MorDance Creates Community Through Artistic Expression

Collaboration, Community, and Creation

Located at 86 Main Street, on the sixth floor with 360 views overlooking the waterfront and downtown Yonkers, exists an expansive studio space built on three key elements: collaboration, community, and creation.

The MorDance studio is more than just a practice space for the MorDance group, it's a hub of creativity. A mixed-use space that provides all sorts of creatives the ability to both work on and practice their art, with dance as the centerpiece.

Founded in 2014 by professional dancer Morgan McEwan, the women-led dance company and nonprofit moved into its own space in Yonkers earlier this year . MorDance aims to foster a more dynamic and inclusive future for the performing arts, emphasizing accessibility and empowering environments for creative expression.

Attending MorDance's second-ever open house on April 5th, I had the pleasure of getting to witness art in practice, as the group of elite dancers, some on loan from the Met Opera, worked on their pieces for their upcoming Spring performances . But the event was not just for the dancers to rehearse, it was an open house for various creative endeavors.

“ I love when someone who sees us today then comes back in a month to see how it all came together ,” McEwen said.

Arts in Practice

Upon entering the space, attendees could sit or move freely, providing a free-moving, self-paced atmosphere. Joining the MorDance group as they practiced were artist couple Katori Walker and Evan Bishop of 320arts.com . Katori is a self-taught visual artist, muralist, photographer, playwright, and author who discovered painting as a method of healing after a traumatic experience early in her life. She has since continued to blend art and meditation for trauma healing and has worked on murals in Yonkers. Her “Katori Kids” series of paintings can also be seen on community garden sheds in the Bronx.

Evan Bishop , the founder of Yonkers first ever comic-con , embraces the visual element of Hip Hop culture, namely graffiti . His talents have been incorporated in murals in homes, businesses, schools, and communities throughout New York City and Westchester County . He has also used these techniques in body art designs and digital art.

As a pair, Katori and Evan created 320BodyArt, which offered custom body art designs and mini spa treatments to adults. The couple also produced the 100 Words of Wisdom Exhibit, a photo exhibition of over 100 senior citizens adorned with graffiti-inspired body art, as well as the YES YONKERS! Community Quilt Project. In 2020, Evan designed and Katori organized the painting of Westchester's first Black Lives Matter asphalt mural in front of Yonkers City Hall.

At the open house, Katori and Even worked together on a series of oil pastel paintings based on the dancers in motion—a first for the two as a collaborative project.

Also in attendance was Brooklyn-based mixed media artist CJ Priester, who worked on her signature abstract paintings and textile collages, this time inspired by the dancers. CJ recently completed a residency with ArtCrawl Harlem on Governors Island, where she had a series of work called “Any Black Man, U.SA.,” which was an ongoing series about representation and revelation, and how Blackness relates to masculinity and its vulnerabilities. Most recently, Yonkers launched a new mural located along the Metro North Line entitled “We The People” by Priester. The mural represents the diversity and transience of Yonkers and acts as a welcoming vision for commuters and visitors.

Revolutionizing Dance

As for the dance rehearsal, the ability to witness a dance performance come together was an eye-opening experience. So much of dance comes down to timing, momentum, and trust.  Morgan leads her group with an eagle eye, monitoring the dancers to correct any moves or help them to pivot to moves that allow for more grace and comfort, especially for the more ambitious numbers, all with a gentle touch.

Notably, too, is McEwen's emphasis on a collaborative process, keeping lines of communication open and freely flowing. The process is conversational; a pastiche of ideas and feelings, as she openly takes suggestions from her dancers.

“ A lot of dance corps are very strict and not always the healthiest of environments. There are not a lot of female choreographers. 25% of ballets are run by women ,” McEwen explained.

Morgan McEwen herself has danced at the Richmond Ballet, BalletMet, and the Metropolitan Opera. Discouraged by her limited opportunities as a female choreographer, she made it her mission to reimagine ballet as a form of learning and impactful change—and to create positive work environments for dancers. Her choreography transforms themes of activism and humanity, with the hope of inspiring audiences to become more civically minded; these are all key themes in MorDance's upcoming spring performances, all inspired by 1960s and 1970s folk music. As stated on MorDance's press release, the performances consist of three spellbinding ballets, “On The Waterfront” pays homage to the legendary Leonard Bernstein. “Depths Entangled” examines the profound connections we forge with one another. And “Echoes of Silence” meditates on collective social change.

“ The things that were being said in the music then are still applicable today ,” McEwen told the audience.

Inspired from a place of breaking past political stagnation. A lot of times we're all saying and want the same things, but we get gridlocked. But I think we're really lucky to be in a place, a time, and a state where a lot of wonderful things are happening. But we're still fighting for so many of the same things they were in the 1960s and 1970s.

The key themes of breaking past political stagnation can be found not only in the music but in the movements of the dancers, from fluid, graceful moves that incorporate handshaking and hand wringing. The audience on April 5th had the unique pleasure of getting to see the full piece rehearsed for the first time.

The performances, taking place May 2nd – May 4th, will be at the studio space, which is to be converted into a black box theater on those nights. The studio space will eventually become a convertible space for monthly open studios, performances, and lessons, making spreading the word of MorDance's efforts throughout Yonkers crucial.

“ MorDance has partnered with other local foundations, like WestHab and We Art 1 ,” MorDance Development Assistant Mary-Louise Hildebrandt explained. “ We're hoping to enhance the collaboration aspect as much as possible and, especially coming from the city, try to integrate with the local community in a way that benefits them .”

The Secret Sauce to Yonkers Revitalization

At the County Executive Budget Forum held in October, McEwen attended with Nonprofit Westchester as an advocate of arts funding. McEwen explained how the arts also create revenue—and if the government is willing to invest in them, it will be returned into the economy.

“ Americans for the Arts recently published their 6th Arts and Economic Prosperity report, highlighting that $5 billion in direct arts funding from local, state, and federal governments resulted in a remarkable $27.5 billion in government revenue. The arts sector also supports 4.6 million jobs, echoing its role as a potent economic driver ,” McEwen stated at the forum.

McEwen's desire to advocate for arts funding isn't just about economic interest—she's especially drawn by students' ability to participate in the arts and the empathy that is heightened by communities that embrace the arts. For McEwen, this emphasizes a need for accessible arts education for all Yonkers residents. As part of her commitment to providing arts resources to the underserved, Morgan also provides dance services to over 100 students throughout Yonkers.

MorDance's Spring performances are the first of a bold step forward for arts in Yonkers. Not only can audience members witness dance as an act of change but supporting MorDance also directly supports the arts and their place in Yonkers, a step forward in moving past the political gridlock that so often keeps communities bereft of arts and arts education.