Dante Puleio

Summary

Moving Moments: Dante Pelejo's Journey in Modern Dance

Hosted by Alicia Graf Mack | Released on February 5, 2025

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Introduction

In this captivating episode of Moving Moments, Artful Narratives Media’s Alicia Graf Mack engages in an enlightening conversation with Dante Pelejo, the Artistic Director of the Limon Dance Company. Dante shares his unconventional path in the modern dance world, offering deep insights into his creative process, personal growth, and visionary leadership. This detailed summary captures the essence of their discussion, highlighting key moments, profound quotes, and Dante’s inspiring journey.

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Early Inspirations and Love for Dance

Dante’s passion for dance ignited at an early age, not through formal training but through pure enthusiasm. Reflecting on his childhood, he recalls:

“I would choreograph an entire hour-long ballet to Donna Summer and Michael Jackson albums” (02:31).

Despite lacking awareness of dance as a viable career, Dante’s innate love for movement set the foundation for his future endeavors.

Formal Training and Discovering the Limon Technique

Dante’s formal dance education began at Wilkes University, initially pursuing psychology with a minor in theater. A pivotal moment occurred when a teacher recognized his potential in dance, prompting him to shift his academic focus:

“I think what you’re doing is amazing,” Dante’s voice is filled with gratitude as he recounts his parents’ support (04:32).

He further honed his skills at the Laban Center in London and the Northern School of Contemporary Dance in Leeds, England. Dante describes his rigorous training as “Olympic style” and emphasizes how it transformed his understanding of movement:

“That was when I was like, oh, this feels right. Like all of a sudden I'm no longer just doing steps, but I'm telling a story through movement” (05:28).

Personal Identity and Liberation through Dance

A significant turning point in Dante’s life was his journey of self-discovery and liberation during his studies in London. He shares a profound moment of feeling truly embodied and connected:

“Once I felt that sort of ownership over myself, that agency, I feel like the dancing started to shift” (06:53).

This personal liberation intertwined seamlessly with his artistic expression, deepening his connection to dance.

Joining the Limon Dance Company

Dante’s association with the Limon Dance Company began serendipitously. After auditioning and performing a solo piece, he was unexpectedly offered a position:

“I worked with her for about 20 minutes on the Misa Breva solo. And literally after 20 minutes, she offered me the job” (13:24).

Joining Limon was a transformative experience, allowing Dante to work alongside legendary figures in modern dance, which he approached with a humble, student’s mindset:

“I knew that I was there just to absorb as much as possible and be as good at what was being asked of me as possible” (14:07).

Transition to Education and Teaching

After two decades with Limon, Dante ventured into academia, embracing his passion for mentoring and advocacy. His tenure as a professor at Troy University and University of Florida was driven by a desire to inspire the next generation of dancers:

“I knew that I could help create dance advocates for the world” (21:20).

Dante leveraged his extensive experience to engage students, making modern dance accessible and inspiring.

Becoming Artistic Director of Limon Dance Company

Dante’s return to Limon as Artistic Director was both a professional and personal milestone. His research into contextualizing mid-century modern dance for contemporary audiences played a crucial role in his appointment. Reflecting on his transition, he shares:

“Everything that happened after March, going into May and June...completely reshaped why we were doing what we were doing” (26:08).

Under his leadership, Dante has focused on revitalizing the company’s legacy while embracing innovation and inclusivity.

Challenges and Vision during COVID-19 and Social Changes

Assuming leadership during a tumultuous period, Dante navigated the COVID-19 pandemic and significant social movements. These challenges prompted him to reassess the company’s mission and approach:

“We got to really look at who we were, why we were doing what we were doing, and what it meant to be doing it in this world” (26:08).

Dante emphasizes the importance of responsible leadership, addressing unconscious biases, and fostering a supportive community within the company.

Daily Responsibilities and Balancing Leadership

As Artistic Director, Dante balances administrative duties with artistic pursuits. He discusses his approach to managing time and responsibilities:

“I love helicoptering in and out of, like, the granular, the micro to the macro” (29:07).

Dante’s passion for networking, attending performances, and building relationships underscores his commitment to the company’s growth and sustainability.

Legacy and Future Goals

Looking ahead, Dante envisions a tangible legacy for the Limon Dance Company. His primary goal is to secure a permanent home for the company, enabling greater community engagement and educational opportunities:

“My mission is to make sure that when I'm done here that we have a place to call our own” (32:54).

He advocates for creating accessible spaces for dancers and enthusiasts alike, fostering a vibrant dance community.

Conclusion

Dante Pelejo’s journey is a testament to resilience, passion, and visionary leadership in the modern dance world. Through his candid reflections, listeners gain a deeper appreciation for the intricacies of dance, the importance of personal growth, and the impact of dedicated leadership. This episode of Moving Moments not only chronicles Dante’s remarkable career but also inspires aspiring dancers and leaders to pursue their passions with authenticity and purpose.

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Notable Quotes:

• Dante Pelejo: “I just thought everyone felt like this when they heard music. I guess not.” (00:51)
• Dante Pelejo: “That feeling when you're in a sweaty studio and everyone is focusing on this same idea...nothing feels as good as that.” (05:40)
• Dante Pelejo: “I'm telling a story through movement.” (05:28)
• Dante Pelejo: “An artist needs a canvas to paint. Dancers need a studio to create.” (32:54)

Timecodes

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• 02:31 – Early choreography and love for dance.
• 04:32 – Parental support and decision to pursue dance.
• 05:28 – Discovering storytelling through movement via Limon Technique.
• 05:40 – The transcendent feeling of dancing in a focused environment.
• 06:53 – Connection between personal liberation and dance.
• 13:24 – Audition experience and joining Limon Dance Company.
• 14:07 – Approaching Limon as a devoted student.
• 21:20 – Transitioning to education and dance advocacy.
• 26:08 – Navigating leadership during COVID-19 and social upheaval.
• 29:07 – Balancing administrative and artistic responsibilities.
• 32:54 – Vision for Limon’s future and securing a permanent home.

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Tune in to Moving Moments for more inspiring conversations with the dance world’s most remarkable artists. Follow us on Instagram @MovingMomentsPodcast and visit ArtfulNarrativesMedia.com for more information.

Transcript

[Alicia Graf Mack]

Hey listeners, thanks for tuning in. If you're enjoying Moving Moments, please consider supporting our work with a tax deductible donation. You can easily contribute on our [e-mail] donate or just click the link in the show note of this episode. Every donation, no matter the size, helps us to keep bringing you inspiring conversations with remarkable artists. Thank you so much for your continued support. We really appreciate it. Artistic director of the Limon Dance Company, Dante Pelejo is shaping the future of the modern dance world. Despite Dante's unconventional path to the stage, his love for dance began at an early age.

[Dante Pelejo]

I remember going to a bar mitzvah, you know, when I was like 13, everyone's like, oh my God, you're such a good dancer. And I was like, really? Like, I didn't know. And I was like, well, I love it. I just thought everyone felt like this when they heard music. I guess not.

[Alicia Graf Mack]

You're listening to Moving Moments, the podcast that explores the dance world's most accomplished and groundbreaking artists. I'm your host, Alicia Graf Mack Dean and director of Dance at the Juilliard School. During each episode, you'll hear me talk with some of my closest friends and most trusted colleagues as we sit down to hear about their creative process and how they are changing the dance world on and off the stage. Dante, we've been building our friendship and our working relationship since 2022 when Covid started to dissipate. I remember having coffee with you one day and thinking, how do I not know this person? I feel like we are kindred spirits in so many ways. But thank you for being here for this moving moments conversation.

[Dante Pelejo]

Thanks for having me. I'm so happy that you asked me.

[Alicia Graf Mack]

Well, Dante, it seems that your career has followed a very non traditional path. So before we talk about your formal training and how you became the artistic director of the Limon Dance Company, let's go back and just talk about the seeds of inspiration that got you moving.

[Dante Pelejo]

You bet.

[Alicia Graf Mack]

When do you remember or can you recall the first times that you fell in love with dance?

[Dante Pelejo]

Donna Summer, Michael Jackson. I would play the albums and then I would choreograph an entire hour long ballet to the album.

[Alicia Graf Mack]

Yes.

[Dante Pelejo]

And then I would make my mom come and watch me and then I would do my dance and I would make up a new one every day. But every day like that was what I had to do was make these hour long ballets to Donna Summer and Michael Jackson. But I didn't know that dance was like a thing. Like I Didn't know you could do that. We lived in Jersey, but we really didn't come into the city to see shows. It never really just came into my lexicon that you could have a career doing that. So I did a little bit of theater in high school, and that's when I started to, like. It's like, oh, maybe this is, like, a thing. But even still, it wasn't, like, a job you could have. So I just kind of never like, allowed myself to dream that that was a possibility for me. But I always, always loved moving. I remember going to, like, a bat mitzvah, you know, when I was, like, 13, everyone's like, oh, my God, you're such a good dancer. And I was like, really? Like, I didn't know. And I was like, well, I love it. It feels good. I just thought everyone felt like this when they heard music. I guess not.

[Alicia Graf Mack]

How did you get into more formal training, and how did that inform your ideas of what dance is?

[Dante Pelejo]

So I went to a small school in Pennsylvania called Wilkes University. I was going to be a psychology major, maybe. Maybe like, a little theater minor.

[Alicia Graf Mack]

Okay.

[Dante Pelejo]

So as part of that, you had to take, like, a dance class. And it was, you know, five weeks of modern, five weeks of ballet, five weeks of jazz. And after the first couple weeks, the teacher was like, you know, you should maybe consider this a little more seriously. You've got a good facility for it. And I was like, okay, what is. What does that mean? You know? So she kind of talked me through a little bit of that. I knew I wanted to study abroad, so I was like, okay, well, let's look at that. So I called my parents, who were finding my education, and I said, hey, I think I want to be a dancer, and maybe not a psychologist. And my parents were like, yeah, you can go be a doctor later. Go do the dance thing now.

[Alicia Graf Mack]

Wow, that's amazing.

[Dante Pelejo]

I mean, I am so fortunate that I had that kind of just trust and support that they were like, yeah, you know, what's best for yourself? Let's. I will support that. Like, as long as you're done in four years, you do a fifth year, it's on your own. So that's really kind of what started that trajectory. I went to the Laban center in London, and it was a great program. It wasn't the right one for me just because everyone there had already had all of their training. I was too beginner. So I went to a place called Northern School of Contemporary Dance in Leeds, England. I wasn't really quite ready to come home and there was such solid training, like all of the techniques every day, just non stop. It was like, it felt to me like Olympic style training. Then once that ballet and modern and jazz, like once you started to feel all those different kinds of ways of hearing music, I was like, I only want to do this for as long as I can possibly breathe. Yeah.

[Alicia Graf Mack]

Well, one of the questions that I ask all of the guests on the show is what does it feel like when you dance? Or what does the high of movement feel like? I think you're kind of touching upon that a little bit.

[Dante Pelejo]

It's transcendent. You know, you operate on just a different plane of existence. Like that feeling when you're in a sweaty studio and everyone is focusing on this same idea. Breathing together and sweating together and like moving their bodies together. And you know, when you're just in the pocket of that sensation and there's nothing like it, and then you walk out and you're exhausted and spent and your muscles hurt, but nothing feels as good as that, that last run when, like, the music is just it and everybody's doing it and. Ugh.

[Alicia Graf Mack]

Amen. I know that feeling. I know a lot of listeners know that feeling. Thank you for articulating that so beautifully. And if you were sitting here with us, you'd see Dante in full out choreography. And this might be a little bit of a personal question, but I read in my research that while you were studying in London, you found your yourself, you found a new confidence in your identity. Did that liberation and coming out have anything to do with finding yourself in movement and expression and artistry?

[Dante Pelejo]

Mmm, that's such a good question. And one I feel like I have taken for granted for so long because it was such an organic moment and it fed so much of where my life went from there that I don't even unpack it a lot. But, yeah, I remember walking home from class one day and I felt like the release of my ankle, like, as I was walking, and I was like, I just felt my feet on the ground. And I'd never been in my body. I'd never felt my body in that way. It felt like there was like this chain reaction of releases inside of my body. And I remember. I remember going out maybe that weekend or something and meeting a boy. And I got really excited about it. And even though I had talked about being gay before, and even though I was like, oh, maybe I'm bisexual, I don't really know, it was at that moment that led to the other series of moments of oh, okay. I'm in my body, and this is what my body needs. It needs a connection with another human being who is like me in certain ways. And there was something about, for me, being held by a man that I was like, oh, this is what I've been missing. Like, this is what feels whole in a way that I didn't know I wasn't whole. Once I felt that sort of ownership over myself, that, like, that agency, I feel like the dancing started to shift.

[Alicia Graf Mack]

Yeah. I mean, dancing is a somatic experience, and to really use your body as an instrument, you have to know it inside and out. I always just find it so fascinating. Even the. The idea of feeling yourself walk, I mean, literally grounded, right?

[Dante Pelejo]

Exactly.

[Alicia Graf Mack]

Work it into your love for the Limone technique. But much of that is around rooting yourself into the floor. And I feel like that's metaphoric for so many life discoveries.

[Dante Pelejo]

Yeah. Like, how can you grow from something if you don't have a place that you're growing from? For me, that's how. That's how I felt.

[Alicia Graf Mack]

Absolutely. When did you take your first Limon class? And did you know anything about Jose Limon or the Limon Technique?

[Dante Pelejo]

I didn't. I didn't have any real background until I started taking, like, the dance history classes, and they start to deconstruct all of that. That first class teacher I had, Kristen Degnan at Wilkes University, the one who kind of set me off on my path, she taught, like, Limon based modern class. I didn't know what that meant at the time. I just knew that the movement felt good. Then at the Laban Center, I had another woman named Janet Shaw who taught a Limon based class, and I didn't enjoy her class. The focus on the technique was different than my understanding of how I talk about it and experienced it. So that was like. I was like, oh, well, maybe this isn't really for me. And I was really getting into ballet at the time. I was like, yes, I want to do this. And that was really like, ooh. It just felt so good.

[Alicia Graf Mack]

There goes the leg, y'all. There goes the leg. The leg just went up, fully pointed.

[Dante Pelejo]

I was like, ooh. Like, that's like, that sort of command felt so right. And then I was taking Graham at the time and like, that felt really good. So I was living in that world. I graduated from University of the Arts, so when I went there, I had a teacher named Gabe Masson who danced for Doug Varone, who taught a Limon based class. And then I felt like I Was able to put all the pieces together. Like all of the strength that I needed because I had none that I developed in those other techniques combined with what I was learning in this Limon bass class, which was really about how you thread the steps together versus doing the steps. Well, that threading, that understanding of transition from this moment to that moment was where I started to discover how to use my weight and how I understand the Limon technique to resonate. And so that was when I was like, oh, this feels. This feels right. Like all of a sudden I'm no longer just doing steps, but I'm telling a story through movement. And it's really the transitions that are. That are telling you the story, you know, because everyone is making the shape. But how you get from that shape to that shape is completely independent to the art or completely individual to the artist, because they are the ones making the choice of how they use their weight from one thing to the next.

[Alicia Graf Mack]

I love that idea. So many people asked me about the curriculum at the Juilliard School and why some of the foundational techniques are still taught so deeply here. And that's exactly why the Limon technique informs the dancers, informs their understanding of movement in such a form, full and transformative way. It's really interesting to see them go from kind of like have their Bambi legs, you know, when they're coming in first year, to then rooting themselves down into the ground and learning how to fall and how to release and. And connecting, as you said, all the pieces together, connecting all the dots from all their different technique classes into. Into this one technique.

[Dante Pelejo]

Yeah.

[Alicia Graf Mack]

Tell us about the audition for the Limone Company. What inspired you to audition? What was that day like?

[Dante Pelejo]

You bet. It's a good story. So I was dancing with Carolyn Dorfman Dance Company at the time. And at the time for Theone Company, you auditioned on a Sunday and then you had a week long call back and then on that Friday, your final thing, and then maybe on Saturday, Carla Maxwell, who was the director at the time, would make the call. So I went on the Sunday, I got called back for that Monday and I told Carla, I'm like, I'm sorry, but I'm dancing for Carolyn. I can't come back this week. And Carla was like, well, you know, you're a beautiful dancer. Please stay in touch with us. Please come take class. And I was like, great, thank you so much. I was so excited. I really went to the audition just to see where I was, how I stacked up in the scene at the time, because I really had such little context. And that Friday, the Carolyn Dorfman Dance Company was actually having a showing at the Limone Studios.

[Alicia Graf Mack]

Oh, well, that was lucky.

[Dante Pelejo]

I know, right? And I guess I kind of knew it, maybe. Yeah, I'm sure I must have known. So we had our performance that Friday afternoon or evening, and after the show, Carla came up to me. She was like, what are you doing tomorrow, Saturday afternoon? I was like, nothing. She's like, do you want to come in and work with me a little bit, just one on one? And I was. Had no clue why it didn't dawn on me that I was still auditioning. I was like, oh, maybe just. Just to work with me, just to. Whatever. And so I worked with her for about 20 minutes on the Misa Breva solo. And literally after 20 minutes, she offered me the job.

[Alicia Graf Mack]

Wow.

[Dante Pelejo]

And I was totally. Exactly like, your face right now is. It was exactly mine. I was like, what are you. Wow. I called my dad and I tried to explain it to him. He was like, so, like, you got to talk me through it. I don't really understand. He's like, is Limon like, the Yankees? I was like, yes. I just got to join the Yankees of dance. Yes, that's exactly right.

[Alicia Graf Mack]

That's amazing and definitely true. And, yes, dad, you nailed it.

[Dante Pelejo]

You nailed it.

[Alicia Graf Mack]

Well, what was it like to join that company, and what did you feel like? Was your role in forwarding the legacy as a dancer understanding, you know, your place in this great American modern dance company?

[Dante Pelejo]

I will say that I don't think that I understood the weight of the job at the time. I feel like my company now has a really deep, inherent respect for the legacy. I knew that I was walking in as a student. I mean, Carla Maxwell was still dancing. Carlos had just left. Nina Watt was still in the company. So there were, like, these major epic names that had helped shape the field that were in this room. So I knew that I was there just to, like, absorb as much as possible and be as good at what was being asked of me as possible. I got to work with Donald McHale my first year, you know, and he set a duet on me and Kimmy Corwin. And, you know, I just don't think I understood just how important this. This moment was. These moments were. It was just like, okay, well, I'm here to dance, and let's do this dance thing, and I got a job. Oh, my gosh.

[Alicia Graf Mack]

It sounds like even though you probably didn't do this intentionally, you went into each stage of your life with A beginner's mindset, which is really of being a student, no matter where you are on the spectrum of your professional career. I talk about this all the time with students and young people that I mentor is you have to stay curious, especially as an artist, when you step into the room, when you step into the studio, I'm sure when you even step in a boardroom now, to have that wonder still about what we're doing as artists. How many years did you dance with Limon? And can you recall one of your most memorable, moving moments with the company?

[Dante Pelejo]

Yeah, you bet. So I danced from 2000 to 2002, and then I left to do some musical theater and film and TV and all this kind of cool stuff. I was really excited to do this Other World because I really felt like I missed. Missed out on it because I dove right into concert dance. And then after being away for a couple of years, I really missed the. That kind of dedication that happens inside of like a dance studio. That's for concert dance. You know, it's like a lab. Yeah. You know, it's. It's different when you're getting ready for a show and then you go on the road and you do that show. And I loved that life too. I love those people. I met my husband that way. Like, beautiful, beautiful life. But I was missing the. Maybe like the grit, you know, like the constant investigation of doing the same piece, the same 17 minute work. There was something about that that I missed. So I came back from a tour. I was doing the who's Tommy, and one of the dancers in Limon Co. Was leaving, and they asked me to come in as a guest artist to fill in for one of the pieces called the Traitor. So I came in, I learned the role. I got to perform a couple times, and then someone else was leaving. And then Carla was like, are you interested in rejoining the company? She didn't even finish the question. I said yes. And that was in 2007.

[Alicia Graf Mack]

I see.

[Dante Pelejo]

And then I stayed until 2015 when I went back to get my. My graduate degree. And it was probably that first year when I was back, we were doing the Trader. We were in Ravello on the Amalfi coast in Italy with the Women of Graham.

[Alicia Graf Mack]

Oh.

[Dante Pelejo]

And the men of Limon.

[Alicia Graf Mack]

Wow.

[Dante Pelejo]

So it was my first time seeing Chronicles. I was like, what is happening? It was just mind blown. So I got to see that the night before. And now we're up and we go out on the stage. Now the stage is set into the side of the mountain, which is inside of a castle. The castle is completely dilapidated, so it's open. So you're just sitting in the castle ruins as an audience, and then you're looking out at the stage, and the backdrop of the stage is the Mediterranean.

[Alicia Graf Mack]

Come on.

[Dante Pelejo]

There's nothing like, look up, Ravello. Like, just look it up on Google and you will see the pictures. So we come out in the second act. They were holding this tablecloth. And you can't tell how the dancers are holding the tablecloth. And I'm not going to tell you here either. But as you're walking through, like, there's a moment where you stop and you have, like, six of the dancers holding this tablecloth pretty taut. And all of a sudden, this breeze comes through, and the bottom of the tablecloth just slightly moves a little bit. Now, the Traitor is a story between Jesus and Judas from Judas perspective at Gethsemane. So you're at the Last Supper in Italy with the Amalfi coast and the Mediterranean Sea inside of this castle. And then just this tablecloth blowing ever so lightly, which would never happen in a theater, only outdoors. And I completely lost. I was like, yes, this is everywhere I am supposed to be. It was everything everywhere all at once or whatever. You know, it's like, that was the moment. Wow. Yeah, that's super cool.

[Alicia Graf Mack]

I'm sure the gods were also watching. Judas was like, that's right.

[Dante Pelejo]

That's how it went down.

[Alicia Graf Mack]

That's me. Oh, amazing. You then left the company in 2015. Was it that you were ready to pursue something else, or was it your body was ready to pursue something else?

[Dante Pelejo]

I mean, there was a couple reasons. The body was okay. I think the bigger problem was the way that people consume modern dance. We weren't getting the kinds of bookings that I felt we should be getting. We weren't doing the kind of tours. We weren't working as steadily as I had hoped at that point. And we had had our season. They gave us our tour schedule for next year, and it was super light, which meant I was going to have to, like, wait tables or try an audition for other companies or do other things. I'm like, I'm 40. Like, I don't want to go back to waiting tables. Like, I just can't do it anymore. I need a different. I need something else for my life. And it's a shame because I love this work and I love these people. Like, why aren't we working more? Like, what is going on? So I was like, I have other things I have to do. With my life. I don't know what that is. I feel like there's untapped potential. I don't know how to tap into it. And so I was speaking with a counselor and they're like, well, what did you originally want to be? I was like, well, a therapist. That's what I wanted to like, well, what about that was so important to you? And I was like, well, helping people. And before I started dancing, I was really quite depressed. And I was like, dancing really woke me up, like we were talking about earlier. And once I came into my own dance, did that for me, and the person was like, well, then why don't you just invest in what you already know and use dance as part of that bridge? I was like, I hadn't really put that together. So I started looking grad schools. I ended up at UC Irvine with Donald McHale, which is fascinating. So, yes, I ended up going back to school for dance because that's what sort of like pushed me in that direction.

[Alicia Graf Mack]

And I know from there you went on to become a professor at Troy.

[Dante Pelejo]

University in Troy, Alabama. Learning Experience and then University of Florida, University of Florida.

[Alicia Graf Mack]

And what did you find being on the other side, becoming a teacher now, tooled with all of this information from your bachelor degree, from your master's degree, and from a life as a working.

[Dante Pelejo]

Performer, I felt that I could help create dance advocates for the world. I knew that when I walked into a space, I loved what I did so much. I loved dancing, I loved moving my body, and I knew that I had the tools to share that. I knew that I had fun ways with which to share it, to really engage people, Whether that was my choice of music or how I spoke about the material and really kind of injecting this youthful energy into it, which I didn't experience when I was learning the Limon technique as much. I was like, okay, let me talk to them in a way that I think will inspire that generation. I felt close enough to them and I felt in their world enough that I could give them the kinds of things that would really inspire them to love. Specifically this movement, this kind of movement, this approach to dance, but just the field in general, like how to deconstruct what they're seeing and really take it in and why they can love it more and how they can look at it in ways that they can grow from. And I really felt like I could kind of get in there at that time.

[Alicia Graf Mack]

Wow. Yeah. I feel like the college age student. It's such a special time for them. And Especially being in a university setting, you are tasked to go deeper. You know, it's not enough just to learn a technique. It's not enough just to. You have to ask the questions. Why? You have to ask the students to tap into their communication skills, their analytical skills, their discourse and have conversation. I think that's so important to a student's growth. And it sounds like that was something that you were really interested in at the time.

[Dante Pelejo]

Yeah, yeah, yeah.

[Alicia Graf Mack]

How did you make the transition from being a professor in higher education then to returning back here to New York to lead magic? I believe in magic.

[Dante Pelejo]

I believe in magic. Well, when I went to grad school, the first day, you know, you're sitting around and Loretta Livingston says, what do you want to write your thesis on? And I was like, I have no idea. And she was like, just say something, whatever. And I was like, well, and then my idea about, like, why I left the company, I was like, well, I'm like, I left the company because I felt that modern dance, that Limon company, wasn't being seen in the right light and wasn't being curated in a way that was accessible to a younger audience. It wasn't cool. And I don't understand why what we're doing isn't cool, because I love it and I think it's cool. Like, that was really just what I said. And she was like, yes, start thinking about that. And that idea turned into contextualizing mid century modern dance for the contemporary audience. So that research led me to interviewing Janet Albert Graham and Colin Connor, who was the director for the Mon at the time, and Alistair McCully, and just talking to all of these people in the field that were shaping the field at this moment. And I really started to understand that modern dance was defined by the writers at the time, Louie Horst and Edward Denby and John Martin. They were having these conversations with these artists writing about what they were seeing. People would read it, then they would go see the show and then they would read about it afterward, you know, so there was this whole process, this.

[Alicia Graf Mack]

Yeah. Discourse with the critics and the journalists and the historians.

[Dante Pelejo]

Yeah. So there was like this field being shaped like, kind of collaboratively between writers and artists and audiences, and everyone was sort of going through it together. And then that started to change. Second generation postmodernism. So many things shifted, what that could look like. And so my work was really diving back into that and how we could revitalize that, I see for this contemporary audience. So Colin Connor, who was the director of Limon at the time, he called me, he was like, I really think your research is great and I think you should give a presentation to the board. I was like, cool. Again. Had no idea why was just like, cool, yeah, I'll do that. That sounds great. I would love to do that. So I give the presentation. A couple weeks later, they let me know Colin Connor will be submitting his resignation and they would like me to submit a letter of interest.

[Alicia Graf Mack]

Wow.

[Dante Pelejo]

And that led to a letter of interest. That led to a very long conversation with my husband because we were living in Florida and California. He was in California.

[Alicia Graf Mack]

Oh, goodness.

[Dante Pelejo]

And neither one of us were really interested about moving back to New York. And so I said, what do you think of this? Were to come true? You're ready to go back to New York? And he was like, there's no one better for this job than you.

[Alicia Graf Mack]

Yes.

[Dante Pelejo]

I was like, okay, let's do this. So one thing led to another. Covid happened.

[Alicia Graf Mack]

Oh, my gosh.

[Dante Pelejo]

Yeah, it was wild. And then I think I was home back in Florida maybe a week when the board called and they're like, we'd like to offer the position. And I'm like. Of a performing arts organization in Cove.

[Alicia Graf Mack]

Like what, in a pandemic?

[Dante Pelejo]

Totally. So I got a phone, I cried from excitement and then cried from absolute fear and then just started to pick up the pieces and figure out what we were going to do. And I mean, it was sort of a blessing that it happened that way because, like, the way everything ended up unfolding is, you know, just we got to really look at who we were, why we were doing what we were doing, and what it meant to be doing it in this world. And everything that happened after March, going into May and June and, you know, George Floyd's murder and all of these society shifting, world changing events completely reshaped why we were doing what we were doing and the kinds of relationships I was going to have with the dancers and what leadership was going to look like was going to be vastly different. Which, again, was really scary. It's like the idea that you could be causing harm and not even know it because of these biases that you don't even know you have. And like all of a sudden you're a leader and you're like, how do I do? Right?

[Alicia Graf Mack]

And also knowing that you represent a company that represents American cultural scene, it's like you want to make sure that you're on the the right side of history and understanding and community and culture is amazing. So now you're four years in. Is that Right.

[Dante Pelejo]

I know. It's crazy.

[Alicia Graf Mack]

Wow. Four years as the artistic director. Does that statement make you nervous? Have you achieved some of the things that you've sought out to do?

[Dante Pelejo]

Yeah. I mean, it's been the wildest ride because you had no idea what was going to be happening. When I started, there were no performances, so it was just, okay, let's. Let's figure something out. I really wanted to expose who Jose was, like, why he made the works he made, and reintroduce our audiences to him as a person and not this figurehead, like, who's a real man who's going through this stuff. Let's pair his work with other choreographers that have gone through similar things, and let's talk about those things, because that's what makes the art great, is by getting in there and understanding it and getting closer to it. One of the choreographers I worked with, Raul Tomes, he was the first Mexican choreographer to create a work on the Limon company since Jose. So that, for me was like, a really, really significant homecoming. That piece ended up winning a Bessie. So I felt validated in that way that I was like, okay, I'm making the choices that give the company credibility and visibility in the scene in ways that we haven't had and continue to innovate forward and create platforms for voices that need to be heard. Other Mexican choreographers, like, I have to honor what that is in order to move Limon's story forward, move the company's story forward. And my board has been so amazing and supportive. You know, I just. I come up with these ideas. They're like, yes, that sounds really exciting. Or, yes, that's really scary. We probably should do it, you know.

[Alicia Graf Mack]

So I like that. That's scary. Then we should do it.

[Dante Pelejo]

We should probably do it. So, yeah, it feels. It feels like there's a momentum to where the company is going, and I hope to just keep, like, ushering that along.

[Alicia Graf Mack]

It's. It's such a big job. How do you feel in the day to day, and what do you do just to get through the day? I mean, I'm sure the day is so layered with various responsibilities, but then also, you want to balance your life.

[Dante Pelejo]

Emails. A lot of emails. Yes, lots of emails. But I'm getting better at, like, managing my time. Like, what am I doing today that's going to set us up well for next year or next month or tomorrow? So I see. Now I see the fires, like, what needs to be addressed right away? What is sort of like middle distance? What's happening next year that needs to be addressed and what's happening. Big future planning. So I love kind of helicoptering in and out of, like, the granular, the micro to the macro. I love networking. I love going out to see shows. I love having. I love that I've made these new great relationships. I love that we've become friends. I love getting to see you out and talking and hanging out and just, you know, like, brainstorming and thinking about what we can do for the future, what we can do for the field, what we can do for the students, what we can do for the dancers. How many different ways can we all come together to create something really beautiful and sustaining? And I love being part of those conversations.

[Alicia Graf Mack]

Yes. That's been life changing for me. To be able to listen to you, understand what you're doing at Limon and then collaborate and understand that we're trying to move in the same direction and move the field forward.

[Dante Pelejo]

Yeah. So, yeah, it's like the job kind of bounces between all those. All those places.

[Alicia Graf Mack]

And how much time do you spend in the studio? Do you find yourself dancing, teaching, coaching, staging? Do you have time in the studio?

[Dante Pelejo]

We were just having this conversation because I had my. I had my review. And who reviews you? The board. The board reviews me. And, you know, they take a survey from the company and they submit their response, and they're like, one of the things that is wanted is you to be in the studio more. And I was like, well, then I'm gonna need a couple of assistants.

[Alicia Graf Mack]

Somebody else is gonna need to do those emails.

[Dante Pelejo]

Can someone handle my schedule, please? You know, that's like, just the joke. But it's like, okay, you know, you hear that? And I want that. Especially if they want more of me, I want to be able to give more of myself to. To them. And it's helpful for me, too, because I can just get lost behind the computer writing or doing whatever I'm doing. And to, like, be more conscious about how I break up my day, I think is actually going to be better for them and myself and how I handle my workload.

[Alicia Graf Mack]

Yeah. I mean, it sounds like you have the mind for administrative executive leadership, which is so wonderful for the company to have someone like you with all of those skills. Skills. But also, you're an artist at heart. So I think we forget. I think I'm talking to myself right now, but we forget. The reasons why is because we're connected to that energy of what happens in the studio. And it's so important to stay connected with the dancers too, to be with them for some of those day to day moments.

[Dante Pelejo]

So. And that helps, like being in the studio that I'm like, okay, now I'm getting a better sense of who they are and where they are and what they're doing in process. So that helps me look at the repertory and other choreographers that maybe we should be working with. So I do actually need that because it helps me in my artistry when I'm not in the studio, even when I'm in my office, I'm still like art dreaming.

[Alicia Graf Mack]

Yes.

[Dante Pelejo]

Yeah.

[Alicia Graf Mack]

So I know that you're nowhere close to being finished with your work, whatever that means to you. But what do you hope to leave with this dance world? What do you hope your legacy is today?

[Dante Pelejo]

An artist needs a canvas to paint. Dancers need a studio to create. The Limon Dance Company doesn't have a home of their own. I think it's problematic for a variety of reasons. My mission is to make sure that when I'm done here that we have a place to call our own. There are so many programming possibilities that we don't have because we don't have our own space. So I don't get to have a creative movement class based on the Limon principles that I can raise up someone from 2 or 3 years old that goes through the thing that can then join the company. You know, like I'm missing that. I. I don't have that 7pm Tuesday night class for my older generation who loves Limon and used to dance it, but can't anymore.

[Alicia Graf Mack]

But I want to take that class.

[Dante Pelejo]

That class.

[Alicia Graf Mack]

Right.

[Dante Pelejo]

You know, weekend classes or after school. I don't have any of those ways to be part of the community and build. So that is really important for me because the more, the more visibility we have and the more relationships we're making, the better it is for the company's future, but also for dance. If there's one more landing pad for an entire community of dance lovers to go to that doesn't exist now, then that is one more like lily pad for people to hang out on. And we just need more of those. We just don't have enough of those.

[Alicia Graf Mack]

Well, let's put that out there. Continue to dream on.

[Dante Pelejo]

That will do.

[Alicia Graf Mack]

Well, thank you so much, Dante.

[Dante Pelejo]

Oh my gosh.

[Alicia Graf Mack]

This conversation has been wonderful. I can't wait to share it.

[Dante Pelejo]

Yeah. Thank you.

[Alicia Graf Mack]

I hope you enjoyed this episode of Moving Moments. If you like what you heard, please tell your friends about it. Spread the word. Be sure to follow the show. Rate us and leave a review wherever you get your podcasts to keep up with future episodes. Follow us on Instagram @MovingMomensPodcast and visit us at ArtfulNarrativesMedia.com Tune in next month as we hear another inspiring artists moving moment.