Krissie Odegard Geye

At the Trifecta Dance Collective and Trifecta Youth Companies, we are blessed to have incredible choreographers that break away from conformity in pursuit of fulfilling our mission. Trifecta dancers prioritize authentic works, and our choreographers push to always create diverse art. Krissie Odegard Geye shared her own choreographic process, as well as the insights she has for young dancers interested in choreographing.


Krissie acknowledged her that her choreography process is a bit untraditional. When choreographing, the Trifecta co-director emphasizes the dance’s story most. Krissie said the idea or concept she hopes to tell in a dance is more important to her than the technical movement itself. “The sequence of movement depends on the story,” said Krissie. “It’s just the way my brain works.” This unique approach to the choreography process has benefited Krissie and her dancers, granting her numerous outstanding choreography awards over the past decade of teaching.

This season, Krissie decided to create a dance dictated by a resource she has often left untapped: lighting. “‘Vice’ channels whatever one feels tethered to, whatever is negative in their life,” said Krissie on her new piece. “One thinks it’s good but it suddenly becomes a hindrance.” One dancer stands behind a scrim, controlling two other dancers in front of it. In her choreography, Krissie played with the motif of shadows, and lighting became a vital tool in telling the story.

Krissie worked with a lighting expert, who she jokingly began referring to as a ‘co-choreographer’ of sorts. “I’m choreographing the movement and making the story, but she is really dictating how it will be portrayed.” Krissie also decided to bring this theme of lighting into the youth company, choreographing yet another piece that is heavily dependent on lighting. The youth company’s “Shadow” dance revolves around the poetry of Nayyirah Waheed, which reads: “Even if you are a small forest surviving off the moon alone, your light is extraordinary.” Interactive lighting is both a privilege and responsibility that professional companies get to explore. Utilizing this aspect in a youth company dance will expose the young students to a tool they might otherwise only experience in the professional world.

Krissie has always sought to challenge the norms and trends of choreography in the dance world. “We really want to take (our dancing) one step further and become an artistic voice in the community”. Krissie has a history of taking the everyday emotions or experiences humans go through and expressing them artistically. Her choreography tells stories of life and loss, conflict, and human emotion. When she creates, she makes a dance out of the experiences many humans can relate to. This approach allows her works to impact diverse audiences who are not often touched by the dance community.

“We have a time on the stage and I’m not going to waste it,” said Krissie. “We can have a positive impact on an audience, and that’s not something I take lightly. It’s a gift we’ve been given as dancers and artists.”

Krissie always tries to remind her dancers that they have a specific skillset & a specific voice. “Go to shows and watch. The more you can see and incorporate into your own style the better. What you have to say is unique and powerful.” Krissie and her choreographic works are definitely unique and powerful. What a blessing that our young dancers and professionals alike can grow in an atmosphere that prioritizes authentic artistry.


Carrie Patterson