About

Bio
Maree ReMalia is a dance artist working as a choreographer, performer, and teacher. Born in South Korea, and raised in the Midwest, her work celebrates diversity by opening possibilities for who dancers are, what they look like, how they move, and how they train. Through her choreography and teaching, she draws from improvisational methods across disciplines and the Gaga movement language to build community and make space for people to make new discoveries in playful and inquisitive ways.

merrygogo is her platform for collaboratively creating project-based dance works. In her creative process, she uses improvisational methods to engage the senses, build relationships, and generate movement vocabulary that is reflective of the group. Her dances have been described as abstract, episodic, hilarious, nonlinear, playful, poignant, and unordinary. In 2014 and 2015, her work was included in The Pittsburgh Examiner’s “Top 10 Contemporary Dance Performances.” Her choreography has been commissioned by Gibney Dance DoublePlus Festival under the curation of Bebe Miller and has been presented in the U.S. and abroad at Dance & Dessert at American Dance Institute, BAAD! Bronx Academy of Art and Dance, Cleveland Public Theatre, Dance Place, Kelly Strayhorn Theater, La MaMa Experimental Theater Club, Mahaney Center for the Arts, Movement Research at the Judson Church, New Hazlett Theater, the CURRENT SESSIONS, and Daegu International Dance Festival and Daegu International Dance Duet Festival in South Korea. She received support for her creative work through artistic residencies at Dance Exchange, Kelly Strayhorn Theater, and PearlArts Studios and has been funded by OSU Alumni Grants for Graduate Research and Scholarship, Cleveland Arts Prize Kathryn Karipides Scholarship, Foundation for Contemporary Arts Emergency Grant, Greater Pittsburgh Artist Opportunity Grant, Heinz Endowments Small Arts Initiative, Middlebury College’s Committee on the Arts, Director of the Arts Discretionary Fund, Environmental Council, Faculty Professional Development Fund, and the Pennsylvania Council on the Arts.

ReMalia has collaborated with interdisciplinary artists and theater collectives including David Bernabo, Blaine Siegel and Jil Stifel, slowdanger, Hatch Arts Collective, and Dreams of Hope Queer Youth Arts. She has performed in the work of Gabriel Forestieri, Katie Martin, Bebe Miller, Michael J. Morris, Ohad Naharin, Lida Winfield, and Noa Zuk. Previously, she danced with MegLouise Dance, MorrisonDance, Staycee Pearl dance project, the Richmond Ballet, and Southern Ballet Theatre.

Maree teaches in professional, academic, conservatory, and community settings. From 2015-2017, she worked as the Andrew W. Mellon Interdisciplinary Choreographer through Middlebury College Movement Matters Residency. She earned her MFA at The Ohio State University and is a certified instructor of the Gaga movement language.  ReMalia is Pittsburgh-based and currently adjunct faculty at Point Park University.

View CV here.

Artist Statement
I craft contemporary dance works through a patient, collaborative process. My casts keep audiences on their toes with sudden shifts between nuanced gestures, over the top physicalities, meditative moments, and absurd exchanges that are awkward, honest, hilarious, raw, and virtuosic. To build a group and generate movement material, I draw from methods in dance, theater, bodywork, visual art, writing, and more with the aim of expanding the range of who can dance and what can be considered dance to celebrate a range of bodies and experiences. There is play between what is familiar and unexpected. Dancers move in silence then break into choir-like singing and guttural grunting. Performances may be partnered with original music tracks ranging from mash ups of found sounds to rock bands to atmospheric electronica. Elaborate sets made of cardboard boxes may be destroyed; a trampoline and chairs can be reconfigured. We may be colorful in exaggerated pedestrian looks or muted in oversized rompers. On occasion, the fourth wall is broken through a sensitive gaze, intimate conversation, or a prop given as a gift. My collaborators and I consider ideas like borders and boundaries, Korean and Korean-American identity, and the potential for contradictory elements to exist in a single moment. By starting with questions or concerns, dance-making is a way for me to explore what exists between and beyond known categorizations and cultivate curiosity toward what is different or unexpected.

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