In most classes, dancers are encouraged to count the music, and dance with it—emphasizing accents and letting the rhythm of a song guide them.
But Marissa Osato likes to give her students an unexpected challenge: to resist hitting the beats.
In her contemporary class at EDGE Performing Arts Center in Los Angeles (which is now closed, until they find a new space), she would often play heavy trap music. She’d encourage her students to find the contrast by moving in slow, fluid, circular patterns, daring them to explore the unobvious interpretation of the steady rhythms.
“I like to give dancers a phrase of music and choreography and have them reinterpret it,” she says, “to be thinkers and creators and not just replicators.”
Osato learned this approach—avoiding the natural temptation of the music always being the leader—while earning her MFA in choreography at California Institute of the Arts. “When I was collaborating with a composer for my thesis, he mentioned, ‘You always count in eights. Why?'”
This forced Osato out of her creative comfort zone. “The choices I made, my use of music, and its correlation to the movement were put under a microscope,” she says. “I learned to not always make the music the driving motive of my work,” a habit she attributes to her competition studio training as a young dancer.
While an undergraduate at the University of California, Irvine, Osato first encountered modern dance. That discovery, along with her experience dancing in Boogiezone Inc.’s off-campus hip-hop company, BREED, co-founded by Elm Pizarro, inspired her own, blended style, combining modern and hip hop with jazz. While still in college, she began working with fellow UCI student Will Johnston, and co-founded the Boogiezone Contemporary Class with Pizarro, an affordable series of classes that brought top choreographers from Los Angeles to Orange County.
“We were trying to bring the hip-hop and contemporary communities together and keep creating work for our friends,” says Osato, who has taught for West Coast Dance Explosion and choreographed for studios across the country.
In 2009, Osato, Johnston and Pizarro launched Entity Contemporary Dance, which she and Johnston direct. The company, now based in Los Angeles, won the 2017 Capezio A.C.E. Awards, and, in 2019, Osato was chosen for two choreographic residencies (Joffrey Ballet’s Winning Works and the USC Kaufman New Movement Residency), and became a full-time associate professor of dance at Santa Monica College.
At SMC, Osato challenges her students—and herself—by incorporating a live percussionist, a luxury that’s been on pause during the pandemic. She finds that live music brings a heightened sense of awareness to the room. “I didn’t realize what I didn’t have until I had it,” Osato says. “Live music helps dancers embody weight and heaviness, being grounded into the floor.” Instead of the music dictating the movement, they’re a part of it.
Osato uses the musician as a collaborator who helps stir her creativity, in real time. “I’ll say ‘Give me something that’s airy and ambient,’ and the sounds inspire me,” says Osato. She loves playing with tension and release dynamics, fall and recovery, and how those can enhance and digress from the sound.
“I can’t wait to get back to the studio and have that again,” she says.
“Get It Together,” by India.Arie
“Her voice and lyrics hit my soul and ground me every time. Dream artist. My go-to recorded music in class is soul R&B. There’s simplicity about it that I really connect with.”
“Turn Your Lights Down Low,” by Bob Marley + The Wailers, Lauryn Hill
“A classic. This song embodies that all-encompassing love and gets the whole room groovin’.”
“Diamonds,” by Johnnyswim
“This song’s uplifting energy and drive is infectious! So much vulnerability, honesty and joy in their voices and instrumentation.”
“There Will Be Time,” by Mumford & Sons, Baaba Maal
“Mumford & Sons’ music has always struck a deep chord within me. Their songs are simultaneously stripped-down and complex and feel transcendent.”
“With The Love In My Heart,” by Jacob Collier, Metropole Orkest, Jules Buckley
“Other than it being insanely energizing and cinematic, I love how challenging the irregular meter is!”