As a twirly 3-year-old, Madi Hicks says, she didn’t choose dance, but dance chose her.
“Everyone in the studio called me the ‘Ding’ girl,” Hicks remembers. “We were doing this dance where you play a keyboard and then hit a ‘ding.’ I was front and center and screamed ‘Ding!’ to the whole auditorium. To this day, they still call me that.”
Growing up in Dallas, Hicks attended Booker T. Washington High School for the Performing and Visual Arts before earning her BFA in dance from Juilliard. After performing with L.A. Dance Project, her passion for choreography led her to California Institute of the Arts, where she completed an MFA in choreography.
Now based in New York City, Hicks is focused on teaching, creating, and expanding opportunities for other artists.
We caught up with her to learn about her choreographic journey and approach to teaching.
On Her Love for Choreography
“Choreography speaks to me because I love to lead. I’m the director of my own company [Moving Forward], and I’m passionate about arts education and leadership in general. Improvising came naturally to me, and the mix of wanting to lead and explore my instinctual movement language drew me to choreography.
“…Ultimately, whether it’s teaching, directing, or choreographing, I wear all those hats because I want to create opportunities for dancers. There’s a shortage of jobs in dance and I want to do everything I can to open doors for others—whether that’s hiring dancers or collaborators, or hosting workshops. I want to spark more conversations around dance and fill more rooms with it.”
On Moving Forward
“I founded Moving Forward in 2017 and have always been its director, though wonderful people have helped me along the way. It started in Dallas as an educational program, with a mission to bring industry professionals in to bridge the gap between high school and college for young dancers.
“I wanted to bring more concert opportunities to the competition world I grew up in. I love that community; it’s so special, but it’s important to learn about other dance worlds, too.
“Everyone has insecurities—and, of course, I do too—but I’ve never had impostor syndrome, especially when I was younger.
“In high school and college, impostor syndrome can hold people back. But when I was in college, I said, ‘I want to start this nonprofit, so I’m going to do it.’ I never questioned whether I was good enough or qualified. I had this fearlessness that’s helped me throughout my life.
“Since then, Moving Forward has grown into three branches. We still have our educational program. We also have an emerging artist program to support new choreographers through festivals and choreographic positions at our summer intensives.
“We also have The Collective—my professional company under Moving Forward—which presents work by me and my collaborators. Each season looks different, but we always run at least one workshop a year, usually more, and pop-up events throughout the year.
“…It’s a small organization, and I want to keep it that way. I have big dreams, like opening my own studio one day, but for now, it’s a beautiful passion project.”
On Different Types of Teaching
“I’ve always loved to teach. People ask if I prefer teaching or choreographing, but I honestly can’t choose; they’re neck and neck. I’ve taught for 24 Seven Dance Convention for three seasons and also teach open classes at the studios in New York, which I love.
“Every space brings a different kind of teaching. I love the convention world, but it took time to adjust. At first, I didn’t feel a strong connection with students, but, over time, seeing students return became fulfilling.
“I’ve gotten better at being honest about the space I want to cultivate. The people in the room always change, but I can maintain consistency if I show up with an open heart and patience.…As class progresses, I notice what I need to dial up or down. Maybe I need more patience—or energy, clarity, or a conversational tone. I usually take the first 30 minutes to assess, then I adjust as needed.
“In general, I think life—whether it’s movement or speech—is about volume. It’s all just volume knobs. What I need to turn up today might change tomorrow. It’s about reading the room and adjusting accordingly.”
On Future Goals
“I talk about goals all the time—my family and partner hate it because I always want to sit down and talk about them. I love goals.
“Right now, my biggest one is breaking into the Broadway world, both as a dancer and choreographer.
“Long-term, I want to choreograph a Broadway show. I’m well aware it will take time. To get there, I’d love to associate-choreograph, associate-direct, dance, or assist—any hat in that world.
“I love the storytelling, the shows, and the production value. I really believe contemporary dance belongs there. I look up to choreographers like Sonya Tayeh and Andy Blankenbuehler, who bring a contemporary lens to Broadway.
“My other big dream is to teach at a university and become a professor. That’s the next chapter I’m working toward!”