Alyza DelPan-Monley

is creating movement design - for dance and theater and more

7

patrons

$54

per month

About Alyza DelPan-Monley

Hello all!

My name is Alyza (they/she) and I am a Seattle-based dancer, choreographer, performance artist and director, seeking to brighten my surroundings with splashes of whimsy, human connection and goofy possibilities. I believe at my core that movement is for everyone, and that movement has the supernatural power to express our internal and connect us to the external. 
I love dancing in every context - the way commuters rattle and sway on the subway, the happy knee bobbles that babies do while they learn to walk, the spatial orientations and contagious hyping that happens at a concert - it's always exciting to find the unexpected places where dance shows up or the intuitive surprises that happens with movement as the access point. I believe that dance can burst bubbles and repurpose awkward into awesome, tough into tender (and back to tough if needed), can help assist in telling your story, or can tell a story all on its own. 

Over the past few years, I have been intentionally whittling down the non-art related jobs that I do. I am proud to say that I am now am a full-time freelance artist. This has allowed me to take on productions of all kinds. Scroll down to see a summary of the 18 projects I've worked on so far in 2019. It is a constant hustle and I am grateful to have so many opportunities to do such incredible unique art. In my eagerness to keep growing and thriving, and I am now at a place where I would like to ask for your support. 

I am looking for sustained support to accomplish these main goals:
1. Focus deeper on projects: I would like to be able to really prioritize and deepen the work I'm doing. Many of the projects that I care passionately about, are unpaid or have minimal stipends, but these are also the projects that sustain my creative charge. This would mean working on a couple less projects in the upcoming year, but allowing myself to really focus and prioritize the research and prep work. 
2. Share my knowledge: Working on all these projects, I have acquired quite a few best practices, and I would like to be able to invest the time in codifying these techniques and ideas to paper or video in order to share with my theater/dance/greater community. 
3. Continue to learn: I still have a lot more to growing and learning to do. I want to find ways to use the art and the art-making processes I am a part of to do more: to compel audiences into action, to advocate for self-care and healthy group dynamics within our rehearsal rooms, and  to prioritize visibility of marginalized groups in performance art inside of creative environments shaped for those same marginalized individuals to thrive.


As a supporter of my work, you will get the insider scoop into my art-making process, to show you all the things you don't see in the final stage-product. You can expect videos of my dance brainstorms, snapshots of my notes and choreography storyboards, works-in-progress, and the occasional theoretical rumination via blog post. 

To get a sense of the types of projects you may get to see me work on, here are the shows I worked on in 2019: 

Sheathed - (co-fight choreographer/choreographer) built the movement vocabulary of a fictional world, including salutes, duel rituals, and nightmare sequences, and co-created elaborate fight sequences with May Nguyen. 
Ditch (performer) Cherdonna Shinatra's company, DONNA, performed for 3 months at the Frye Art Museum (once a day, with Mondays off) for a total of 80 performances. My face muscles have never been so fit.
M. Butterfly - (movement designer) designed movement to emulate the jingju Peking opera dances, as well as created movement sequences and transitions that framed the character's perspectives. 
Jitterbug Perfume -  (assistant director/choreographer) With Tom Robbin's blessing, we brought Jitterbug Perfume to life. In this show, I got the chance to build movement for the Bandaloop Doctors, Mardi Gras, Kudra's dematerialization, as well as more than one nymph orgy with the goat-god Pan. 
Oklahoma - (choreographer)  working with a high school group on this classic with a lot of deeply problematic content, I tried to bring a new lens into the work and to teach the students that it is okay to critique a show even while you are working on it and that classic does not equate to good, correct or without flaw. 
Office Hour - (associate director/choreographer) this show is one of the darkest most vulnerable pieces that I've ever worked on, with four actors who were willing to talk through the uncomfortable. I so appreciate a show that is able to teach you and hold you while you work on it. 
She Is Fierce: A Queen Within - (storyteller) This was my third time performing with SiF, but normally I come in to collaborate as a mover. This time I shared my own story of how clothing has shaped my identity and how I choose to express myself. 
The All-American Oriental Magic Show - (director) I got the chance to direct Maritess Zurbano in her one-woman show about her experiences of exotification and objectification working in the magic industry. I even got a few magic trick insider secrets of the trade along the way! But don't ask, cuz I'm sworn to secrecy.
The Last World Octopus Wrestling Champion - (choreographer) This show has my heart. A world-premiere Justin Huertas musical centering around queer and Filipinx-American family, with unapologetically untranslated tagalog in it, a show about the courage to love and courage to let go. Not to mention I got to work with a fantastic cast to create magical sea creatures, and cutesy cartoon boppy numbers and some ass-kicking fight scenes!
Boy - (movement consultant) Dropped in for a couple rehearsals to work with an actor that had to be able to shift back and forth throughout the show between a young girl and an adult man.
W.T. Preston - (dancer) MALACARNE, Alice Gosti's newly named dance project, spent two weekends aboard the W.T. Preston steamboat, shooting a film that should be available in October. 
Dissecting A Lobster: Soft Interiors - (performer) for the Red Gala, I created an installation piece that 
Wooden O's Romeo and Juliet - (choreographer) Leah invited me to create the Capulet ball, during which the young love that fuels the flames of the rest of the show is kindled. It was great working with such a fantastically diverse group of femmes
Fabulous Fable Factory - (choreographer) I built some fun child-friendly movement for this delightful park show recreating Aesop's fables through physical theater and imagination. 
Peeling - (co-movement consultant/choreographer) - Cessa Betandalscourt and I were invited in to work with the actors on establishing consent practices and building the choreography of the play within the play.
Flight Deck Residency - (resident artist) Open Flight awarded me one of their three residency spots this summer. I was given rehearsal time to begin the process of building a piece I am calling why do rooms echo when empty?
Still Life - (performer) Morgan Thornson's toured this piece from Minneapolis and I got the opportunity to perform it here with the cast. We did four 5 hour performances, four days in a row, as a rumination on decay and death and extinction.

To finish out the year, I am going on tour with MALACARNE to Boston and North Carolina to perform Material Deviance in Contemporary American Culture. I am co-choreographing and performing in Salvage Rituals which will show at On the Boards in 2020. I am writing a script and doing a workshop/staged-reading for Cafe Nordo's new Slow Cooker Program. I will be choreographing Cabaret with G&S this winter, choreographing Dance Nationwith WET and choreographing/assistant directing Violet's Attic: A Grand Ball for Wicked Dolls with Cafe Nordo. 


Recent posts by Alyza DelPan-Monley