Maree ReMalia is a choreographer, performer, teaching artist, and certified Gaga instructor. An adoptee born in South Korea and raised in Ohio, she is interested in what exists beyond established categorizations and how we encounter what is unexpected. She welcomes individuals across disciplines, identities, and experience levels to dance as a way of celebrating more kinds of moving bodies and a diverse range of expressions. Her choreography has been commissioned by Gibney DoublePlus Festival (NY) under the curation of Bebe Miller and has been presented at venues such as American Dance Institute (MD), BAAD! Bronx Academy of Art and Dance (NY), 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), and Daegu International Dance Festival (South Korea). ReMalia has danced in the work of Heather Baur, Gabriel Forestieri, Bebe Miller, Michael J. Morris, Ohad Naharin, Blaine Siegel and Jil Stifel, Christopher Williams, and Noa Zuk, and she is currently a performer in Lida Winfield’s Imaginary. She was a member of MegLouise Dance, MorrisonDance, and STAYCEE PEARL dance project and previously performed with the Richmond Ballet and Southern Ballet Theatre. Since earning her MFA at The Ohio State University, she was selected as the Andrew W. Mellon Interdisciplinary Choreographer for Middlebury College Movement Matters Residency (2015-2017) and has been faculty at Bates Dance Festival (2018-2020), Lion’s Jaw Performance + Dance Festival (2018), and Point Park University (2017-2019). Maree teaches at the University of Florida and is based in Jacksonville, FL. View CV here.
Through my involvement with dance, I connect to people and places that are both kindred and very different than me and I build constellations of communities while living a transient life. In these communities, I have experienced movement as a means of expression, communication, and healing. This has impacted my desire to create and facilitate in ways that cultivate a sense of care for ourselves, each other, and the world of which we are part. With my collaborators and students, I aim to facilitate practices that invite us to experience a greater sense of aliveness and engagement and to discover one another beyond our carefully curated selves. We are not only training our bodies for performance, but investing in practices that open possibilities for how we can be together. In these practices, we have opportunities to notice our habits and preferences and recognize potential for transformation. As we make and move together, we can root for each other and question each other, while we hold space to take risks and feel empowered; we can laugh and cry and rage and rejoice.
I direct the creation of contemporary performance works through a patient, collaborative process. My mode of making is playful and deliberate. I work with folks from a broad range of backgrounds and experience levels. We spend time improvising through movement and sound, responding to writing prompts, and sharing resources related to project inquiries – which have included topics like becoming, borders and boundaries, and connection and communication in a digital age. In performance, we keep audiences on their toes with sudden shifts between nuanced gestures, over the top physicalities, meditative moments, and absurd exchanges that are eccentric, honest, humorous, and nonlinear. By blurring disciplinary boundaries, there is play between what is familiar and unanticipated. Choreography may be reminiscent of balletic and contemporary forms, everyday movement, or abstracted gestures. Dancers can move in silence, then break into choir-like singing or guttural grunting. Movement might be partnered with text or original music tracks ranging from mash ups of found sounds to rock bands to atmospheric electronica. Elaborate sets made of cardboard boxes can be destroyed; a trampoline and chairs may be reconfigured. We might be colorful in exaggerated pedestrian looks or muted in oversized rompers. On occasion, the fourth wall is broken through a sensitive gaze or a prop given as a gift.
These practices and expressions are ways I engage in embracing self and others, considering our contemporary moment, and accessing what is yet to be discovered.