whole different level of experience for you to be dancing versus showing up in a different way. So that's your superpower you feel? I definitely it's one of them. I think that it also has crossover, right. So I've always been very confident in my movements and my ability to trust myself. So that has also led me to be more fearless. So I've done stunts before where I lit my whole body on fire, or like did a via ferrata on a 500ft, mountain face. And, you know, there was a part we didn't have, we couldn't clip on our carabiner. So it was just free flowing across. And I and in these extreme environments and extreme experiences that I’ve had with my body certain fire stunts and aerial acts, etc., I really trust myself. But that can also bleed into everything else so that when I'm feeling, you know, let's say I flew a jet suit and I've been training on a jet suit. I can't fly off tether yet. Still training the fact that you're in a jet suit. Yeah. And then the fact that I do that, and then I might have something else where, like someone says, you know, do you want to sing with us let’s say. And I'd be like, oh, but then I remember, like, oh, if I can be confident here, who is the woman that dances? Who is woman? How does she feel in that moment? And then can I cross over into this experience and I'll litterally have a moment where I'll pretend that I'm on stage, feel that confidence, calm, centered, focused on fire, and that, okay, let's just like bring her energy here. So it's been able to tap into where you do feel very confident and then crossover has been helpful. The fact that you can do that and the fact that that ability to transfer over and meet that version of yourself and have her show up in other places, that is the skill right there. I think that is back to shapeshifting, you know, like I always think of the best examples Beyonce with Sasha Fierce. Yeah, yeah, that's a part of her. It wasn't a separate character, but she was like, what is the confident part of me? Let me expand that. Fully treated as a character almost. Yeah. You like when I'm getting ready for a performance, I put on a certain kind of music. I put on a certain kind of scent. What is it? You know, depending on the character. Right. Like if it's a little spicier then that's going to be reflective in you know, if it's darker or lighter or whatever that is, it's almost method acting. Yeah, it is really because you're getting into that space. It's actually funny, we did an event where it was a Dune party, and, we had a couple of them that we traveled with, and I was getting ready to play Bene Gesserit. Right. Which is like the very. Or you have you ever seen Dune, I haven't yet, no, it's like ancient cosmic, witch they're, like, very serious. And my sister walked in and I was like, shut the door. And I was like. So then I was like, we're like 30 seconds till show time and I’m like, yeah. I can't be held responsible for my character. Yeah. In it, you know. Do you feel like it sticks with you after the show for a bit? Like, does it take you a minute to shake off the costume, so to speak? I do sometimes think we need to take, like, a hot out, you know, kind of like you do in NASCAR. Yeah yeah You know a hot lap to cool down. yeah yeah yeah. It depends too, on the character. If I've played it a lot of times, it's a little easier to shake it off if I haven't. And I know I'm, I'm pretty experienced in it at this point. So I can go into like, you know, talking to a client afterwards. But what I do for sure is that every time I come home, I take a long, hot shower and I just, like, fully wash out every part, no matter how exhausted I am, whatever time it is, fully take off all the makeup, wash my hair like do the full undressing to where it's just back to like, nude self. And do you find that that's a pretty important piece of it. Like if there's a time when you don't get to necessarily take it all off and do that, does that linger with you a bit? But I've just now created a kit where, like, I always have body wipes, something like, I'm always gonna be able to take it off. I mean, also it’s better for your skin. Yeah, yeah, yeah for sure. Yeah. I think just to be able to be like, thank you. And I'm no longer in this. So as soon as I get home, I have worn the costumes home. Sometimes it doesn't always happen, but sometimes I’ll wear them home, and. But at some point, it's just really for sure having a transition before I get into bed. Yeah. Because sometimes it it's talked about how actors have a really difficult time remembering themselves through all of the different characters that you play and finding that anchor. Right. How do you keep your anchor solid when you're playing so many different characters that require you to tap into so many different pieces of yourself? Whenever I'm creating a performance, a character, an act. I kind of do this Venn diagram where it's like what the client is looking for and then what I'm working through, I'm curious, whatever my muse, and then finding the in between because I want to be the most excited. I'm going to work the hardest. I'm going to be the most 110% because it's coming from this part of me. And then also meeting the client for what they're looking for. And so they're going to get the best thing. When I find that Venn diagram and it's always possible, it takes a little bit of you know meditation on it and usually comes through like, oh, I know. And that's a really fun moment because it's like, oh, I get to work on something that’s important to you? Yeah, exactly. You're always attached to it, but not in a way that's going to impact you outside of the project. Right. And so, I mean, it can positively impact work has it negative impact. Not in a way that's long term. I think that kind of like like when I have it to my assistant, there might be some of that around the performance, but it doesn't stay because I have that practice of letting it go. I think something else too is that when you're filming a movie that's months of dedication to that role, I need to make up with a character, a role. I'm doing a lot of research, so there could be weeks of research. But actually playing the role, using it in experience design, it doesn't have the same amount of hours, but I think it's kind of like a nice safeguard to fully becoming that character. And I find that because of I'm working on a part of myself, and it's something that I'm curious about. I basically, so I take a part like, okay, what is the part of me that is feeling vengeful? What is the part of me that's feeling soft and really, like kind of fragile and vulnerable or whatever that is, and then expand that into a character. What is the part of me that’s feeling like a trickster wants to like. Rile some things up you know. Be provacative. So because it's a part of me I get to let that part live. Really loudly and you get to take 100% of the space. And what's helpful about that is that once that lives I'm able to come back and be like, okay, be really express that I'm not denying that part. I'm like, no, no, no, I'm not like that. Yeah, I'm a little bit trickster. I’m a little bit provactive, so by letting that part live. I'm allowing it. It's exposing the shadow kind of. Exposing the shadow. There's less stickiness and challenge because it got to live in a safe container. That is the character. What a dream, right? Yeah. And you can do this too. Like, even if you're not a professional performer and you have that container, you can do that when you go out for a night and you can just, you know, try on another. Yeah. Like role playing, so to speak, it absolutely, it literally is literally role playing. So there's lots of, containers in which you can do that. And I think what's helpful is looking through myths and stories and characters and being like, oh, what is someone that I can pull from? Like being able to play Bene Gesserit in Dune, what is the part of myself that trust my wisdom with zero doubt and feels like i got cosmic, got goosebumps. Make anything happen. Totally. Like, that's the Bene Gesserit. So then can I perform that role? And then afterwards. Okay, I felt what it was like to be so confident and so powerful and believe in like that, a cosmic witchiness. And that I'm supported by thousands of women in it. And you felt that. And so that's real I feel that. Right. And then afterwards I'm like yeah I feel pretty damn good. that sticks, you know like that will imprint, it's a part of you know. Yeah. Because you recognize that that feeling actually exists. And when you're talking about bringing in all of these different characters and the trickster and the person who's vengeful, that requires so much self-awareness and being able to identify and to be able to actually pinpoint and make an emotion tangible or make something like that, where you can actually personify it in your mind to see how that would impact you. When did you first become so self-aware? For real? That's a really good question. I think one thing with dance is because even in your, you know, recitals, you're still having characters you’re still playing certain kinds of roles, even if they're silly, even if you're a little dancy mushroom or so silly dancing mushroom, like, what is a mushroom mean? Like you still have to have exploration of the character. So if you're exploring what a character is, you also have to explore yourself so you understand your relationship to being able to execute the character. Even in dance, like there's a prompt, I heard one which I thought was beautiful, which was you learn a choreography and said, what does it feel like to do this choreography with physical pain? And what does it feel like to perform with choreography with emotional pain? And so you get to watch the subtle differences of like, how someone carries this movement and you know like, maybe you do that normally, but then with physical pain it might look like, or emotional pain, it could be like. Right. And so you have to be able to understand that in your body. And I think it is a somatic practice. So you can translate it to other people in a way where it resonates with them to where that's what physical pain feels and looks like to them as well. Right. And so the self-awareness, I think comes between it comes from, the exploration. So you have to explore it to convey it. And then while you're exploring like, well, I do tend to feel, kind of upset when I do that or all of a sudden I'm performing the song comes on you’re crying like, why is that happening? Because I'm having a performance on stage. I need to know what I'm translating on stage. So by looking at the ends, you kind of eliminate space for exploration. And with the exploration and that typically a lot of at least the first time of an emotion comes from real life experience. Would you say that as an artist, the reason why you're so good at what you do is because you had a tough a tough road? Or would you say that this is just come from exploring things that aren't necessarily your own experience? I feel like I've had a very blessed life. You know we all have our challenges and struggles and things. But I've had a really, really, really, beautiful life I think. And, I think just being like an empathetic, open, curious person, I’m highly curious. So the more I learn about a character or a person sitting across from me or anything else, you can feel their feelings, especially really open and asking a lot of questions. You can sort of feel their experience. And so I think just being so curious for so long has done that and there are definitely moments in my life of deep betrayal and rage and pain And it's interesting to see how those develop over time to where you notice a trigger. You're like, oh, that thought I worked through this years ago. Yeah, yeah, yeah. And I think what's helpful for me and again, I mean it's this kind of proclivity to the physical body, is I find that I need to go move it physically and then I can address it much more lovingly to myself and to somebody else. So once you move your body, that's, the. Yeah. And that means, like, if I feel it reach, then I need to go lift something heavy and then maybe kickbox or something and move it through, and then can come back and be like, wow, I really felt the full extent of that emotion, though, I think my intense curiosity for really living life and feeling all the experiences and feeling the extreme adrenaline and the epic joy in the freezing cold waters of Antarctica and jumping in there, you know, like just really feeling everything also means that I find myself in situations sometimes where I've chosen to feel, oh my gosh, this is actually going to be really hard emotionally, physically, mentally, whatever it is. But it's the cannonball mentality of trust and of resilience and it's a full send. For real. Yeah. So lighting yourself on fire and flying in a jet pack? Yeah, I can go on. Well how?! Well, I don't recommend at home. Yes. Thank. Good, good. Clarifier. Yes, yes. I am a professional. The thing about lighting yourself on fire, is kind of funny, To be fair, before I ever did a body burn, I had eight years of fire performance experience, including fire eating, fire flushing, which is when you transfer fuel onto your skin. So I really understood fire. I understood my relationship with fire. So, there's a real trust in myself around heat that I can look at the, you know, when you're editing video, when you really go zoom on the timeline and you can look at the small, you know, fractions of a second, I trust myself to understand heat in a way that I can play within the fractions of a second, just because I've been doing it for so long, you know, maybe like some who’s done cold plunging, a lot. 10,000 hours. I definitely have 10,000 hours dancing. I mean at this point I think probably 20,000 dancing and training combined. I’m not yet of letting myself on fire. Yeah. Yeah. Many, how many many many hours. So I was ups many hours. I experience letting myself on fire. So when the opportunity came, I was very curious. And with anything that's dangerous, it's lots of risk assessment. Same with the jet suit. Same with anything else I do tons of hours research, whether for my art or about to do something that's very high risk. I learn as much as possible. And that brings a real sense of trust in myself, everything that you can because you feel confident in your you trust your brain. Exactly. Like if this is the jump and I've learned this much to build trust, then it really is just this fear piece, this little fear piece of like, can you? It makes the gap less if you're like, I'm gonna light myself on fire and don't know anything about it. That's a big chasm, right? That's. Yeah, but if I learn everything I've experienced, I've talked to experts, I understood, I did smaller tests, etc. and just look at it really from like a scientific method. It's all data. It's all data. And so I was with someone that I really trust as a pyrotechnic. He's very professional. He showed me the different stunt glue, we’d start smaller burns. And then it got to a point where, okay, we did a little on my back, we did a little on my arms now let’s do the full body. And it felt great. Does it feel physically crazy? Yeah. To have fire on your body and not have it burn you, It’s very hot. I can imagine. So that sounds pretty toasty. Yeah. Were you naked? No, I'm in layers of, clothes soaked in sun gel, which is freezing cold. Your nose is filled with Vaseline, your ears are filled with Vaseline, you're covered in goop, your hair's covered in goop. It's actually really uncomfortable because the gel is so cold and you can't hear or smell anything. You're kind of like begging for it to start. Like, I just want to be lit on fire at this point. This is, I’m freezing cold. How long are you on fire for? It depends on the burn. I did, commercial for this, for a Halloween commercial where I was like this, skeleton, like a bodysuit, biking uphill. That was weird, because I had to start, I had to be lit on fire, then start biking uphill, which is just super awkward. So there's a while. I'm like, on fire but like still, try to get to pedals out. And not breathing and not being able to see. And yeah, but it's exciting and it's amazing. And you're like, I am alive in this moment. Like there is no question I am present and I have an old friend that we used to call it Hyper Presents. Yeah. And it's just when you're on a motorcycle, when you're little fire, when you're ice climbing, like, oh my gosh, it's the hands up on the roller coaster moment where there's nowhere else to be and your body is so present in the moment, exactly, because you can't think about anything else. I when I design a full event, sometimes the most present I am because it's production, it cost me and all the things, is actually when I'm dancing the three minutes that I'm on fire and looking at you and performing the fire, that is one of the most, most present, most connected in the pocket. Because I can't be anywhere else. I'm putting fire in my mouth. That's the whole thing about performing is that if you are, imagine yourself before a fire performance. If you're exhausted, if you're burnt out, if you're anything of those things, if you can't get to that point where you can then be in the flow state for those three minutes when you're dancing, then what's the fucking point exactly? What's the point? That's for any performance. Exactly. If you’re singing, if you're speaking onstage, etc. like if it's that's what it's for exactly. If you hit a flow state, then that flow state will bring you into it, exactly, even if you’re like, I’m toasted. But then you're in there. And you're feeling the magic and it's go and you're like, oh, right. This is why. This is why. It's that eye contact moment where you get to be. What did you call it, the like a half gaze of, yeah, just a little bit of it. The, the first professional dance job I had was with a, Bollywood company. And we learned a lot of classical Indian dance and a lot of classical Indian dance really focuses on the eyes. And different dances have different eye choreography, and we don't do shit with our eyes in America. We just go like that. Just like, Yeah. But, you know, like, if you have a veil and then you just look up and it's just like, really starting here. It's working smarter, not harder. Teach me how to do all that. Yeah, it's the slow. And then you don't get everything. They want. It's when everything is the amount of time you hold the gaze. Cut it a little bit, cut it a little bit shorter, just cut it a little bit shorter. Leave them wanting more. Fun tips and tricks for how to just be the most seductive, sexy person on the planet. Like what? She does the thing, and then you look and then see. You don’t get it all at once. No you don't. don’t get it all at once. Don’t. You can't have it all at once. Get out of here. You can’t. No, stop. No. You walk away from the car and it's the, you don't look all the way over. It's that when you’re performaing. It’s a little. Teach me. Teach me. Everything. Genevieve, what would you say that your purpose is? Like the bigger underlying thing as to why you dance? Why you. Yeah. Yeah, I have just. Always been so personally drawn and. So naturally excited, enthusiastic about sharing awe and wonder with people. Because, I think it's an incredible place to have growth and expansion from. And this planet is amazing. And being alive is completely amazing. And the fact that we're alive, like, fills me awe and wonder. So if we can share that from like the tiniest moment to the grandest of acts, I think all the wonder bring us into presence and into gratitude. It just reminds us like, you know, like. Holy shit. Holy shit, we’re alive. Holy shit we're alive. That's exactly as Andrew Horton would say. Exactly. Holy shit. We're alive. And, the more I can help people remember that and get to experience, that that feels like everything to me. Keep doing it and keep doing it through your dancing. I was telling her before we got started that, as someone who is kind of coming into my own spot, just, like, socially, I guess, it is really scary to be a full embodiment of yourself, especially as a woman. And if you would like to see what true femininity looks like. Just that is also so badass and fierce and just really inspiring. Where can people find you? The best place is on my Instagram. So at Genevieve Jae Presents it really is a spectacle. The things that this woman can do in all ways is it really is so inspiring to me as someone who's just dipping my toe in the performance world. Yeah. It's, it's an honor to have you here. And thank you so much for just being someone who shares your gift so freely. It's really special to see so. Thank you for the invitation. Really happy to have you here. Yeah. For sure. Thanks girl, appreciate you. Of course.