Born in South Korea and raised in the Midwest, Maree ReMalia is a choreographer, performer, educator, and certified Gaga instructor. Through her work, she welcomes individuals across disciplines, identities, and experience levels to dance. From 2015-2017, she was selected as the Andrew W. Mellon Interdisciplinary Choreographer for Middlebury College Movement Matters Residency and she is invited faculty at Bates Dance Festival Professional Training Program 2018/2019. Currently based in Pittsburgh, Maree is on faculty at Point Park University and is premiering her collaborative, evening-length work, A Letter Compiled From All Letters, at New Hazlett Theater June 13-15, 2019.
In 2014 and 2015 her choreographic work was named by The Examiner as one of “Pittsburgh’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, BAAD! Bronx Academy of Art and Dance, Bates Dance Festival, Cleveland Public Theatre, Dance Place, Kelly Strayhorn Theater, La MaMa Experimental Theater Club, LightLab Performance Series, Lion’s Jaw Performance + Dance Festival, Mahaney Center for the Arts, Movement Research at the Judson Church, New Hazlett Theater, the CURRENT SESSIONS, Vermont College Dance Festival, Vermont Dance Festival, Summer Portraits (Israel), and Daegu International Dance Festival and Daegu International Dance Duet Festival (South Korea). She has received support for her creative work through artistic residencies at Amherst College Theatre and Dance Department, 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, Opportunity Fund, OSU Alumni Grants for Graduate Research and Scholarship, Pennsylvania Council on the Arts, The Heinz Endowments Small Arts Initiative, The Pittsburgh Foundation A.W. Mellon Grant and Creative Development Grant; while at Middlebury College was funded by the institution’s Committee on the Arts, Director of the Arts Discretionary Fund, Environmental Council, and Faculty Professional Development Fund.
Recent performance credits include Gabriel Forestieri’s Breathe, Katie Martin’s non-events both uniform and singular, Michael J. Morris’s From Here, slowdanger’s Intimate Subjects, Blaine Siegel and Jil Stifel’s Objects for Dance, and Christopher William’s Ursula and the 11,000 Virgins. She has danced in the work of Bebe Miller, Ohad Naharin, and Noa Zuk. She was a member of MegLouise Dance, MorrisonDance, and STAYCEE PEARL dance project and previously performed with the Richmond Ballet and Southern Ballet Theatre. In 2013, she was an original cast member of Chickens, a new play by Paul Kruse. She is currently a performer in Lida Winfield’s, Imaginary.
As an educator, ReMalia has facilitated classes and workshops at institutions and organizations such as Amherst College, Baldwin Wallace University, Bennington College, Carnegie Mellon University, Keimyung University, Ohio Wesleyan University, Peabody Dance Johns Hopkins University, Penn State University, Slippery Rock University, Towson University, University of Illinois Urbana-Champaign, University of Maryland, Virginia Commonwealth University, AS220, Attack Theatre, Dance Exchange, Feverhead, Flux + Flow, Flynn Center for the Performing Arts, Hope Academy, PearlArts Studios, Slovenian National Home, The Alloy School, and The Collective. She has co-facilitated interdisciplinary workshops with Gigi Gatewood, Hatch Arts Collective, Rickey Laurentiis, and Mark Taylor/BodyMindMovement and has been a visiting teaching artist with Colorado Conservatory of Dance and Dreams of Hope Queer Youth Arts.
In 2011, she completed her MFA at The Ohio State University and went on to earn her certification to teach the Gaga movement language through the first official Gaga Teacher Training program in Tel Aviv, Israel. She received her BA in Education for Social Change and Cultural Studies at Prescott College and studied somatic and improvisational practices at Moving on Center School for Participatory Arts. Maree is also certified in the Ilan Lev Method, a Feldenkrais-based body work.
View CV here.
In my dance-making and teaching, I am interested in doing work that blurs disciplinary boundaries and includes individuals from various experience levels spanning professionals to newcomers across age, identity, and ability in institutional, community, and professional settings. I make work at the edges of what is established and unexpected. I am curious about the ways we are bringing dance and arts across disciplines into the world and how being involved in these practices impacts our daily lives. My intention is to facilitate spaces where individuals who might be very different from each other can engage in processes that support self discovery and building relationships, while welcoming and celebrating many kinds of moving bodies and experiencing diverse expressions as valuable and meaningful. Through creative practice, we open possibilities to witness, listen, feel, think, align, disagree, play, laugh, cry, and love.
My contemporary dance works are crafted 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 generate movement material reflective of each group, I draw from methods in dance, theater, bodywork, visual art, writing, and more. 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 an object given as a gift. My collaborators and I consider ideas like borders and boundaries, identity, and the potential for contradictory elements to exist in a single moment. By starting with a question or concept, 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.