Kali Page is originally from Cornelia, Georgia, and she began her dance training with Annette Lewis in Atlanta with Good Moves Dance Consort. She is a graduate from The University of the Arts in Philadelphia, where she obtained a BFA in Modern Dance Performance. She has performed works by Romeo Castellucci, Andrea Miller, Michelle Mola, Meredith Glisson, Sidra Bell, Helen Simoneau, and Lauri Stallings. Her additional studies include the José Limón Summer Intensives, Salt Dance Fest, University of the Arts Dance Study Cycles, Festival D’Avignon, and ImPulsTanz. Kali has traveled to Centre National de la Danse in Paris, France and The Royal Conservatoire of Antwerp in Belgium for choreography and collaboration exchanges. She is also a founding member of Emily Cargill and Dancers which performed in the Modern Atlanta Dance Festival. Kali teaches dance and fitness in the Chicagoland area. She has performed in two HOC productions: Amadigi di Gaula and La Calisto.

What is the story of how you first came to love dance?

I started taking dance when I was three years old. I don’t quite remember a time when I did not love dance; it’s such an integral part of who I am.

What was your first exposure to opera?

I saw Aida when I was about 5, but I don’t remember much about it. My first real exposure to opera was when I danced with HOC in Amadigi di Gaula in 2015.

If you have danced in an opera before, how is it different from performing in a dance concert?

With dance concerts, the body, space, and energy are the tools available to express the idea or emotion. With opera the voice is obviously the main tool, but there is so much subtlety and power in a hand gesture, a glance, a breath. It’s much more detail-oriented.

How is baroque dance different from the other styles that you perform?

Usually I am using modern techniques that are fairly abstract. They seem to focus more on the sensation and energy of movement rather than the visual shape of it. With baroque dance, the lines and shapes are so specific. You create such precise patterns with your body, as well in space and with the other dancers.

What is the biggest challenge you face as an artist?

I’ve struggled to feel like I’m doing enough. There are so many artists and ideas all over the world, and it’s so easy to connect with whatever you are interested in through the internet and social media. But the amount of everything out there really overwhelms me sometimes, and I worry I’m not doing enough to continue to grow and develop as an artist myself.

Do you have a favorite role? Or a favorite Ballet or Modern Dance?

I grew up studying the José Limón technique, and really feel a sense of nostalgia when I watch “A Choreographic Offering” or “Chaconne.”

Do you have any favorite books about dance?

“The Rise: Creativity, the Gift of Failure” and “The Search for Mastery”

What else are you reading?

I just reread “The Great Gatsby” and loved it!

Who are your favorite choreographers?

I love anything performed by Needcompany. And, of course, Pina Bausch.

If you were stranded on a desert island, is there one piece of music you would like to have with you? 

Probably “Try a Little Tenderness” by Otis Redding or “These Arms of Mine.”

What do you love about HOC?

I love that it has given me an opportunity to learn more about opera and baroque dance. The artists are so supportive of each other, and they are passionate about what they do.

What is your favorite thing to do when you’re not dancing?

I love to be outdoors! I grew up in the foothills of the Appalachian Trail, so any chance to be outside with mountains is good for my soul.

What is the first thing you think about in the morning?

Coffee. But I also love to wake up early every day and appreciate how quiet mornings can be.

What kind of music do you listen to most often?

Probably the blues or jazz. I’m a big Otis Redding fan.

If you had not entered into your current career what do you think you would have done instead?

I’ve always wanted to be a florist! I’ve signed up for floral arrangement classes, so hopefully in the far-off future I’ll retire and do that!