My name is Victoria Rose Niblett and I consider myself a home-grown mover, craftswoman, and storyteller.
I like to think of dancing as a craft, just like the iron workers of my “Magic City,” of Birmingham, Alabama and I approach movement and dance making with this same brand of dedication and care. The storytelling tradition runs deep in my Southern roots, so I have been an avid collector of stories throughout my young life. As I began to grow and desire to tell my own stories, I discovered that my preferred storytelling medium is the universal language of movement and dance. I have been drawn to narrative based choreography, and as a dance maker I long to craft messages drawing on the community, significance, and hope I’ve experienced growing up as an Alabamian.
I spend most of my time dancing, choreographing, or teaching, but can also be found enjoying a new podcast about American history or politics, improving my Spanish, impulsively buying a flight, reading Fitzgerald or the occasional Hemingway, watching Turner Classic Movies, or tending to my plant children.
The movement vocabulary I like to utilize in my choreography has an eclectic etymology that includes but is not limited to ideas from classical ballet, Southern liturgical dance, Horton and Graham modern techniques, Romantic and Lyric poetry, and basic human interaction. My passion for dance scholarship and academia has a big impact on my art-making because in my work, I express a wish that the audience breaks through the fourth-wall of the performance and relates with the dancers through intellectual curiosity and empathy. I believe message-based movement about universal truths is an effective way to forge this relationship and cultivate an audience-performer connection.