Oluwadamilare (Dare) Ayorinde



(201) 916-3968
Champaign, IL


  • Dance

Geographical Availability

  • Upstate
  • Midlands
  • PeeDee
  • Low Country


Artist Bio

Oluwadamilare (Dare) Ayorinde is a Nigerian – Black freelance performing artist from Teaneck, New Jersey. Since graduating with his undergraduate degree from Rutgers University he has worked with Colleen Thomas, Bill Young, Netta Yerushalmy, Stefanie Batten Bland, Susan Marshall, Kayla Farrish, Douglas Dunn, Anne Teresa De Keersmaeker, The Trisha Brown Dance Company, Kyle Marshall and Miriam Gabriel + Carlo Antonio Villanueva. He has presented work at Smush Gallery, Morristown Museum, Stuffed Arts and Monday’s at Judson Church NYC, Participant Inc Gallery and more. He was Dance on the Lawn’s fifth Emerging Choreographer, a Chez Bushwick artist in residence and a New Jersey State Council On The Arts Fellow. In 2020, he was named Top 25 to Watch in Dance Magazine and nominated for an “Outstanding Performer” award by the Bessie Committee. He is a current MFA candidate at the University of Illinois, Urbana-Champaign.

Artist Statement

My influences come from modern and contemporary dance techniques and aesthetics which share influence from the postmodern Judson era, varied somatic practices, different West and Southern African dance forms, and contact improvisation. As a yoga instructor, I apply movement principles from its study to my teaching.

I teach as a community building exercise where we practice relating and responding to different kinds of emotional and cognitive intellect. Dance to me is an eclectic physical, emotional, cognitive and spiritual transfer and I am constantly learning more ways to integrate these factors in a safe, creative and accessible manner. I deeply love it due to its potential for healing, ecstasy, kinesthetic and auditory sensitivity, emotional redirection and release, activated anatomical knowledge and discovery of self in relationship to surroundings. My teaching is my offering; gifting to others what is constantly offered to me.

A consistent goal as a dance teacher is for my students to get the most out of their dancing experience. In every class I encourage students to foster a deeper connection with themselves, the space, the music, and the other people in the room. In terms of movement, I emphasize the way to shape more than the shape itself. I do this through momentum, swing, imaginative effort and spatial-based suggested personification of body parts. I often use repetition, or create long-winded exercises to encourage students to use other means of exploration and understanding than the cognitive alone. Depending on the class population I will use exhaustion, boredom or gentle confusion. I never want my students to feel like they know exactly what is happening, instead I want them to stay present and find confidence in what they are doing while staying connected to the unknown possibilities of their experience. My working pedagogy sees the source of a movement as an idea or sensation; and the anatomical shape as its further manifestation. When I teach a movement-phrase, I try to be clear as to what is important to accomplish and experience within it, so students know there is room for personal exploration.

I notice the mood of class and adjust accordingly. If it feels the students need to be energized, I may use more active repetitive movements and speak less, if there is an overwhelming feeling of over activation or eagerness, I will try to gently soothe the class into stillness to begin again. I tell my students what I am researching and relevant sources, what I feel I know about the material and what I feel I don’t know.

I want my students to have fun and speak if desired. However, when I need to bring the class back to a singular focus, I will find whatever method seems best in the moment to do so.