Meet Yo-EL Cassell of Boston University College of Fine Arts School of Theatre

Today we’d like to introduce you to Yo-EL Cassell.

Yo-EL, can you briefly walk us through your story – how you started and how you got to where you are today.
As a toddler, when I discovered expression through movement, I felt like I could actually hear for the first time as a hearing impaired individual.

I found my identity. I discovered a channel to connect to other senses and most importantly, to embody my inner thoughts and imagination. Movement allowed me to discover what it means to be alive; to discover a channel of expression that feels organic, innate and truly from the soul. I felt like, I finally found wings to soar. It was not only transformative but essential as well.

Since that moment in my life, I was hungry — hungry for anything that involved movement — in creation, in direction, in performance, in producing, in teaching, in coaching, in mentoring and in sharing. What fascinates me most about movement is the opportunity to tell stories — not only personal ones but the story of humanity in general. In teaching and in direction, what drives me is locating entry points for any individual to be involved with movement — regardless of age, experience or gender. Every individual is the solution and not the problem. The goal is to de-layer the challenges that one may be letting get in the way — confidence, fear or simply, breath.

Throughout life, if doors were closed, it was important for me to not allow it to get in my way but rather, to show me the way to other doors — either with a teacher’s cap, a choreographer’s cap or a performer’s hat. Each day was and is a dividend. A saying was introduced by my supportive father when I was younger, ” New Day, New Horizon”, fuels my soul every morning. His unbridled enthusiasm for appreciating what life offers and how it informs and stimulates is ingrained into my soul and is one I hope, to continue to pass on to my son, Keaton, intentionally named after Buster Keaton, one of my favorite expressive movement artist.

The key for me is in being informed from ecstaticism–joy in doing, joy in learning and joy in discovering the opportunities within the challenges that may come our way. One of my favorite quotes is from Leonardo DaVinci, “The soul desires to dwell with the body because without the members of the body, it can neither act nor feel.” The body is our instrument and it can can invoke different tunes and emotions — theatrically or organically.

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
There were many barriers I had to deal with — being ridiculed for being a guy taking dance classes and for my hearing loss, yeah, but honestly, it only fueled me and made me want to “move” more. Honestly, I would metaphorically take my hearing aids off and listen to my own voice and the voices of people; my parents, my brother, family members, dear friends, fellow individuals with the same interest, mentors, teachers and coaches and my wife who unconditionally supported and guided me through the path of life.

The biggest challenge I think was and I believe still, is that my positive outlook in life can sometimes be misconstrued to take advantage of or dismissed as someone who has not met any challenges. But, I speak loudly in communicating that because of the many challenges I faced, the channels of positivity that live inside me was essentially built.

Perseverance is key, yes, but also belief — belief in the power of living life fully with the experiences you love to do and with the people you love and cherish. Everything else will melt away unless you allow it to interfere.

Boston University College of Fine Arts School of Theatre – what should we know? What do you guys do best? What sets you apart from the competition?
I am the Head of Movement/Assistant Professor of Movement for Boston University’s College of Fine Arts School of Theatre and help developed InMotion Theatre, an initiative that highlights storytelling primarily through the lens of movement and physical acting.

What makes me most proud is that, I am in an environment where I can fuse everything I love about movement — the creating, the teaching, the mentoring, the programming, the producing , the directing and so on. The students are my teachers — their passion and dedication to not only their craft but in the power of expression stimulates and inspires each and every day. BU SOT, through the Boston Center for American Performance (BCAP), is one of the only programs I know of at least in Boston that creates accessibility into the professional world while students are still in training. The goal is to create horizontal plane where theatre arts professionals are working alongside students in rehearsal processes, play development and design opportunities. This not only creates wonderful networking opportunities but supports as a supported bridge into life outside of one’s collegiate experience.  In regards to the movement program, what is most essential for me is defining what movement actually is. Many people think it is dance but while dance is part of the movement language, movement is not strictly dance. For example, we offer a person a chair to sit, we shakes someone’s hand when offered to do so, we wait for the train to arrive. Everything around us is movement and is recipe for some type of storytelling – for an artist but most importantly, for a human being. One of the goals of Inmotion Theatre is to bring physical attention to intention. How many different ways, for example, can a person “offer a chair” but most importantly, how can the artist, be it a playwright, director, or performer or designer embody the story through elements of movement? How can we embrace that movement exist in everything we do, view and hear?

Like everyone else, what sets me apart is me — there is no one like me. From what I know, I am the only one who is named Yo-EL Cassell. Much like there is no one like my wife, my brother, my father, my colleagues and so on. If I try to be someone else or replicate someone else’s patterns, then, I am not me or my original self. Basically, what I am saying is sometimes, I hear students expressing that they want to try to be original and in response, I say, “Don’t try to be original, just be you — embrace yourself, there is no one like you, so you are original, now delete the fears or challenges that might be getting in the way. That is the key.”

What is “success” or “successful” for you?
Locating joy:
– Joy in what I do;
– Joy in how I learn;
– Joy in how I grow;
– Joy in how I love and take care of my wife, my son, my family, friends and colleagues;
– Joy in how I teach;
– Joy in how I create;
– Joy in how I live life fully and joy in knowing that even when challenges may come, joy can always be there.

Contact Info:

• Address: Boston University College of Fine Arts
  School of Theatre
  855 Commonwealth Ave., Boston, MA 02215
• Website: http://www.bu.edu/cfa/profile/yo-el-cassell/
• Phone: 917-538-3690
• Email: ycassel@bu.edu
• Facebook: Yo-EL Cassell
• Other: https://www.bu.edu/today/2017/cfa-yo-el-cassell-movement/

Image Credit:
Kim Kennedy, Nael Nacer, Jackie Ricciardi, Ryan Maxwell, Jim Torres, Susan Swirsley

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