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© 2013  Moria  Chappell  LLC   All  rights  reserved.  

To dance,  put  your  hand  on  your  heart  and   listen  to  the  sound  of  your  soul.   Eugene  Louis  Faccuito  

Moria Chappell


Over the course of her career, Moria Chappell has excelled in a number of unique, artistic endeavors. These are five areas in which her artistry has found its way onto the stage.

Artistic Direction

Moria serves as the Artistic Director for Bellydance Superstars Tribal Fusion and has since 2011. She composes and orchestrates group choreographies which seek to evoke what is strange and beautiful, striking and consoling about the female form in its most erudite and vulnerable manifestations.

Artistic Director

Bellydance Superstars Tribal Fusion

Moria’s Artist Reel Artistic Direction & Choreography Moria


Moria has choreographed solos, duets, and group collaborations that incorporate both Oriental and Tribal Fusion artistry to produce a tableaux of juxtapositions of light and dark, soft and strong, fiery and temperate to pull each dancer to her edge and offer what she embodies most on the stage.

Moria’s Choreographies

CLUB BELLYDANCE 2013 Opening tribal ensemble “Peacock” duet “Balkan” group ensemble “Jaguar” solo “Oceana” tribal ensemble Finalé tribal ensemble

THE MAGIC OF DANCE (2012) Opening tribal ensemble “Balkan” group ensemble “Cobra” tribal ensemble “Finger Cymbal” duet “Jaguar” solo Finalé tribal ensemble

BABELESQUE (2007) “Madura” solo

BELLYDANCE SUPERSTARS DVDs “Tabla Solo” with Issam Houshan “Muslim Gauze” “Victim to the Charms of Radio” solo “Revolution” solo “Ampersand Storm” solo “Engrish Bwudd” solo “Steeping Somber” solo “Karakas” solo

ADDITIONAL CHOREOGRAPHIES “Black Widow” “Lullaby for August 2nd” “Tribal Fest 2013”

Teaching Methodology and Ethos

Moria teaches from a

Once the

place of spirit and

fundamental tools of


the body are brought

She feels that what is

under a student’s

most important is to

control by a yoga,

understand and utilize

and drilled by a

the muscles that cloak

muscular isolation

the bones, and

which understands

ultimately are the only

the commands of

things that put us under

contract and release,

our own control. Her

Moria is able to lead

technique is entirely

her students to more


complex layering

dedicating one muscle

and shape creation,

to one movement, and

and thereby turns

creating isolations and

their body into a

shapes that are clear

vessel for their voice,

and concise.

and the voice of the

world, to be expressed effortlessly and with intention. Moria uses sweat and humor to mold the body and tame the muscles to work under the command of her students.

Costume Design

Costuming is the outer

draws inspiration from

expression of the inner

colors in nature,


haute couture,

Moria has a fascination

Alphonse Mucha,

with the specific and

Gustav Klimt, Gaudi,

the large. She is

pirates, gypsies,

invested in the detail of

yoginis, dakinis,

each bead, its content

mermaids, and

and history, as well as


the outline of the total

Using shells, stones,

form which can be

feathers, silk, silver,

read from stage. Her

lace, tassels, beads,

costumes are animal

glass, mirrors, yarn,

and statue, antique

flowers, bones, gold,

and fantastic.

teardrops, pinpricks,

She makes each of her

twilight and sunrise,

own costumes via

Moria weaves her

hand stitching, and

costumes like an

arachnid into embellishments and regalia with whom she dances like a partner.

Make-up Design

The face is the canvas

Moria delights in

of the soul. The secret

seeing her faces

of the mermaid’s mirror

transformed by

is that it reflects

contours and

anything she wishes to

highlights, smoking


and blurring, glittering

Moria formally studied

and coloring,

make-up artistry during

blending, and by

her tutelage in make-

using unexpected

up design school in

colors to evoke the

Atlanta, Georgia in

Geisha, the ingĂŠnue,

2004. She has worked

Kali, Renaissance

as a make-up artist on

portraiture, the feline,

sets and applies the

and the stars of silent

more theatrical aspects


of make-upology to her

With faces as her

face as well as others.

canvas, Moria

patiently and deftly shows her students the mysteries of effective theatrical makeup.

Future Explorations

Since 2008, Moria has

the grandmother of

been traveling to India

all sacred dance, with

to study East Indian

her teacher Ratna

Temple Dance.

Roy; to explore the

Her fascination with

dances of Oceana;

temple dance has led

to walk the paths of

her to Hula, Tahitian,

Angkor Watt via

Javanese, and

Cambodian dance,

Balinese sacred

and explore Thai and

dances. She has

Nepalese dance to

experimented with Thai

retrace the lineage of

and South China

sacred dance as it

Peacock Dance.

traveled from India

Her future pursuits include a continued indepth study of Odissi,

throughout Asia and then to the sea.

“Her style has developed into something that defies description. Let’s just say that if Rachel Brice is the snake-charmer, Moria’s become THE snake. Her movements are fast, accurate, precise and her locks seem to freeze in time…just like a snake before attacking the next move. Simply mesmerizing!” ~Excerpt from a review of The Bellydance Superstars written by MIGUEL

Recent Choreographies

Club Bellydance 2013 Opening of Show Tribal-Fusion Artistic Direction & Choreography Moria

“Peacock” Club Bellydance 2013 Duet Artistic Direction & Choreography Moria

“Balkan” Club Bellydance 2013 Ensemble Artistic Direction & Choreography Moria

“Cobra” Club Bellydance 2013 Tribal Ensemble Artistic Direction & Choreography Moria

“Jaguar” Club Bellydance 2013 Solo Artistic Direction & Choreography Moria

“Bounce” Club Bellydance 2013 Tribal Ensemble Artistic Direction & Choreography Moria


For inquiries, please contact Moria Chappell at the following address:

Moria Chappell Artistry  

Moria Chappell's Artistry

Moria Chappell Artistry  

Moria Chappell's Artistry