Maree ReMalia is a director-choreographer, performer, teaching artist, and certified Gaga instructor. An adoptee born in South Korea and raised in Ohio, embodied and creative practices support her in an ongoing process of self-discovery, expression, and liberation. In her work as a dance artist, she invites others into these unfolding processes with a focus on care and connection. Her collaborative performance projects have been presented at venues such as BAAD! Bronx Academy of Art and Dance, Cleveland Public Theatre, Dance Place, Gibney DoublePlus Festival, Kelly Strayhorn Theater, La MaMa Experimental Theater Club, Mahaney Center for the Arts, Movement Research at the Judson Church, New Hazlett Theater, and Daegu International Dance Festival. She has been a performer in the work of Gabriel Forestieri, Bebe Miller, Betsy Miller, Michael J. Morris, slowdanger, Blaine Siegel and Jil Stifel, Christopher Williams, Lida Winfield, and Noa Zuk; she was previously a member of MegLouise Dance, MorrisonDance, and STAYCEE PEARL dance project. 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 had the pleasure of working as a guest artist and faculty member with institutions and organizations such as 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. View CV here.

I love to move, dance, feel, think, and create. I love to do these things in community, learning with and from other people. Engaging in embodied practice and creative process for performance supports my ability to persevere, access joy and pleasure, feel belonging, be with complexity, and consider new possibilities. When facilitating movement experiences and directing the creation of collaborative performance works, I welcome folks from across disciplines, identities, and experiences into these unfolding processes in settings ranging from professional and community-based to academic and conservatory. Through these processes, I aim to cultivate care and connection to support understanding a fuller range of ourselves and each other. 

As we move and make together, we improvise through movement and vocalization, engage in somatic practices, interact with objects and space, pose questions, respond to writing prompts, and share stories and resources. We work with a sense of ritual and spontaneity that is both playful and deliberate; we shift between nuanced gestures, over the top physicalities, meditative moments, and absurd exchanges. By blurring disciplinary boundaries, we tune into what is familiar and unexpected and explore what exists in between. Vocabulary and compositions emerge from and are dependent upon the unique qualities and perspectives of the group. Tuning into impulse and intuition and noticing our thoughts, we have opportunities to track our own experience while we bear witness for others. There is space to be awkward and messy, imperfect and beautiful, intentional and whimsical. We are not only training our bodies for performance, but opening possibilities for how we can be together – both in our dancing and in our broader lives.