Maree ReMalia is a director-choreographer, performer, teaching artist, and certified instructor of the Gaga movement language. An adoptee born in South Korea and raised in Ohio, movement has supported her in an ongoing process of self-discovery, expression, and liberation. In her work as a dance artist she integrates practices from across disciplines and 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 had the pleasure of performing in the work of David Bernabo, 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 company member with 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 privilege of working as a faculty member and guest artist 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. In my life, movement and performance have been a meaningful means of expression, healing, and liberation. These practices support my ability to persevere, access joy and pleasure, feel belonging, be with complexity, and consider new possibilities. Through my facilitation of movement experiences and direction of performance projects I welcome folks from across disciplines, identities, and experiences into these kinds of patient, collaborative processes with the aim of cultivating care and connection that support experiencing 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. We create space to be awkward and messy, imperfect and beautiful, intentional and whimsical and invite this multiplicity in performance works. 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.