Faculty

Profile

Nia Love. Choreographer, dancer, instillation artist, activist, mother, grandmother, warrior and educator, continues to expand and destabilize conversations on intersectionality, transnationalism, Blackness and tools of embodied memory.

At the very early part of her career, Love was invited to apprentice with the world renowned Ballet Nacional de Cuba in Havana, Cuba ('78). She is a graduate of Howard University with a BFA and an MFA from Florida State University, with honors and distinctions for her academic and artistic excellence.  Love worked in Japan with Min Tanka, one of the most celebrated Butoh masters on his Poe Project, written and conceived by Susan Sontag. In 2001, Nia was awarded the Fulbright Fellowship (2001-2003) as a lecturer/researcher in Ghana, Mali and Togo. Her own work has been presented at Black Choreographers Moving Towards the 21st Century, Bates Dance Festival, Alvin Ailey under the NDCL as the 2013 choreographer awardee, Harlem Stage, Tanzanian- Time 2 Dance Festival in conjunction with the Suitcase Fund and many others.

Love Teaches, performs and guest lectures at some of the most distinguished art and educational institutions and festivals throughout the USA and abroad, including American Dance Festival, Fordham/Ailey BFA, Texas Woman's University, Princeton, Hunter College, NYU Tish School of The Arts, Visa2Dance- Dar Es Salaam- Tanzanian Dance Festival, Williams College, Smith College, Sarah Lawrence College, Florida A&M, Florida State University, Columbia University, Barnard College, the University of Ghana at Legon. Love continues to perform, create work, teach and research nationally and internationally. Her Newly investigated and performed project entitled S(oil) was made possible, in part, by the Africa and Middle East Cultural Partnerships Program of the Suitcase Fund, an initiative of New York Live Arts and most recently a CUNY Dance Initative Grant (CDI-'14). She was most recently awarded the Movement Research Artist-in-Residence (2015-2016).

Love's continues to explore the power of femenisim, the BLM movement, critical construction through racical theory, gesture and semiotics as a way to expand her own personhood and cultural acuity.