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Moria Chappell's Artistry
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© 2013 Moria Chappell LLC
All rights reserved.
To dance, put your hand on your heart and
listen to the sound of your soul.
Eugene Louis Faccuito
Moria Chappell
Artistry
Over the course of her career, Moria Chappell has excelled in a number of unique, artistic endeavors. These are five areas in which her artistry has found its way onto the stage.
Artistic Direction
Moria serves as the
Artistic Director for
Bellydance Superstars
Tribal Fusion and has
since 2011.
She composes and
orchestrates group
choreographies which
seek to evoke what is
strange and beautiful,
striking and consoling
about the female form
in its most erudite and
vulnerable
manifestations.
Bellydance Superstars Tribal Fusion
Artistic Director
Moria’s
Artist Reel
Artistic Direction & Choreography
Moria
Choreographry
Moria has
choreographed solos,
duets, and group
collaborations that
incorporate both
Oriental and Tribal
Fusion artistry to
produce a tableaux of
juxtapositions of light
and dark, soft and
strong, fiery and
temperate to pull
each dancer to her
edge and offer what
she embodies most on
the stage.
CLUB BELLYDANCE 2013
Opening tribal ensemble
“Peacock” duet
“Balkan” group ensemble
“Jaguar” solo
“Oceana” tribal ensemble
Finalé tribal ensemble
THE MAGIC OF DANCE (2012)
Opening tribal ensemble
“Balkan” group ensemble
“Cobra” tribal ensemble
“Finger Cymbal” duet
“Jaguar” solo
Finalé tribal ensemble
MMoorriiaa’’ss CChhoorreeooggrraapphhiieess
BABELESQUE (2007)
“Madura” solo
BELLYDANCE SUPERSTARS DVDs
“Tabla Solo” with Issam Houshan
“Muslim Gauze”
“Victim to the Charms of Radio” solo
“Revolution” solo
“Ampersand Storm” solo
“Engrish Bwudd” solo
“Steeping Somber” solo
“Karakas” solo
ADDITIONAL CHOREOGRAPHIES
“Black Widow”
“Lullaby for August 2nd”
“Tribal Fest 2013”
Teaching Methodology and Ethos
Moria teaches from a
place of spirit and
body.
She feels that what is
most important is to
understand and utilize
the muscles that cloak
the bones, and
ultimately are the only
things that put us under
our own control. Her
technique is entirely
muscle-based,
dedicating one muscle
to one movement, and
creating isolations and
shapes that are clear
and concise.
Once the
fundamental tools of
the body are brought
under a student’s
control by a yoga,
and drilled by a
muscular isolation
which understands
the commands of
contract and release,
Moria is able to lead
her students to more
complex layering
and shape creation,
and thereby turns
their body into a
vessel for their voice,
and the voice of the
world, to be expressed
effortlessly and with intention.
Moria uses sweat and humor to
mold the body and tame the
muscles to work under the
command of her students.
Costume Design
Costuming is the outer
expression of the inner
vision.
Moria has a fascination
with the specific and
the large. She is
invested in the detail of
each bead, its content
and history, as well as
the outline of the total
form which can be
read from stage. Her
costumes are animal
and statue, antique
and fantastic.
She makes each of her
own costumes via
hand stitching, and
draws inspiration from
colors in nature,
haute couture,
Alphonse Mucha,
Gustav Klimt, Gaudi,
pirates, gypsies,
yoginis, dakinis,
mermaids, and
peacocks.
Using shells, stones,
feathers, silk, silver,
lace, tassels, beads,
glass, mirrors, yarn,
flowers, bones, gold,
teardrops, pinpricks,
twilight and sunrise,
Moria weaves her
costumes like an
arachnid into embellishments
and regalia with whom she
dances like a partner.
Make-up Design
The face is the canvas
of the soul. The secret
of the mermaid’s mirror
is that it reflects
anything she wishes to
see.
Moria formally studied
make-up artistry during
her tutelage in make-
up design school in
Atlanta, Georgia in
2004. She has worked
as a make-up artist on
sets and applies the
more theatrical aspects
of make-upology to her
face as well as others.
Moria delights in
seeing her faces
transformed by
contours and
highlights, smoking
and blurring, glittering
and coloring,
blending, and by
using unexpected
colors to evoke the
Geisha, the ingénue,
Kali, Renaissance
portraiture, the feline,
and the stars of silent
film.
With faces as her
canvas, Moria
patiently and deftly shows her
students the mysteries of
effective theatrical makeup.
Future Explorations
Since 2008, Moria has
been traveling to India
to study East Indian
Temple Dance.
Her fascination with
temple dance has led
her to Hula, Tahitian,
Javanese, and
Balinese sacred
dances. She has
experimented with Thai
and South China
Peacock Dance.
Her future pursuits
include a continued in-
depth study of Odissi,
the grandmother of
all sacred dance, with
her teacher Ratna
Roy; to explore the
dances of Oceana;
to walk the paths of
Angkor Watt via
Cambodian dance,
and explore Thai and
Nepalese dance to
retrace the lineage of
sacred dance as it
traveled from India
throughout Asia and
then to the sea.
“Her style has developed into
something that defies description.
Let’s just say that if Rachel Brice is
the snake-charmer, Moria’s become
THE snake. Her movements are fast,
accurate, precise and her locks
seem to freeze in time…just like a
snake before attacking the next
move. Simply mesmerizing!”
~Excerpt from a review of
The Bellydance Superstars
written by MIGUEL
Recent Choreographies
Club Bellydance 2013
Opening of Show
Tribal-Fusion Artistic Direction & Choreography
Moria
“Peacock”
Club Bellydance 2013
Duet
Artistic Direction & Choreography
Moria
“Balkan”
Club Bellydance 2013
Ensemble
Artistic Direction & Choreography
Moria
“Cobra”
Club Bellydance 2013
Tribal Ensemble
Artistic Direction & Choreography
Moria
“Jaguar”
Club Bellydance 2013
Solo
Artistic Direction & Choreography
Moria
“Bounce”
Club Bellydance 2013
Tribal Ensemble
Artistic Direction & Choreography
Moria
Finis
For inquiries, please contact Moria Chappell
at the following address:
moriachappell@yahoo.com
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