Marissa Finkelstein is a dance artist, educator, and choreographer originally from New Jersey. She is interested in community-based dance-making and how place and memory inform embodiment. As a third year MFA candidate at the University of North Carolina at Greensboro, Marissa’s thesis research explores themes of care through an intergenerational choreographic project. At UNCG, Marissa is a Graduate Assistant and Instructor of Record, where she teaches courses in jazz, tap, dance appreciation, and contemporary to college students. Her work across these disciplines is informed by a somatic understanding of one’s own body, play, and student empowerment. Marissa is a Minerva Scholar and Greensboro Graduate Scholar at UNCG, and she is pursuing her K-12 certification.
Marissa received her BA in Dance and Business from Muhlenberg College. While at Muhlenberg, Marissa had the chance to study abroad and dance in Florence, Italy at Florence University of the Arts, where honed her passion for pasta and ate all of the gelato. Marissa has worked as a choreographer, educator, and performer throughout New Jersey, New York, Massachusetts, and Pennsylvania. As an arts advocate and arts administrator, Marissa has worked with the National Dance Education Organization, New Jersey State Council on the Arts, Jacob’s Pillow, and Get Empowered, where she also worked as a teaching artist for various schools and community based organizations.
Her scholarly research has been presented at the National Dance Education Organization’s National Conference, and her writing on dance has been published in Dance Spirit and DanceGeist. Marissa has also presented her research on dance under the Third Reich at UNCG’s Graduate Forum, and she was awarded a summer grant by UNCG’s Center for Visual and Performing Arts to engage in archival research on this subject at the Jerome Robbins Dance Division of the New York Public Library.
Marissa’s journey as a dance artist, educator, choreographer, and administrator has provided her with a multifaceted perspective that informs her creative and scholarly research. The different hats she has worn in the dance field guide her exploration of making dance as community building and also her questioning of legacy and maintaining sustainable practices for artists. Her work is informed by cultivating an ethos of care for oneself and community in dance making practices to honor the ways dance can sustain our personhood.
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Photos by Caroline Haidet