“Lola is the kind of dancer you notice right away – she has that rare mix of discipline, passion, and authenticity that makes her movement feel real. When she dances, she’s not just executing steps; she’s telling a story, bringing the music to life with her energy and style.”
The high praise for Lola Monnin’s artistry comes the high ranks. Link, world-renowned hip-hop pioneer (Elite Force Crew, Moptop Family), who has danced and choreographed for Michael Jackson, Will Smith, Mariah Carey, and BTS, among others, does not give accolades lightly. But when talking about Lola, the words seem to rush out. “What makes her stand out is her versatility,” he says, “she moves effortlessly between hip-hop, house, dancehall, and contemporary, adapting to each style while keeping her own unique essence. Her foundation is solid, and she understands the essence of the dance—not just the technique, but the feeling behind it.” He underlines how “she respects the culture, learns from the pioneers like me, and continues to evolve not only as a dancer but as a true culture lover.”
Lola Monnin’s dance journey is indeed one of perseverance, hard work, and conscious steps towards excellence. “When I took my first dance class I felt true joy. It was in a small non-profit dance company, with Valerie Luçon. What struck me was how happy the teacher was, she had a special light and energy that I had never seen before. I knew at that moment that dance would be my profession,” Lola shares. She attended middle-school in Orchamps-Vennes, and travelled to Morteau in the afternoon for dance classes. She spent an average of four to five hours a day studying ballet, jazz and contemporary, under the guidance of Laetitia Houser at l’Atelier Danse. Seeing her dedication and passion, her teachers pushed her to apply to dance programs in Toulouse (Centre Chorégraphique James Carlès) and Paris (Rick Odums’ Centre International de Danse Jazz). Monnin auditioned for both and got in to both. With only about 15 students among hundreds getting selected for each of these programs, that is no small feat.
Lola Monnin, second from left, performs “The Nutcraker” at Atalante Theater in Morteau (France). © Bernard Pourchet 2017
She chose to pursue her Diplôme En Art Chorégraphique Du Danseur Interprète (Diploma in Performing Arts) in Toulouse, following the path of other dancers from Atelier Danse. Little did she know how deeply this choice would change her life. The school was founded in 1998 by James Carlès, renowned choreographer, researcher and lecturer, who trained with prominent figures in modern dance, spent meaningful time in London and New York (including attending The Ailey School), and has profoundly influenced contemporary dance. Since 1998, the European-certified center has been a premier institution for dance education and artistic creation. The school integrates a wide range of dance styles, with a deep commitment to Afro-descendant heritage and contemporary movement research. It has attracted internationally acclaimed instructors such as Carolyn Carlson, Yanis Marshall and Alvin Ailey. It has shaped numerous successful artists through an extensive curriculum spanning over 20 disciplines, including hip-hop, contemporary, jazz, and house dance. One of these artists is Lola Monnin. Here, for the first time, she was introduced to hip-hop and dancehall. “The music and the feeling moved me like never before and I was hooked,” Lola says. Under the mentorship of Stephane Mbella, Lola thrived during her time at the school. “I loved it there because training wasn’t just about dance; it was about growing as an artist and as a person: passion and professionalism coming together. I pushed my limits learning from some of the best dancers in the world, while being surrounded by a supportive community. That kind of experience stays with you forever.”
Lola continued to talk the talk of dedication and walk the walk of discipline. She went from Mbella’s student to his assistant choreographer, co-choreographing “Duende” for his company Cie Terre Rouge. From that experience, Lola gained valuable professional tools she still uses, including understanding the nuances of body movement, the intricacies of choreographing and bring a whole dance show to life, from lighting to production. Mbella, impressed, continues to work with her to this day. “Her ability to see the bigger picture combined with her on-stage presence, makes her an invaluable asset to any of my projects. Lola is both a dancer and a builder, someone who contributes to the culture in ways that go beyond movement. She is committed, hardworking, and constantly evolving, making her not just a great choice for a piece, but an artist who elevates everything she’s a part of.” Once more, her teachers encouraged her to go bigger, and she moved to Paris to train at Studio MRG’s Professional Program in Urban Dance, while also travelling throughout Europe to attend dance intensives such as ‘Big Up Kemp’ in Spain.
Lola Monnin rehearses Mbella’s “Inside” originally performed at Theatre des Mazades in Toulouse (France). © Lauriane Ogay 2024
During her years in Paris, she began receiving numerous requests not only to perform, but also to teach hip-hop and dancehall. Her empathy guided her teaching philosophy, she says. “I was not a natural talent: I worked hard to achieve my goals. When I see students struggling in class, I see myself and really make sure I address their issues with care.” Carlès’ dedication to education and cultural preservation also significantly shaped Lola’s approach. “It’s really important to me to teach about the culture and history of a dance, not only the movement.” As a dance teacher, Lola made the type of impact on her students that she herself had once received from her dance teachers. Juggling her schedule once more between multiple cities, including Paris, Toulouse and Morteau, she studied, performed and taught.
Notwithstanding her successful dance career in France, she realized that both her own growth and the knowledge she could pass on were restricted by an important element. One that might not be commonly considered relevant for movement: language. Much has been said and written about the interconnectedness of language and culture. For some, to fully understand a culture, one must fully understand the language. For others, there is a circular relationship of cause and effect. For Lola, it meant understanding how her limited knowledge of English was impacting a thorough understanding of the street style dance culture that had become her raison d’être.
Lola Monnin with her students at Studio Foxx-Arts in Toulouse during Dancehall Vybz Spirit event by BBCie Association. © Frederic Theodose 2024
Undaunted by the pandemic, this dancer moved to New York City to study English, determined to learn the language and the culture at the source. As her English skills progressed, so did her dance skills and her understanding of the culture. “What I love the most about New York is the endless opportunity to learn from the source. Being here allows me to absorb knowledge of movement, learn directly from those who shaped the culture, and truly understand the essence of hip-hop and dancehall,” Lola says enthusiastically. Her ability to dance multiple styles at a level of excellence and move fluidly between hip hop, dancehall, house, contemporary, and floorwork is not going unnoticed by her peers. As she attends classes, community events and shows, she is quickly gaining recognition for being a versatile dancer both in freestyle and choreography. “That’s a rare quality nowadays,” says Eric Negron. “I see how much work she is putting in. She always brings her own style and vibe, I know she going to get where she needs to be,” he adds. With an extensive list of notable credits such Missy Elliot, Chris Brown, J Lo, Janet Jackson, Mariah Carey and Beyonce, among others, Negron’s comment holds weight. Meeting members of the NYC dance community and connecting with dancers from all over the world, has been bringing Lola Monnin numerous offers. Link sums it up perfectly: “Beyond her movement, Lola is a true professional. She’s not just here to dance, she’s here to leave a mark.” We hope that mark will be left in New York City – we’d definitely want to get those front row seats.
