Mickela Mallozzi, Emmy award-winning host of PBS’s Bare Feet with Mickela Mallozzi, transforms strangers into dance partners across seven continents.
Whether learning sean-nós in Ireland or celebrating Matariki in New Zealand, in this episode of Travel Tales by Afar, Mickela reveals how asking permission opens doors to authentic cultural experiences—and why the best travel connections happen when you follow your passion.
Transcript
Aislyn Greene, host: I’m Aislyn Greene, and this is Travel Tales by Afar. This season, we’re highlighting explorers of all stripes. And this week, we’re joined by someone who uses dance as her lens on the world: Mickela Mallozzi. She’s the Emmy award-winning host of the PBS show, Bare Feet with Mickela Mallozzi, now in its seventh season, where she connects with the world, one dance at a time. In the latest season, she twirls through three different parts of Ireland, waltzes and two steps to Acadien and creole music in Louisiana, and explores accessibility in the arts.
I love Mickela’s show, because I also love to dance. I grew up in the world of Swedish folk dancing—that’s a story for another episode—and have dabbled in many different forms over the years, from ballet and modern dance to salsa and swing. I love the movement, the cultural threads—it’s a connection like no other.
In our conversation, Mickela shares some of her favorite early memories, what she’s learned after more than 15 years of running Bare Feet, and where those dancing feet will take her next.
Aislyn: Welcome to Travel Tales. It’s so lovely to meet you in person. I feel like we’ve covered your work at Afar over the last, I don’t know, decade, but it’s really cool to finally meet you.
Mickela: It’s wonderful to meet you and thank you again to Afar and to the whole team for sharing bare feet, sharing my work. It’s a real honor, uh, and privilege, and it’s great to be reconnected again.
Aislyn: Amazing. Well, it’s very inspiring and it was fun to go down the rabbit hole of season seven and just read a little bit about what’s to come in season eight. So as we were just discussing, you’ve been doing this work for a very long time. Nine seasons, it sounds like, 15 years in total. So congratulations and how has it changed and evolved? How have you changed over all of those years?
Mickela: Yeah. Immensely, immensely. It, it, it has and it hasn’t in the sense that the mission of Bare Feet has always been the same of connecting with the world through the lens of dance and music. That’s never changed. It is however, how we approach the storytelling. I would assume after 15 years of doing this, I’ve learned a couple things along the way. Um, because to be very frank, I didn’t come from a TV background or production background or hosting background. I was a dance teacher and I connected with the world authentically without the cameras in this way. And so that’s what inspired me to create the series. So over the years, it’s, it’s changed and evolved in the sense that I think when I start, or I know when I started it was extremely and all selfish. I was like, I wanna travel around the world and learn as many dances and wear as many costumes and meet as many people as I possibly can.
And then over the years of connecting with not just the folks that you see on camera, but then with our fans off camera of how emotional—and still to this day, it’s, especially now, I think I’ve been getting so many fan interactions where people are crying and I like, we share tears together and I get all these wonderful emails of, because people miss that sense of connection and joy and they find that in, in our show.
And so I feel very, what’s shifted is the sense of responsibility. Being part of PBS in the public media system, it’s educational, informational programming.
But with that, that responsibility of representation for marginalized communities that we really focus on trying to give voice to. It’s our platform. You know, like, uh, I go into these communities, I’m accepted into these communities, they’re very open with me, but I feel a heavy responsibility of trying to tell the most authentic truest story and let them tell their story as clearly as possible. That’s what’s changed.
Aislyn: Well, there are a couple of episodes that I can think of from season seven, but do you have specific examples from either season seven that’s out and season eight that’s to come of how you are in these communities and encouraging them to tell their own stories or how you kind of widen that lens a little bit?
Mickela: Yes, of course. Season seven, we feature a whole accessibility in the arts episode. I grew up in the disability community. My sister has cerebral palsy, she’s a wheelchair user, and I, I know it gives me a unique perspective and approach to the disability community. So much so that even my, my crew, you know, I think a lot of people don’t know—how do I say this?—they’re, they’re apprehensive about connecting with people with disabilities and the disability community. ’cause they don’t know what’s appropriate to say. It’s like, “these are just people you know.” And what’s amazing is our crew is like, oh my God, these people are hilarious and this person’s so, and they’re making jokes about using a wheelchair.
And it’s like, “Yeah, because it’s like they’re just like us,” you know? And so I think what we tried to bring in that episode was not only showcasing that there are professional dancers and artists that are disabled, but that you, it’s OK to be curious and it’s okay to ask questions and it’s OK to wanna learn more and talk to people.
And I think because of my personal experience in the disability community, I feel 100 percent comfortable in that space. And it really lent itself as I find myself as the, as the conduit to bring the audience into these communities, but particularly in our accessibility episode, I wanted to shed light on that, and I wanted to kind of dig deeper into my own journey of that as well. I get emotional in one segment in particular.
But we didn’t want it to be a pity party. Like it’s not a, it’s not a pity party. This is not what it was meant to be. The other aspect of season eight in particular is we do two whole episodes in Aotearoa in New Zealand with the Maori community.
Aislyn: Wow.
Mickela: And none of that could have been done without approaching the community first and asking permission and being very cognizant and aware of every single person we interviewed, every story we approached. And none of that could have been done without having that direct communication and our guide, Dane Tumahai. He’s, uh, Maori. He’s called a kaitiaki, that’s our guardian. He was our kaitiaki and none of that would’ve been possible without the support from the iwi, from the tribe, from the communication and the, uh, collaboration between the destination and the tribe.
Um, and we would have weekly Zoom meetings with about 11 people on each zoom going over every single thing. And each zoom would start with a Karakia. A Karakia is an incantation. So yeah, we don’t just show up,
Aislyn: Yep. Yeah. You’re not parachuting in. There is that sense throughout your work of like dance as this universal language, but you’re also very aware of cultural appropriation and participation, and I feel like you walk that line very well. So how do you handle that, and is this part of it, like how long did it take you to set up these meetings so that you could go in and feel like it was done in a way that everyone felt comfortable with and was on board with.
Mickela: Yeah, so I think in general—cultural appropriation and cultural appreciation are two very different things. What I find is we do, my team and I, do cultural appreciation very well because we ask permission. That’s it, is you ask permission. So we go into a space asking permission first, and 99.9 percent of the time we’re granted permission.
There are some cases where, “look, this dance is only done by men, or this is only done during a specific religious ceremony.” Great, fine. That’s totally understandable, but never has it been where Mickela, we don’t want you coming in here. I think also because of the years of me doing this, even when I was, like I said before, we were filming the television show, that’s how I approached groups and people, always was asking permission first. I say I would jump in and dance with people, which I did, but I would ask, “can I dance with you?” Or, or motion the body language to ask someone for a dance.
Aislyn: Yeah. Yeah.
Mickela: So the difference is when I go into these spaces, I ask for permission. I also ask them, “Can I dance with you? Can I perform with you? Can I try on the regalia?” If it’s an Indigenous community. “Can I try on the costume, can I try the music?” Usually they say, yeah, of course we’d love for you to. A lot of times, which is wonderful, they gift me pieces, right?
Aislyn: Cool.
Mickela: I have this incredible collection of pieces. The thing about cultural appropriation is I am not going out and using these pieces of maybe sacred pieces or pieces of regalia or pieces of costume, and adding them to my—I’m not, I’m not wearing them out of context.
Aislyn: Yeah. Yeah, yeah. Yeah.
Mickela: So in the spaces where I’m going to play mas and celebrate with the Carnival group, or I’m with, um, an Indigenous community, let’s say the Lumbee tribe in North Carolina, I’m wearing that in context of celebrating the powwow or doing the circle dance or whatever that celebration may be.
Cultural appropriation is if I took that piece and then use it out of context without permission in that space of their own culture. Because it’s not my culture. But what I love is I have all these beautiful pieces and reminders of things that are of these cultures where people have taken me in and again I think asking for permission in whatever space you may go in, whether it’s a cultural space, a community space, like the disability community, communication is key.
Aislyn: You know, it seems so simple, but I think that my sense sometimes with people, and it’s like what you were saying about your crew, maybe feeling a little uncomfortable and not sure how is people, when they feel discomfort, it somehow it feels scary to ask or it feels like you’re going to show up as ignorant.
And so that’s when that communication breaks down. And I think it’s not usually done out of malice, but more out of discomfort, not understanding the protocol. So that’s really cool.
Well, I would like to go back to the beginning a bit because it seems like you grew up a dancer. So did you also grow up a traveler or did you have that thirst to explore new places, that curiosity? Did those two things come together for you or did the travel piece come later?
Mickela: I grew up in, in immigrant community. My parents immigrated to the United States and my grandparents in the ’60s on both sides of my family. And that’s the pilot episode that you see in Minno, Italy. That’s my family. But that’s where both my parents were born and were raised. So I, I feel very privileged that I grew up and identify in the, in the immigrant community. I also feel very privileged that I had a passport when I was two. My first international trip was back to Italy for the summer with my family, but it wasn’t like, we’re going to the beach and sitting on the beach, you know, it was there. I have pictures of me when I’m two slaughtering a chicken with my grandmother.
Aislyn: Oh my gosh, I love it.
Mickela: On our farm and yeah, and like we jarred tomatoes and of course we’re, again, we’re lucky, we, my grandparents and my parents grew up by the Mediterranean, really very close. So we were able to go to the beach, but it wasn’t about just doing nothing. And that established for me, like what travel meant was work, right? Travailler is the root word for travel. And like, travel shouldn’t be easy and there is work into it. So that kind of planted that seed of what it means when you travel is you do things. You do things with the people that live there.
So that kind of was like the impetus for it, but I didn’t, my family, we didn’t travel much. So when we did, we would mainly go to Italy to see our family. But then it was every maybe five years because it’s quite an expensive trip. And then over the years I studied abroad and caught the travel bug. And then I was like, “Oh my gosh, this passport is like this amazing way to see the world.”
And, and so I would save up as much money. I used to work in the music industry, save up as much money and like take a week to go see my family in Italy. But then once you’re in Europe, it was really easy to get around by train very inexpensively. And um, I just sort of got addicted to this sense of, I like to say I make new friends by dancing with strangers. And that’s what I was doing. I was just like finding these amazing folks around the world and dancing with them and, and connecting with them and that kind of was how I, I, I caught that, that travel bug, like there’s always that moment where you’re like, I wanna keep doing this no matter what.
Aislyn: I, I just love that idea of young you out in the world asking to dance with people. Do you have any favorite memories from that time before this became, you know what it is now, this platform that you have.
Mickela: Yeah. I know sometimes I, I—last summer I revisited a festival that I went to when I was still just blogging and it, it kind of reminded me of why I started the project. I have to sometimes, you know, it’s a job I love, I love my work, but it is a job and sometimes it’s nice to be reminded of like, why I fell in love with this work and why I created this work and why the root of like the joy of it.
And so there is this big festival called Europade, Europe Aid and very early on I found out about it and it’s basically the largest European folk dance and music festival in the world. And every year it’s hosted in a different city in Europe and about 300 groups come onto a town a little, you know, a medieval town. It’s usually some beautiful little medieval town. And every plaza and piazza, they’re just like performing. So you have flamenco in one corner, you have like Romanian dance in another, you have
Aislyn: Oh my gosh.
Mickela: Swiss, uh, Austrian schuhplattler in another. And I was like, it’s like a kid in a candy store, you know? And so I remember there’s a, a picture, I can send it to you too. There’s a picture that, the guy, you know, ’cause they have like photographers going around and he came up to me and gave me this pic he said, “Here’s a photo I got of you. It’s amazing.” And it’s me just like dancing. I’m wearing like leggings and a top and these guys, they’re, I think they’re Hungarian, a Hungarian group.
Aislyn: Oh my gosh. Yeah.
Mickela: So it’s, it was really this beautiful, joyful, you’re young too. When I started this project, I was still in my twenties. I’m in my forties now, so not that I don’t have that energy, but you kind of, I’m, I’m grateful to where we’ve gotten to because this was what I’ve always wanted Bare Feet to be. But it is a nice reminder to be like, you started this because you just love that sense of a freedom to be honest of like, who knows where the wind’s gonna take me.
Aislyn: Yes. And now it’s, you know, like you said, it’s your job. It’s work. And that’s wonderful. But I think you’re right, every once in a while we need to just tap into that original thread or spark, you know, that—
Mickela: to be reminded, just to be reminded, like I know even a lot of travel writers are like, Ugh, I have another press trip to go. I have a this, I have a that. And then you’re like, do you even like travel anymore?
Aislyn: I know, I know. Really, truly, and I try not to do that to my friends. There are moments where I’m like, I feel I am tired. You know? Like it’s not, it is, yeah. But I do try to remind myself of the privilege of this, like we are so lucky.
Aislyn: How do you decide where to go? What dances you want to explore at this moment in time? Do you feel like you’ve touched every corner of the world in that way?
Mickela: no, I mean, there’s so much we haven’t discovered. We’re completely independently produced, which means, and when I say we, I have a team. I have a producer now. I have an editor, I have my crew, but it’s really me. I’m executive producer, I’m host, I’m the boss, which is kind of amazing. And that also means the responsibility of finding funding and sponsors also, it falls on me as well. That being said. Every season takes about two years from soup to nuts, from start pre-production to airing. Takes almost a year and a half to two years of planning, scheduling, filming, editing, fundraising, distribution.
And yeah, it’s a lot more than people think it is. And I’m in every part of that process. I’m not just the host, uh, hosting and being on camera’s like 10 percent maybe of my work, which is pretty amazing that, um, that’s what most people see is just that.
Aislyn: OK, so a lot of your decisions kind of, it sounds like—
Mickela: That’s a long, that was a long answer. Sorry I didn’t even get to, of the decisions are based on. What dances do I wanna do? Like when I got my DNA tested, I saw the Iberian Peninsula, I’m like, I wanna do flamenco. I, I had wanted to do flamenco forever, so I was like, we’re doing flamenco and I can make that decision.
Plus, we then work with the destinations and, and tour operators as partners to help us facilitate this because we have a very small budget and we’re public television, so we don’t get funding from PBS. So a travel show is quite expensive, so we do work with local tourism boards, destination marketing organizations, tour operators, partners. Some are completely outta pocket once we have budgets, but it’s really about “What are the dances I wanna do. It’s like I get to be a little selfish.
Aislyn: Yeah, of course. I mean, that’s, that’s the inspiration piece for you, right? Do you feel like you have this catalog of dances in your mind at this point in time? Or does it, you go, you learn something and then it fades a bit? Or like, how do you celebrate all of the things that you’ve done in the past too?
Mickela: So I’m lucky. I have a film crew that follows me everywhere I go, when I’m traveling. That’s how I celebrate it. My editor thinks it’s hilarious. I have a really great memory once that camera starts rolling, I remember so much. ’cause I’m also editing, I’m also writing all the voiceovers. So I remember like, we’ll be doing edits and I’m like, there’s a moment when I say this and this and this, and he’s like, you know, I, I have such a great memory about that.
Aislyn: Yeah.
Mickela: But what I cannot do is if I’m learning a dance that I’ve never done, which a lot of times they’re dances, I’ve never done—the second that person is not in front of me dancing, I don’t, I have no idea what my body just did. Most of the time we’re not dancing in a studio, so I don’t even know what I look like. Think about it. There’s no mirror,
Aislyn: Totally. Yeah. Yes.
Mickela: And I don’t go beforehand to rehearse. There’s no rehearsal.
Aislyn: That is truly like what we see is really you learning in that moment. OK. OK.
Mickela: I’ve had fans be like, you must go two days. I’m like, no, the, the fun part is me screwing up and like having these fun moments. So I don’t know, genuinely, I keep thinking while I’m filming, like, “Oh, I think I screwed up. Like I think I don’t get it.” I’m like, it’s not working. It’s not working. And I’m like trying, and then I watch back and I’m like, oh my God. It worked. It definitely worked.
Aislyn: I did. I did get it.
Mickela: It did get it, but it’s, but the point is not getting it. The point is having that interaction and sharing that beautiful sort of energy together. There’s a thing called entrainment. Humans want to be in synchronicity with each other, right, in synchronization. So if you think about when, let’s say you’re sitting, for example, at a Cracker Barrel and you know they have all those rocking chairs.
And you sit down and everyone all of a sudden is rocking together. That’s entrainment. You naturally want to be in step. Same with military marching band. So that’s what’s happening almost immediately. Every time I’m I dance with someone is that I have this weird ability and strange skill that I’ve figured out how to make a living off of understanding and reading that movement and getting in line and in step with that person almost immediately. And that’s where we have this wonderful communication. And, and what’s beautiful about that is they are having fun with me, ’cause it’s not awkward. I, I know just enough, but I can’t remember. And most of the time I have maybe 20 minutes, half an hour. There’s no way I’m gonna be proficient in tango or
Aislyn: Got it. Yeah. Okay.
Mickela: What it does inspire me to do is if I wanna take that lesson again or take those dance lessons when I come back home, if I have the time. What it also has been beautiful because of the hundreds of styles of dance I have learned over the years, is that I feel the resemblances and the connections through—like migration stories of how these rhythms and dances are connected.
So like for example, in Ireland, Ireland has Irish step dancing, what you’ve seen in river dance, right? But the grandfather of that is called sean-nós. Sean-nós means old style. And that’s what was around in the 1700, 1800s prior to the big immigration to the United States. And when I learned shadows, I was like, this feels like clogging and flat footing down in Appalachia, which I had done.
It is because the, the the, as that dance was popular, those immigrants brought that with them and it was settled in West Virginia, North Carolina, uh, Appalachia area and dance, and then mixed with the other communities, the Black community that was there, the African American community. And then it evolved into tap dancing. And brought more north and, and was mixed with jazz. And then you, you see that what stayed in Ireland—shannos—then became what we know as Irish step dancing today. And then the fess and all the competition. So you have tap dance, and Irish step dance are very different, but the root of it is so clear. So that happens over and over and over again. And that’s what I keep with myself. It’s not like I’m gonna be a professional Irish step dancer,
Aislyn: Sure.
Mickela: But I, I, I am like, this feels familiar. Oh, and that feels familiar and this, I know this from this.
Aislyn: I mean like a chef, right? Traveling and understanding the way that dishes and ingredients have migrated, it seems very similar that you’re tying it all together. I was gonna ask what kind of ways that dance is connected across groups of people and cultures, and it sounds like that’s, it is like the migration patterns.
Mickela: The migration patterns. I have to say the Caribbean is probably my favorite place in the world to go to. I don’t go to the beach when I go to the Caribbean. I go, i’m dancing my butt off because of the, the, I think it’s, it’s such a culturally diverse, its origins are so culturally diverse from obviously West African roots, uh, the Indigenous Taino people and, and various islands, and then European roots, whether that’s Spanish, whether that’s French, whether that’s, you know, so Portuguese, you have this, you know, horrific history of how all of that came to be.
But the beauty of the art and culture and dance and music and language and food and costume and all these things, to me, are the most fascinating that I’ve been to in the world. But that’s where you really see and hear these rhythms kind of come to life and you’re like, I, I’ve heard that before. I’ve felt that before.
On the other side of it is also in New York, when we have these immigrant communities, it’s really special to see how immigrant communities preserve and maintain and pass down their traditions. Because dance and music is a sense, is a form of cultural identity, right. When you do go to a place that you create as your new home and, and you find this sense of community, dance and music is part of that, and that’s what’s so beautiful about filming Bare Feet here in New York is we’re never at a loss of communities to connect with.
It’s really incredible. It’s really incredible.
Aislyn: And how interesting to see how it manifests in New York after you have perhaps seen those dances in other parts of the world, how it’s similar, maybe how it has changed a little bit over the years. That’s so cool. Well, are there certain dances that you have come home and committed to learning more about?
Mickela: For a little while, I was trying to take—this was years ago, I took tango because Argentinian tango. It was really lovely taking some lessons here, but it was very different because when you’re in Buenos Aires, it’s this whole culture around milangas, and going out in the evening. And do you know replicating that is—I think I, I realized I fell in love more [with] the experience around tango versus just taking a tango lesson.
Aislyn: Like you said, there is something about, being in the place and participating in this activity in situ. We did an episode on Puerto Rico and music and we, you know, I saw a lot of those same connections that you talked about and I took a dance class and it filled me with so much joy and it was something that I was like, “I’d love to do this when I get home, but I was like, I think part of it is just being here and feeling like I’m connected to Puerto Rico in a different way.
Mickela: And I think that’s what we try and convey is that, especially in American media culture, dance is associated with the studio, a dance studio, like Dancing with the Stars, So You Think You Could Dance—and those are all amazing, amazing dancers—or ballroom dance or, you know, but the dance outside of that is about culture. And isolating that culture in a, in a confined box, really dilutes what the experience of it and what it actually represents. But when you have it in context of celebrations and holidays or family gatherings or whatever it may be, it heightens up of like, oh, this makes sense.
Aislyn: Yeah. Yeah.
Mickela: This makes sense of why the dances were done in the first place.
Aislyn: And that you don’t have to be perfect or even have a dance background to join in, right? So do you have advice for people who might either be interested in dancing with folks while they’re traveling or that have never thought about it, but maybe would be inspired after watching or listening to you?
Mickela: So I, I want people to take into consideration, most of our fans are not dancers, and I love that. What I do is, I found something that I love, and I found other people that love it just as much, and I connect with them to share it with me. So that may not be dance for you, but it may be something else. It may be cooking, it may be hiking, it may be stargazing, it may be birdwatching, it may be pottery.
I would say if you wanna try dance ’cause you love it, please, there are, especially during a festival or a holiday or some big celebration, it’s kind of the ultimate way to to jumpstart into that because people are doing it openly in public and it’s like very socially acceptable to go up to people and ask them to dance.
But I would say whatever you love doing at home, do that when you’re traveling. That’s it. That’s the key to having the best travel experience. If you love running marathons, go run marathons around the world. That’s the coolest thing. I wish I liked running marathons, ’cause you get a completely different perspective of a place. ’Cause you’re, when you’re running in that space, it’s so much more vast and beautiful. So find what you love to do at home that genuinely brings you joy and find that community in the place that you’re going or the activity and you’ll find local community. I’m more about finding local community than other travelers.
Aislyn: Very good advice. Well, where do you wanna go from here? Dances that you would like to learn and how you want to evolve. I know you did tours for a brief moment in time. I don’t know if that’s something that you’ve been thinking about bringing back,
Mickela: Yeah, so season eight comes out in December, and I know that the show is ready for a bigger audience. I love being part of public television. I love PBS. We won’t take our shows from PBS, but I, I do believe and see and have been sort of in the works of bigger distribution for the show in a bigger, bigger audience and bigger platform. I can’t share anything yet, but it is, yeah, and it’s been in the works for a long time, so I’m excited for that.
I am in the process of writing a book to talk about the journey of Bare Feet and how, um, connection. Just really about connection with the world. ’cause I think, I know a lot of people feel very disconnected at a time where we’re the most connected digitally,
So I really wanna talk about that sense of connection, because a lot—that’s the biggest message I get from my audience is like, I feel like I’m with you. I feel like I know you and I just love how you connect with the people that you’re dancing with, but also with us. And so we’re doing something right. We’re doing something right.
And then the, for the destinations, I’ve been to Puerto Rico so many times, but we finally wanna do an episode of Bomba. I am, I’m, I love Bomba.
Aislyn: I know. It’s so good.
Mickela: beautiful. And then the aboriginal community out in Australia. I wanna get to Tanzania. We’ve been wanting to, to dance in Tanzania and. So many places. There’s so many places that I haven’t, haven’t hit. So we’re, we’re working on those destinations, but it’s, um, you know, as long as my knees don’t give out, I’m gonna, I’ll still do this.
Aislyn: They’ll have great bionic knees by time that comes around, you’ll be dancing into your hundreds.
Mickela: I hope so. I hope so.
And that was Mickela Mallozzi. I do have faith that she’ll be dancing into her hundreds. In the show notes, I’ve linked to Mickela’s website, where you can watch all of Mickela’s dancing adventures, including season 7 and season 8, when it debuts in December. I’ve also linked to her social media handles, and several Afar stories featuring her and her work over the years.
And if you look closely at this week’s episode art, you’ll see that it’s the photo she mentioned in our conversation, featuring that early dance experience.
Thanks for joining this episode of Travel Tales. Next week, we’ll be back with a shall we say otherworldly explorer, named Jim Kitchen. We’ll see you then.
Ready for more Travel Tales? Visit afar.com/podcast and be sure to follow us on Instagram and TikTok; we’re @afarmedia. If you enjoyed today’s exploration, I hope you’ll come back for more great stories.
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