About Christina Marie


I was twelve when I took my first jazz class at Dance Zone in Old Bridge, New Jersey thanks to my best friend Nicole who wanted to give it a go. Naturally gifted I was not, but beautifully ignorant I was. My abundance of energy and enthusiasm hid my lack of left foot, right foot finesse. I wore MC Hammer pants with sequence down the side and a killer side pony for my first recital. I rocked out to the tunes of “Don’t Go” by Yaz. I was hooked.

The studio became my second home. Jazz, tap, and ballet ensued. I put on performances for my teachers and friends in between classes. I came up with ridiculous moves, forced them to watch, and if I was lucky, brought them into a fit of laughter.  This was clearly the first glimpse of my creative genius.  I, a little too excitedly, became an I Love Dance Sweetheart, a high honor in the I Love Dance competitions that I took stupidly seriously.  I was so nervous I made myself sick to my stomach, hunched over a toilet before I performed solos.

I went to the Fine and Performing Arts Center (F.P.A.C.), a high school specialty program, where I progressed (slightly) from silly improvs and nervous solos to the more technical training I needed to keep me satiated. When it came time for the big college decision, I loved nothing more than dancing. My parents so beautifully supported my fantastical dreams, although they did suggest a dancing-doctor alternative. Off I danced to Marymount Manhattan College without a doubt in my mind.


I graduated summa cum laude with a B.F.A. in dance and a business communications minor, under the direction of Katie Langan. I didn’t graduate magna cum laude because I decided to take pointe for a semester and got a B, clearly ruining my entire GPA. This I note, because this near miss for my perfectionist-self drove me ever-so-slightly insane. I was nervous about choreographing a piece for the student showcase but opted to do it anyway. I fell in love with the thought process and craft and eventually gained confidence as a creative mind all my own; thank you Pat Catterson. My piece Naked Branches received the Alpha Chi award. I danced the works of Martha Graham, Twyla Tharp, Jacqulyn Buglisi, Robert Battle, and Doug Varone. I people-pleased and was a wonderful student; I knew how to follow the simple equation of “do this well and get rewarded” – regardless of whether this process was connected to greater learning. Denise Vale helped mentor me into breaking that mold of being “good” for the sake of discipline and challenged me to make choices of my own.  This lesson didn’t quite manifest entirely in these years, although it started. I was so wonderful at taking control and doing well that I gave myself an eating disorder to be the thinnest, “bestest” dancer.


My first professional job was with Buglisi Dance Theatre.  I performed her masterpiece Requiem, which still holds some of my most fulfilling dance moments.  It took me 20 minutes to hop, squat and wiggle into some of Jacque’s costumes. I ripped some doing a contraction. Those moments hit too close to home for my recently recovered anorexic self. I was inspired to create magic next to Graham dance legends and learned what it was to be fully immersed in one’s craft.  At times during partnering work, I felt under appreciated and seemed to be viewed as a less competent dancer. Sometimes I was a fool and believed my partner. My fire started to wane as the months doubling as a waitress/bartender/administrator wore me down and made me feel less in the zone of an active performer. I worked with Take Dance, Maxine Steinman, and Sue Bernhard and performed as a guest artist with Shen Wei Dance Arts. I scrambled to keep dance projects in my life.  It took a lot of energy to feel like I didn’t have an expensive hobby. Yet, I couldn’t fathom denying my heart and doing anything else.

I found my next home in Parsons Dance. I toured the world. I gained the most open and beautifully dysfunctional dance family (that I will always love). I got my fire back.  I felt like a dancer. I had a reason to train hard. I also felt I had zero creative potential because movement I choreographed was not always seemingly valued or used in new works. I fell numerous times on stage. Yes, literally fell. Once, twice in the same show. In the same piece. On the same pool of sweat. Within the same 16 counts. I thought I needed to be sexier to be more appealing and valued as an artist. This attempt was stupid, untrue, and an utter failure. I gained the opportunity to do the works of Kate Skarpetowska, Robert Battle, Monica Bill Barnes, and Natalie Lomonte. I proudly performed solos within some of these works. I stopped giving a shit about what David thought of my dancing, or anyone else for that matter. Subsequently, that’s when David and everyone else seemed to appreciate my craft the most. I shared dressing rooms with girls who talked about being bloated and I needed to remind myself that this banter was crazy – we all looked beautiful. I had some of the best male partners to be gracefully tossed around with night after night. I didn’t always agree with how the company operated (hello job). I had too much fun dancing to care. I felt like I could fly. I conquered some of the hardest performances of my life – raked stage, lack of oxygen, 6 pieces in a row, ripped costume, learning a piece in a few hours and performing it that night, under-rehearsed with a fresh partner, you name it. It transformed me into feeling like an untouchable dance super-human.


The life of a dancer is one of serious hustle. While I was performing and touring with Parsons Dance, I became certified in barre fitness classes and held an instructor job at The Body and then Pure Yoga’s Figure Four Barre program. I created Figure 4 Fierce, a dance cardio class held at Pure Yoga, so I can continue to see people who don’t necessarily dance for a living move their bodies, smile, and get the results they love. To gain additional knowledge, I became a certified N.A.S.M. personal trainer and Weight Loss Specialist, allowing me to train women out of the privacy of their own homes. Upon the closure of my career with Parsons, I became the manager of Figure 4 Barre. After a year and a half of management, I realized I was done playing small and keeping the vision of Living-Dance stifled as a side project.


I left my loving home at Parsons Dance and Figure 4 management in search for the next challenge and opportunity to grow – a potential addiction I have within me. It took awhile to mourn the loss of my dance family and the constant high from the stage. It also took a minute for me to recognize that managing Figure 4 Barre, a program that wasn’t my own creation, wasn’t getting me any closer to fulfilling my larger plans.

So after some serious soul searching (aka soul listening), I knew in my heart, gut, and bones (sometimes more intelligent markers than the mind) that I was born to dance, choreograph, and teach on my own terms. I was born to help others find their happiest, freest selves through dance, just like I have learned and continue to learn.

I officially incorporated Living Dance LLC on February 23, 2017, as a single-member corporation, forging my loft dreams on a (primary and only initially!) solo mission (with a ton of support and guidance!).

On this ever-evolving, always-committed dance journey, I now share my love of dance and depth of experience within my body with women and professional artists through private training and live workshops. I am also happily tinkering away in the studio developing my own choreography which I have grandiose plans to develop into a full-length, immersive production. Stay tuned!

And one thing I know for sure…

I am a forever-performer, choreographer, teacher, and founder of Living-Dance – a place where we professional artists and  women alike celebrate in dance, stay inspired, turn our weaknesses into strengths, and take empowered leaps and bounds in our lives because of our unwavering trust and confidence in our bodies and selves.