The Dance Union Podcast captures timely and ephemeral conversations circulating within dance communities. It supports transparent discourse about a variety of topics including pay inequality, sexual harassment, abuse of power, and tokenism. The Dance Union podcast was born from the need to unify and amplify marginalized voices within the United States dance communities. 


A unique component of the podcast is that hosts J. Bouey and Melanie Greene, both Black artists, center Black and marginalized experiences through culturally specific considerations, and first person advocacy. Guests are invited each week to share their experiences, and in addition to clever incorporation of movement into a digital medium, episodes offer a segment called History for the Future, a main topic of discussion, and statements envisioning a truly realized Dance Union.  

Photo credit: Natalie Tsui

J. Bouey is a dance artist. As a performer, choreographer, educator, and writer they make art using movement as the language and material. They are also the founder and co-host of The Dance Union Podcast with Melanie Greene and is a current member of the Bill T. Jones/Arnie Zane Company. J. Bouey has shown their original work at The Chocolate Factory, New York Live Arts, Judson Church, Brooklyn Arts Exchange, Gibney Dance, BAAD!, CPR – Center for Performance Research, La Mama Experimental Theatre and South Mountain Center for Performing Arts. J. performed with Elisa Monte Dance as an apprentice, Christal Brown’s INSPIRIT Dance Company, AntonioBrownDance, Germaul Barnes’ Viewsic Dance, Dante Brown | Warehouse Dance, and Maria Bauman’s MBDance. J. Bouey received a BFA in Dance from Arizona State University.

Melanie Greene, 2017 Bessie Award Recipient for Outstanding Performance with Skeleton Architecture, is a dance artist, writer, and podcast host. She is no stranger to swirling on the edge of impossible, swimming in the sea of the minority. She has presented work around New York City and has received generous support from MANCC, Marble House Project, Brooklyn Studios for Dance, Movement Research, New York Live Arts, Gibney Dance, Actors Fund Summer Push Grant, Brooklyn Arts Exchange, Dancing While Black Fellowship, Bogliasco Fellowship, and Brooklyn Arts Council. Greene has contributed written works to Dance Magazine and the Dance Enthusiast, and is currently a co-host of the Dance Union Podcast, and a 2018/20 Movement Research Artist in Residence. A southern belle turned Brooklynite, Greene holds a special place for buttery biscuits, country ham, and collard greens. Stay tuned: www.methodsofperception.com

Photo credit: Bogliasco Foundation

Photo by Franziska Strauss

Troy Ogilvie has danced for and collaborated with choreographers - Roy Assaf, Sidra Bell, Antonio Brown, Gabriel Forestieri, Itzik Galili, Shannon Gillen, Margie Gillis, Andrea Miller, Patricia Noworol, Zoe Scofield, Idan Sharabi, and Nicole Wolcott; violinist - Liv Heym; theater company - Punchdrunk (as Lady Macbeth in Sleep No More NYC); and directors - Sophie Bortolussi (McKittrick Masquerade parties), Susan Misner (Bend, FOSSE/VERDON), Kate Douglas (Extinct), and Peter Sellars (The Gospels According to the Other Mary,  LA Philharmonic). She has also curated, produced, and performed in solo shows RESET (2011), PRISM (2017 - with producer Ron Black), and BITE (2019). Troy teaches improvisation and is on faculty at SPRINGBOARDX Skills + Process, The Joffrey Jazz & Contemporary Program, Peridance, Adelphi University, and The Performing Arts Project. Troy’s choreography has been performed by the Joffrey Jazz & Contemporary trainees, Dancers' Workshop (less than, greater than), Bare Opera (Maria de Buenos Aires and Exercises on the Presence of Odradek with director Malena Dayen), and as a part of Met Live Arts (The Ninth Hour: A Beowulf Musical with director Kevin Newbury). She has participated in residency programs at The Marble House Project and Turkey Land Cove Foundation and was one of “Dance Magazine’s 2011 Top 25 to Watch.” Juilliard B.F.A. www.troyogilvie.com @troyanosaurus

Christine C. Wyatt is a free-lance, anti-institution, dance artist, performer and facilitator of movement experiences; born and raised in Baltimore, MD, She has her mama to thank for her first summer at Flair Dance Studio and Arena Players. After a multitude of experiences in 15 years of performance and training in music, theatre, and dance, Christine received a B.F.A. in Dance & Choreography from Virginia Commonwealth University in May of 2018. 

While enrolled at VCU, Christine was a collaborator on many VCU grant-funded inter-disciplinary projects, including #donttouchmyhairRVA, Forgotten News. Forgotten Names. project for film "Hell You Talmbout", and two self-produced performances "Journeys: An Interdisciplinary Dance Project" and "Homecoming". Post-graduation, Christine continued to teach and choreograph in the Richmond Ballet's community-based program, Minds in Motion, at several dance/performings arts schools in Virginia, and for many Musical Productions in the Richmond area. 

In addition, Christine has trained or performed, with artists like Mari Andrea Travis, Liz Lerman/Dance Exchange, Jawole Jo Zollar/Urban Bush Women, MK Abadoo, Maria Bauman, Dr. Gaynell Sherrod and Alicia Diaz/Agua Dulce Dance Theatre since 2014. Her most recent work in the field has been defined by her solo performance work, namely the restaging of her senior thesis "Ti'ed", site-specific choreography, and her organizing of conversations and action in the arts community. The Africanist movement values have influenced her movement practice and perspective of art as resistance. Her passion for anti-racist, community-based work keeps her interest in the field of dance alive. 

Photo credit: Gianna Grace Photography

Photo credit: Jeremy Guyton

Jeremy Guyton is a performer, choreographer, educator, alchemist, dreamer, and new world conjurer. Born and raised in Los Angeles, I was first introduced to movement styles birthed in my hometown: krump and jerking. The vibrations of the city in which I was raised tickled flesh and sinew and set the foundation for my movement vocabulary. Upon graduation from high school, my curiosity led me to the Mid-Atlantic, where I studied theatre at Georgetown University, joined a local dance crew, and absorbed the movement languages of Baltimore club and go-go music. I layered this vocabulary on top of that of my birth language, tracing the similarities in each and listening intently to the ways in which they spoke to each other. In 2008, I landed in New Orleans and immersed myself in the vocabulary of second-line footwork and bounce. I traced lines from jerking to buckjumping to wu-tanging and emerged as a tri-linguist of sorts.  I spent seven years, a life’s cycle, in the northernmost Caribbean city, before transitioning into this current phase: obtaining my MFA in choreography and performance from Florida State University.

Prior pursuits include: dreaming alongside artists aged 6-19 as a Program Director for Dancing Grounds’ dance programming, conjuring creative worlds with artists and companies like Jawole Willa Jo Zollar, Kesha McKey, Leyla McCallah and Kiyoko McCrae, Maya Taylor, KM Dance Project, Junebug Productions, Solange Knowles, B.U.K.U. Dance Krewe, and Goat in the Road Productions. 

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