Lori C. Teague

Atlanta dancers perform a score to thank nurses and doctors for their relentless care of patients during COVID.
Lori Teague and Patton White perform "No One Way to Go" exploring ideas of authenticity related to lies that were used to draw the country into the Iraq war.

About the Artist

Like many who were fortunate to study dance in a small southern town, my first “recitals” were about performing memorized steps in a line. Since then, so many incredible teachers, collaborations, performance opportunities, and choreographic processes have shaped my curiosities. I am a choreographer, improvisational performer, educator, environmentalist, and an activist. I thrive in pluralistic environments, believing everyone’s unique story provides a way to see and feel with more empathy and compassion. Listening and collaborating are prioritized in each process and my way of being. I develop improvisational scores that invite play, kinesthetic listening, and choice. These features empower movers, expand awareness, and build new connections within the body and among the individuals responding to each other. I recognize that I have much broader interests in the evolution of humans, particularly our means of survival and the cultures that shape us as movers and thinkers. My work is concerned with human liberation and the actions we must take to sustain resources on this planet. Movement can be a catalyst for change.  

Atlanta dancers perform a score to thank nurses and doctors for their relentless care of patients during COVID.
Lori Teague and Patton White perform "No One Way to Go" exploring ideas of authenticity related to lies that were used to draw the country into the Iraq war.

About the Artist

Like many who were fortunate to study dance in a small southern town, my first “recitals” were about performing memorized steps in a line. Since then, so many incredible teachers, collaborations, performance opportunities, and choreographic processes have shaped my curiosities. I am a choreographer, improvisational performer, educator, environmentalist, and an activist. I thrive in pluralistic environments, believing everyone’s unique story provides a way to see and feel with more empathy and compassion. Listening and collaborating are prioritized in each process and my way of being. I develop improvisational scores that invite play, kinesthetic listening, and choice. These features empower movers, expand awareness, and build new connections within the body and among the individuals responding to each other. I recognize that I have much broader interests in the evolution of humans, particularly our means of survival and the cultures that shape us as movers and thinkers. My work is concerned with human liberation and the actions we must take to sustain resources on this planet. Movement can be a catalyst for change.  

Biography

Teague earned an MFA from The Ohio State University in 1991 in choreography and performance where she studied and performed works by Vickie Blaine, Mark Morris, Pat Graney, Sharon Wyrrick, Charles Weidman, Sophie Maslow, Doris Humphrey, Susan Hadley, and Victoria Uris. Her thesis examined performance techniques in tandem with the crafting and exploration of thematic material in alternative spaces.  In her early performance career, she was a company member of Zivili: Songs and Dances of the Western Balkans in Ohio and Randy James Dance Works in New York. After moving to Atlanta, she performed with GardenHouse Dance, Full Radius Dance, Beacon Dance, and CORE Performance Company. These opportunities imbued her own choreographic work. She joined the Dance and Movement Studies faculty at Emory University in 1994 and soon after became a certified Laban-Bartenieff Movement Analyst. She teaches modern technique and choreography and has designed five new courses: Movement Improvisation, Dance Literacy (Laban Movement Studies), Dance Pedagogy, Bartenieff Fundamentals, and Move your Math-an interdisciplinary course that reinforces embodied learning.  Teague has created and shared more than sixty works in regional and international festivals. Her regional commissions continue to strengthen her connection to Atlanta communities. More recently, she ignited powerful connections between dance making and community through the Jacob’s Pillow Curriculum in Motion™ Institute. Teague is the recipient of the first Emory Creativity and Arts Award for a faculty member and a 2024 Art and Social Justice fellow, collaborating with Antonio David Lyons. She is a feedback facilitator of Fieldwork and Critical Response and co-directs The Dancing Flowers for Peace. She invests in teacher training, volunteers for Moving in the Spirit and served on their board for over ten years. She is a member of Alternate Roots, NDEO, and DEGAS. 

Fieldwork is a forum for sharing developing works, artist to artist. Guided by an experienced facilitator, the structure reveals how new work is perceived by others and helps participants of any arts discipline hone their vision while supporting their authorship.  

Critical Response Process (CRP), conceived by Liz Lerman 25 years ago, combines the power of questions with the focus and challenge of informed dialogue. The Artist, Responder, and Facilitator use a four-step process to interact in the critique of their own work. CRP instills ways of thinking, communicating and being that enhance all kinds of human interactions, conversations, and collaborations.  

Teague and Patton White collaborate on new political work entitled, "No One Way to Go."
Lori Teague captures elements of being a southern, middle child, raised in a small town, who was a cheerleader and a lifeguard.
Teague explores the risks of change on the Toccoa River in "Bend."

Biography

Teague earned an MFA from The Ohio State University in 1991 in choreography and performance where she studied and performed works by Vickie Blaine, Mark Morris, Pat Graney, Sharon Wyrrick, Charles Weidman, Sophie Maslow, Doris Humphrey, Susan Hadley, and Victoria Uris. Her thesis examined performance techniques in tandem with the crafting and exploration of thematic material in alternative spaces.  In her early performance career, she was a company member of Zivili: Songs and Dances of the Western Balkans in Ohio and Randy James Dance Works in New York. After moving to Atlanta, she performed with GardenHouse Dance, Full Radius Dance, Beacon Dance, and CORE Performance Company. These opportunities imbued her own choreographic work. She joined the Dance and Movement Studies faculty at Emory University in 1994 and soon after became a certified Laban-Bartenieff Movement Analyst. She teaches modern technique and choreography and has designed five new courses: Movement Improvisation, Dance Literacy (Laban Movement Studies), Dance Pedagogy, Bartenieff Fundamentals, and Move your Math-an interdisciplinary course that reinforces embodied learning.  Teague has created and shared more than sixty works in regional and international festivals. Her regional commissions continue to strengthen her connection to Atlanta communities. More recently, she ignited powerful connections between dance making and community through the Jacob’s Pillow Curriculum in Motion™ Institute. Teague is the recipient of the first Emory Creativity and Arts Award for a faculty member and a 2024 Art and Social Justice fellow, collaborating with Antonio David Lyons. She is a feedback facilitator of Fieldwork and Critical Response and co-directs The Dancing Flowers for Peace. She invests in teacher training, volunteers for Moving in the Spirit and served on their board for over ten years. She is a member of Alternate Roots, NDEO, and DEGAS. 

Fieldwork is a forum for sharing developing works, artist to artist. Guided by an experienced facilitator, the structure reveals how new work is perceived by others and helps participants of any arts discipline hone their vision while supporting their authorship.  

Critical Response Process (CRP), conceived by Liz Lerman 25 years ago, combines the power of questions with the focus and challenge of informed dialogue. The Artist, Responder, and Facilitator use a four-step process to interact in the critique of their own work. CRP instills ways of thinking, communicating and being that enhance all kinds of human interactions, conversations, and collaborations.  

Teague and Patton White collaborate on new political work entitled, "No One Way to Go."
Lori Teague captures elements of being a southern, middle child, raised in a small town, who was a cheerleader and a lifeguard.
Teague explores the risks of change on the Toccoa River in "Bend."