Mersiha Mesihovic Founder and Artistic director of CircuitDebris.

Hailed as "rising NYC Choreographer" (TheWorldDances.com) Mesihovic has already choreographed at such prestigious events as the 8th International Dance Festival Venice, Italy (to which Mesihovic was one of only ten young choreographers invited), Arts in One World Conference, Bates Dance Festival and most recently LCA's Women in Dance Project 2013.

Born and raised in the 80’s in Mostar, Bosnia and Herzegovina, Mesihovic’s artistic upbringing is grounded in classical piano, Bosnia’s cultural traditions, region’s history of conflict in addition to an intense influence of America’s popular culture. Mesihovic’s work expresses her passion for movement invention, human behavior and pushing boundaries of what dance should address with a strong emphasis on rhythm. The work frequently addresses themes such as freedom and identity through raw, provocative yet sensual vocabulary. Mesihovic initiated CircuitDebris (circuitdebris.org) in 2011, while attending California Institute of the Arts, as a dance company and a platform to formally conceptualize her collaborations with artists across disciplines and passion for community engagement.

In 2011 she was commissioned by musician/composer James Brandon Lewis to choreograph for his debut album release Moments as well as for music videos Ti Teces mi u Venama and Never Loved this Way by Oscar short listed songwriter Zana Messia. At home she is regarded as “new generation of choreographers, who show as a new way to feel, to tell and animate us to free thinking with emotional touch” and placed in the hall of fame by the YU2MEDIA (presents artists and their works from Southeast Europe)

Mesihovic is a transdisiplinary artist with experience of making and directing multidisciciplinary dance works with a cast over 15 artist. She is a dance artist interested in movement invention and dedicated to research and development of new concepts and movement ideas within the field of dance.

While in New York she continues to perform extensively with CirciutDebris in the city as well as her long time collaboration with the Sony Recording Artist James Brandon Lewis, Film Artist Victoria Sendra (screened at Lincoln Center, Dance Camera West etc..) and with CircuitDebris Rehearsal Director Amanda McNussen( dancer at Bodyart).

In addition to managing and choreographing for her company, Mesihovic performs as a dancer and composes music for her works. Mesihovic has performed worldwide and danced in works by some of worlds most renowned choreographers as well as many young exciting up and coming choreographers:Shobana Yeyasingh Colin Connor, Rami Beer, Ohad Naharin, Trisha Brown, Lindsey Lollie, Daniel Charon, Anne C Moore, Bianca Mendoza, Megan Kedzior, Nicholas Leichter, Omar Carrum, Vivake Khamsingsavath, Gwen Rakatovao to name some.



BACKGROUND

Mersiha Mesihovic was born in Mostar, a city situated on the emerald-green river Neretva and known as the cultural capital of Bosnia & Herzegovina. When war broke out in 1993, her family was forced to sell all of their possessions in exchange for bus tickets and flee as refugees to Sweden. Since then Mesihovic has traveled the world and performed throughout Europe. In 2008 Mesihovic attended California Institute of the Arts on scholarship and received a BFA in Dance & Choreography under direction of Stephan Koplowitz.


Statement
As dance artist I am interested in concept driven dance. I get consumed by the process of dance making. I am always amazed by how every new work challenges my current believes and perception of the world I live in. I get extremely involved in developing new systems I can use when creating new work. My work is usually born out of movement research which occupies my time while I am in search for movement invention and expressing new ideas, my humanity and emotions in to tangible realm. What excites me the most about the creative process is that I am constantly leaning and reminded of my potential of growth as a human being.
My Balkan origin is evident in my work. The underlying tone of nostalgia that is similar to one in Balkan Gypsy music is clearly expressed in my choreographic work and also my sense of poly- and uneven rhythms plays an important role in my dance making. As evident is my Swedish heritage. Growing up in Sweden I learned patience and calmness that to me is an essential characteristic in Swedish people which is opposite to the wild and impatience Balkan in me. These two very opposite emotions are often in juxtaposition in my work and my work usually deals with cultural dissonance of this kind.