Professional Bio

Marissa Harumi Moses is a multi-passionate artist. Practicing as a performing artist, creator, and healer. Marissa holds a double bachelors degree from UC Irvine in dance, and drama (2008), and a certification through the State of California as a Massage Practitioner. Marissa's involvement in live performance began in 2004 with a self-produced production titled Le Joie Des Jambes in which she served as producer, director, choreographer, curator, and costume designer. In 2008 Marissa was offered a fellowship to attend Columbia University (NYC) for their MFA in Acting program. After Deferring on graduate school, Marissa accepted a position dancing with modern dance company Helios Dance Theater where she danced at venues such as The Getty Villa, The Broad Stage, The Ford Amphitheater, and The Cerritos Performing Arts Center. During this time, Marissa also worked on independent film projects as an actor, dancer, and producer, and was featured as an actor in commercials.

PC: Mara Tasker

In 2012 Marissa helped launch performing arts academy LA Arts Collective (founded in 30 years of Vergari Dance Studio) where she served as Co-Owner and Artistic Director for two years, during which time she also served as founding Executive Director of Fugitive Kind Theater (2012-2014). In 2014 Fugitive Kind Theater was nominated for 8 ovation awards for their production of Meghan Brown's The Pliant Girls, receiving awards for Best Director - Intimate Theater, and Best Original Playwright. Successively, Marissa continued her work in Production and Arts Administration working freelance with performance artist Dan Froot, Paloma Street Studio, and Dance Resource Center, as well as Marketing/Branding and Website Development for individual artists, and stage management for festival style dance productions.

Currently, Marissa is on faculty in both the Dance and Acting Departments at Relativity School, an instructor of ballet at LA Dance Connection, and bodyworker through her private practice, Whole Healings. Working independently and with like-hearted artists who are intrigued by the human condition Marissa's involvement on projects always circles back to humanity and artistry being synonymous.

PC: Mara Tasker

The Early Years

I was born to two creative forces of nature; Rob Moses (innovative martial artist and rule breaker), and Sumiko Okamoto (modern dancer, teacher, and lover of life). My mother did a year of graduate studies at UCLA in dance, and taught various styles of dance and movement to students of every age and ability. My father is a master of Northern Shaolin praying mantis kung fu, and movement alchemist. He was admitted to the martial arts hall of fame for founding his own form of martial arts (www.goldenspiralwellness.com). With these two as early childhood guides and a rich community of equally dynamic and exploratory minds I dove into the creative arts with full force. These early years included full moon Kung Fu jam sessions with my dad and his buddies, storytelling and imagination exercises with my grandma (Darlin), crafts in sewing/crochet/clay/etc. with extended family and multiple communal mother figures, and endless events/productions/lessons (piano, singing, acting, dance, rhythmic gymnastics)/healing arts sessions with my mom as my guide. 

PC: Darlin (my grandma Molly Jo Fagan)

​I used to break boards with my dad and his Kung Fu buddies in the garage on weekends, and accompany my mom to rehearsals for Dames at Sea, and West Side Story during the weekdays. Immersive exposure to multiple art forms taught me versatility at a young age. I subconsciously learned how and when to apply the similarities and differences of each form when switching from one to another. Each required different kinds of focus. Both of my parent's disciplines promoted coordinated interaction with others but in very different ways. My mother taught me how to watch movement, internalize it, and recreate it with my own body. My father taught me the importance of trusting the people you move with, and how to read and anticipate their actions. Not only did each of these forms encourage different ways of interacting with people, but they utilized different methods, and therefore different modes of learning and expression. ​​