Maree ReMalia is a dance artist working as a choreographer, performer, educator and certified Gaga instructor. Born in South Korea, and raised in the Midwest, she welcomes individuals across disciplines, identities, and experience levels to dance together. She takes a collaborative approach to directing dances that unfold in unexpected ways and include disciplinary mash-ups that showcase expressions that are abstract, eccentric, honest, hilarious, tender, meditative, nonlinear, and virtuosic.
merrygogo is her platform for creating performance works. In her creative process, she uses improvisational methods to engage the senses, build relationships, and generate movement vocabulary reflective of each group. 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 venues such as American Dance Institute (MD), BAAD! Bronx Academy of Art and Dance, Cleveland Public Theatre, Dance Place (DC), Kelly Strayhorn Theater (PA), La MaMa Experimental Theater Club (NY), Mahaney Center for the Arts (VT), Movement Research at the Judson Church (NY), New Hazlett Theater (PA), the CURRENT SESSIONS (NY), Daegu International Dance Festival and Daegu International Dance Duet Festival (South Korea), and Summer Portraits (Israel). She has received support for her creative work through artistic residencies at Amherst College, Dance Exchange, Kelly Strayhorn Theater, and PearlArts Studios and has been funded by 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, Opportunity Fund, OSU’s Alumni Grants for Graduate Research and Scholarship and Arts Matching Travel Grant, Pennsylvania Council on the Arts, and The Pittsburgh Foundation.
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, and Noa Zuk. Previously, she danced with MegLouise Dance, MorrisonDance, Staycee Pearl dance project, the Richmond Ballet, and Southern Ballet Theatre. She is currently a performer in Lida Winfield’s Imaginary.
Since earning her MFA at The Ohio State University, she has traveled frequently working in professional, academic, conservatory, and community settings. She was invited faculty at Bates Dance Festival (2018) and was selected as the Andrew W. Mellon Interdisciplinary Choreographer for Middlebury College Movement Matters Residency (2015-2017). Currently based in Pittsburgh, she is adjunct faculty at Point Park University and is premiering her evening-length work, A Letter Compiled From All Letters, at New Hazlett Theater in June 2019. https://mahiree.wordpress.com
I welcome individuals across disciplines, identities, and abilities to dance. Through creative process and teaching, I celebrate a range of bodies and expressions. I want people to feel acknowledged and valued and for us to have opportunities to discover and express more of ourselves. 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 eccentric, honest, hilarious, raw, and virtuosic. To build community and generate movement material reflective of each group, 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. 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 cultivate curiosity and explore what exists beyond known categorizations. I draw from the same practices and philosophies in my teaching. These experiences are an opportunity to cultivate a sense of care for each other and our world – in the studio, on stage, and in our daily lives.