About

I'm a dancer, creator, and arts administrator based in Brooklyn, NY. My pronouns are they/them and she/her, use both!

I graduated from Barnard College with B.A.s in Dance and American Studies. During my time there, I trained with Colleen Thomas, Jodi Melnick, Caroline Fermin, Andrea Weber, Wesley Ensminger, and more. I performed works by Shannon Gillen (VIMVIGOR DANCE), Lacina Coulibaly, Adrienne Truscott, David Dorfman, Caroline Fermin, Bill T. Jones/Arnie Zane Co., and Yvonne Rainer.

My work, often in collaboration with Noa Weiss, has been presented by The Brooklyn Rail, Pageant, The Tank Theater, Solo/Duo Festival, Pioneers Go East, SERIOUS PERFORMANCE!!!!, The Movement Lab at Barnard College, Motion State Dance Film Festival, WAXworks, and The Brick. I have also danced for Hope Mohr/Maxe Crandall and Grant Jacoby and Dancers.

I am currently the Development and Production Manager of Peridance Contemporary Dance Company and Managing Director of Donna Uchizono Company. In the past, I have worked at Brooklyn Arts Exchange, Boston Dance Alliance, Barnard College Department of Dance, and Boston Center for the Arts. I also received my yoga certification in 2020.

Miranda is folded in half, looking at the camera between their arms and legs while upside down. She wears black jeans and a black, fruit-patterened fruit.

Artist Statement

Miranda brown & Noa Rui-Piin Weiss

With technical training in release and postmodern dance, we irreverently steal from the wide range of styles that have passed through our lives, whether from bat mitzvahs, viral crazes, or that one video we saw the other day. Exploring our personal brand of low stakes dance comedy, we employ common cultural references to seduce audiences into enjoying experimental dance. We use patterns and repetition to investigate larger questions about composition and genre. Queerness guides our aesthetic choices, alongside pleasure and legibility. Our collaboration starts with a competition to make each other laugh, followed by a series of disagreements, concessions, and happy accidents. After being trained in dance traditions that value individual artistic genius, we’re interested in citing sources and uncovering the absurdity of original thought.