Bio
Maree ReMalia is a choreographer, performer, teaching artist, and certified Gaga instructor. An adoptee born in South Korea and raised in Ohio, movement has supported her in an ongoing process of self-discovery, liberation, connection, expression, healing, and care. She welcomes individuals across disciplines, identities, and experience levels into processes where she aims to celebrate moving bodies and a diverse range of expressions reflective of each group.

Her collaborative performance works have been commissioned by Gibney DoublePlus Festival (NY) under the curation of Bebe Miller and have 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). Projects have been funded by the A. W. Mellon Educational and Charitable Trust Fund of The Pittsburgh Foundation and the Investing in Professional Artists Grants Program, a partnership of The Pittsburgh Foundation and The Heinz Endowments, Cleveland Arts Prize Kathryn Karipides Scholarship, Foundation for Contemporary Arts Emergency Grant, Greater Pittsburgh Artist Opportunity Grant, Opportunity Fund, Pennsylvania Council on the Arts (a state agency), and The Heinz Endowments Small Arts Initiative. 

ReMalia is currently a performer in Lida Winfield’s Imaginary and she has danced in the work of Heather Baur, Gabriel Forestieri, Bebe Miller, Michael J. Morris, Ohad Naharin, Blaine Siegel and Jil Stifel, slowdanger, Christopher Williams, 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. 

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 and has worked been on faculty with Bates Dance Festival, Colorado Conservatory of Dance, Dreams of Hope Queer Youth Arts, Lion’s Jaw Performance + Dance Festival, Point Park University, University of Florida, and University of Wisconsin-Madison. She is grateful for her training at Prescott College and Moving on Center School for Participatory Arts, which launched the expansion of her conceptions of who can dance and what dance can be and for the numerous mentors, teachers, artists, individuals, and experiences that have been influential in shaping her perspectives and work.

View CV here.

Artist Statement
I experience movement as a means of expression, communication, liberation, and transformation, which impacts 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. When gathering to dance in practice and performance we have opportunities to move with complexity and contradiction and to encounter what is unexpected in ways that can support self-discovery and connection.

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. As we make and move together, we can root for each other and question each other, while holding 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. Process is paramount. 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 unexpected. 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 can 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 complicated histories, and accessing what is yet to be discovered.