Boróka Nagy (2026 Exemplary Woman in LA Dance)

1. Can you share a bit about your personal dance journey, particularly as a professional in Los Angeles?

I was born in Hungary, trained in New York, and ultimately built my life in Southern California. Moving to the United States at a young age shaped me deeply; rebuilding in a new country required resilience, adaptability, and a strong internal compass. Dance became the place where I felt steady. It was home before I knew how to define home. I trained at the Alvin Ailey School’s BFA Program, and had the honor of performing Memoria with the Alvin Ailey American Dance Theater at New York City Center. While in New York, I also had the opportunity to perform works by choreographers such as Paul Taylor, Alvin Ailey, Bertram Ross, Robert Battle, Earl Mosley, Desmond Richardon, Dwight Roden, and many other leading choreographers at iconic modern dance spaces like the Apollo Theatre and the 92nd Street Y, as well as newer local performances spaces. My short dance film, Oublier le temps, was screened at the 42nd Annual Dance on Camera Festival in Lincoln Center. After earning my MFA from UC Irvine, I began creating immersive and interdisciplinary work that moved beyond the traditional proscenium stage. Los Angeles gave me space to experiment, to merge choreography with film, projection, installation, and audience interaction. Over time, my path evolved from performing and choreographing to building something larger: founding Reborn Arts and leading both a professional company (Re:born Dance Interactive) and a youth academy (The Academy of Dance) in Santa Ana. My work in Los Angeles has been about holding high artistic standards while staying rooted in honest human connections. In the last decade, Re:born has produced site specific works across Los Angeles and Orange County warehouses, museums, theatres, and collaborated with architects, musicians, and visual artists.

2. Tell us about what you currently do in the industry.

I am the Founder and Artistic Director of Reborn Arts, home to our professional company, Re:borN Dance Interactive, and a pre-professional youth company, Encore Dance Company. Our mission is to unite audiences and dancers using the universal language of dance—creating communities in motion through interactive performances and programs, turning movement into living expressions of peace that foster empathy and connection. Our professional and youth artists build bridges through shared movement and storytelling in traditional and non-traditional

spaces. Through our Dance for Peace initiative, we bring performance and movement workshops into universities, conferences, and community spaces. Recently, we premiered a work at the International Peace Research Association’s Conference in New Zealand, where we received a standing ovation. This initiative aims to use dance as a bridge across cultures and disciplines. I also co-own and direct The Academy of Dance in Orange County, where we train dancers from early childhood through adulthood. My work connects professional performance, arts education, and community engagement, each informing and strengthening the other.

3. In your opinion, why does dance matter?

Dance matters because it reaches what words often cannot. It allows us to experience complex emotions together. When audiences witness dance, especially in immersive settings, it can act as a catalyst for conversation. It opens space for dialogue around topics that might otherwise remain unspoken. It creates moments of catharsis: release, reflection, recognition. Dance also builds agency. It teaches us to take ownership of space, to move with clarity and intention, and to trust our bodies. In a time when connection can feel fragmented, dance offers a shared, physical experience of presence. Dance can make statements. It can be a way to communicate about important topics, such as our collective need for peace. Dance is not just performance. It is embodied understanding.

4. What excites you most about dance in LA right now?

Los Angeles is full of artists who move fluidly across disciplines: film, technology, immersive environments, social impact. I’m excited to work together with open minded people who are pioneers in their fields. I’m also encouraged by growing conversations around sustainability for dancers — fair compensation, rehearsal support, and long-term viability. We are beginning to think not only about creating work, but about sustaining the artists behind it. What excites me most is the potential for deeper collaboration and a stronger sense of shared cultural identity within the LA dance community.

5. What do you envision for the future of dance/dancers in LA?

I envision a more connected ecosystem, where professional companies, youth academies, universities, and community programs are in dialogue rather than isolation or competition. I hope for funding structures that allow dancers and choreographers to create without constant instability. I hope dance continues expanding into spaces where audiences may not expect it. Most of all, I envision dancers who understand their impact — artists who are technically strong, intellectually curious, and aware that their movement can shape conversation, connection, and collective growth. Dance feels urgent right now. I imagine a world where dance is recognized, appreciated, and supported, where dance is able to truly mobilize.

6. How can people get involved and support that vision?

The simplest way to support this work is to show up. Experience dance live, bring someone with you, and stay for the conversation. For Reborn, we have a showing of A Tale of Two Tables on April 25, and a full year of performances, social events, and workshops ahead. Signing up for our newsletter is one of the easiest ways to stay connected and know when upcoming shows and events are happening (Rebornarts.org). We are also always looking to collaborate with other artists and organizations, so reaching out to connect and explore partnership is another meaningful way to support our mission.

For the arts to truly make an impact, it has to be financially stable. If we want dance to spark dialogue, foster connection, and mobilize communities, it must be properly resourced. Donations directly fund rehearsal pay, production costs, youth training, and our Dance for Peace programming. When people give, they’re not just supporting a show or a company, they’re investing in an ecosystem that believes movement can shape conversation and help move communities forward.