Interviewed by Ellie S. (11th Grade)
Meet Laurie Y, a student who studies dance in Peabody Institute of Johns Hopkins University. She has been studying dance for more than 15 years. She also likes traveling, photography, singing and dancing. Let’s hear her story:
Sustainability isn’t just for environmental scientists. How have you blended your specific talents with your passion for the climate?
As a dance major at Peabody, my medium is the body in motion. I’ve come to see the dancer’s body as the ultimate renewable resource—but it’s a fragile one. I blend my talent with my passion for the climate by focusing on kinetic sustainability.
Artistically, I use choreography to translate climate problems into visceral experiences. Inspired by raising the awareness of environmental conservation, I choreographed a 4-minute work in 2025. The Earth without any pollution is represented by the multicolored ball that I used in my work and symbolized globalization. Earth ought to be colorful and pure, but those satellite images show us that the planet has been contaminated and that its color is actually getting darker. Also, about the background music, is it made by Phillip Glass, a representative of postmodern music. The name of it is Glass: Aguas da Amazonia – Japurá River. The soundtrack is about rivers all throughout the world, subtly suggesting how the climate is warming and the rivers are drying up. The music’s overarching emotional tone is eerie and bizarre, emphasizing the severe environmental pollution while also giving audiences a sense of unease and crisis. Through my works, I wish to inform the public about the seriousness of environmental contamination in today’s society and the significance of environmental conservation. Protection of the environment transcends national boundaries. People should work together to create a global community with a shared future for all people.
I believe that sustainability in the arts isn’t just about recycling—it’s about recognizing that how we treat our bodies, our materials, and our performance spaces reflects how we treat the planet.
What was the biggest hurdle you faced when pitching a green initiative (like a workshop or a festival spot), and how did you convince the ‘gatekeepers’ to say yes?
The biggest hurdle I faced was the perception that “sustainability” competes with “artistic excellence.” When I pitched the idea of a green dance show—specifically requesting that we reduce single-use plastics in the dressing rooms, switch to LED stage lighting, and source costumes from textile waste. However, administrators and faculty were worried it would look unprofessional or add logistical chaos.
I convinced them to say yes by shifting the framing. Instead of presenting it as an “environmental policy,” I presented it as an artistic constraint that breeds creativity. I brought in examples from professional companies who have adopted “green rider” clauses. I argued that just as a dancer uses physical limitations (gravity, muscle fatigue) to create art, we can use material limitations (reusing sets, sustainable fabrics) to create more innovative work.
As you move into college, what is the one piece of ‘institutional knowledge’ you want to leave behind for younger students?
I will say that the art department is not separate from the whole university’s infrastructure. There are many people around me who have double or even triple majors. I learned that the administrators and faculty want to support interdisciplinary work. Don’t just rehearse in the building—use the building, and the entire university, as your resource.
