About

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photo Alan Kimara Dixon

Mission
Maree ReMalia invites individuals across disciplines, identities, and experience levels to dance together to create opportunities for making self discoveries, building relationships, and opening possibilities for who dancers are, what they look like, how they move, and how they train. By moving together and sharing dances with audiences she aims to cultivate a sense of care for one other and the world in which we live.

Bio
Maree ReMalia is a dance artist working as a choreographer, performer, and teacher. 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 project-based 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 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), and Daegu International Dance Festival and Daegu International Dance Duet Festival (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, 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 was selected as the Andrew W. Mellon Interdisciplinary Choreographer for 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 currently adjunct faculty at Point Park University and a performer in Lida Winfield’s Imaginary. Learn about her latest project in process here.  

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 nonlinear, unexpected, episodic, and hilarious. 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. I am interested in the ways seemingly unlikely groups and contradictory elements come together and the new possibilities that emerge as a result.

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