Professor Laurie M. Taylor, the first Liberian woman to lead as Dance Area Head and Assistant Professor of Dance at the University of Texas at Arlington (UTA), is making her mark as a trailblazer in the performing arts. With a career spanning interdisciplinary projects, global collaborations, and cutting-edge artistic exploration, she’s redefining the intersection of dance, technology, and cultural expression. Today, we sit down with Professor Taylor to discuss her creative journey, the power of innovation in the arts, and how her Liberian heritage influences her work.
Q: Professor Taylor, you have an impressive background in dance and interdisciplinary art. What initially drew you to the performing arts?
Professor Laurie M. Taylor:
Dance has always been my first language. It was my way of expressing what words couldn’t capture. Growing up, I was drawn to the freedom of movement, it became my form of storytelling. Over time, I realized that dance was not just a form of self-expression but a powerful vehicle for cultural preservation and social dialogue. That realization sparked my desire to explore how movement could drive meaningful conversations and connect communities.
Q: You’ve collaborated with icons like GRAMMY-winner Angélique Kidjo and director Debbie Allen. How have these experiences shaped your creative perspective?
Professor Laurie M. Taylor:
Working with such visionary artists was transformative. Angélique Kidjo’s ability to seamlessly blend music, culture, and activism showed me the impact of authenticity in art. Debbie Allen’s mastery of storytelling through dance reinforced the power of movement to evoke emotion and challenge perceptions. These experiences broadened my creative lens, pushing me to think beyond traditional boundaries and embrace multidisciplinary collaborations.
Q: One of your recent projects, in/emotion, combines AI motion capture with dance. What inspired you to integrate technology into your artistic practice?
Professor Laurie M. Taylor:
I’ve always been fascinated by the relationship between human movement and technology. With in/emotion, I wanted to explore how AI could enhance, not replace, human expression. The project uses motion capture to track dancers’ movements, creating a visual representation of emotional proximity and distance. It was a way to examine how technology can deepen emotional resonance rather than diminish it. I see immense potential in blending the digital with the organic,it opens up new creative possibilities.
Q: Your piece Infinite Treasure and the Pursuit of Place draws heavily from your Liberian heritage. How does your cultural background influence your work?
Professor Laurie M. Taylor:
My Liberian heritage is the heartbeat of my artistic identity. Infinite Treasure was deeply personal; it explored migration, familial bonds, and the Liberian diaspora experience. I wanted to capture the complexities of leaving home while still carrying it with you. Through movement, I wove ancestral traditions with contemporary performance, creating a dialogue between legacy and modernity. It was my way of honoring my roots while sharing my culture with new audiences.
Q: As the first Liberian woman to lead as Dance Area Head at UTA, what does breaking this barrier mean to you?
Professor Laurie M. Taylor:
It’s both an honor and a responsibility. Representation matters, it signals to the next generation that their dreams are valid and achievable. Being the first means paving the way for others to follow, but it also means creating a space where diversity of thought, experience, and expression is celebrated. I strive to bring that inclusivity to my leadership, ensuring that students feel seen, heard, and empowered to explore their creativity authentically.
Q: What do you see as the future of dance and performing arts, especially with technology becoming more integrated?
Professor Laurie M. Taylor:
I believe the future of dance lies in immersive and interdisciplinary experiences. Technology will continue to expand the boundaries of what’s possible, from AI-driven choreography to virtual reality performances. However, the human essence of dance: emotion, vulnerability, and connection, will remain at the core. I also see a growing emphasis on cultural storytelling through movement, giving more space to underrepresented voices and narratives. The future is about blending innovation with authenticity.
Q: Lastly, what drives you as both an artist and an educator?
Professor Laurie M. Taylor:
It’s the transformative power of the arts. Whether through choreography or teaching, I’m driven by the ability to ignite creativity and expand perspectives. Seeing my students discover their voice through movement or witnessing audiences connect with a performance on a personal level, those moments fuel me. The arts have the power to challenge, inspire, and heal. That’s what keeps me moving forward.
As Professor Laurie M. Taylor continues to push the boundaries of dance, technology, and cultural expression, she stands as a beacon of creativity and innovation. Her work not only challenges artistic conventions but also celebrates the rich heritage of the Liberian diaspora. With each project, she is shaping the future of performing arts and leaving an indelible mark on both the stage and the classroom.
