Choreographer Camille Brown hopes that people see something deep when they look at her work.

“When people look at my choreography, I want them to see an art and a story,” said Brown, a critically-acclaimed choreographer and the first woman to receive the Princess Grace Award for choreography.

“Before, I really wanted people to get it,” she added, commenting on the way her choreography is constantly changing. She added later, “I’m always trying to take it to the next level.”

On Wednesday, Brown – who has a residency in the University of Massachusetts Music and Dance Department this year – gave a lecture to a crowd of 50 at the UMass Museum of Contemporary Art. Brown, who is currently prepping a piece called “New Second Line” with a group of selected dancers from the UMass dance program, discussed her experiences as a growing dancer and choreographer, as well as the various ways she has found what she calls her “creative voice” during the lecture.

“I put all of my desires into my work and toward finding my creative voice,” said Brown. “I want people to see my voice.”

Growing up in the Jamaican section of Queens, New York, she said that she began dancing at the age of 3, when she would move to the songs of Michael and Janet Jackson.

“As soon as I got into dance class, I lit up,” added Brown. “I didn’t know I could later pursue it as a career, I just knew I loved it.”

Brown attended LaGuardia Arts High School and later received her BFA in dance at the University of North Carolina School of the Arts.

“Every experience is so individual,” said Brown about her college experience as a dancer. “If you’re unhappy with the training that you are getting, go get more,” said Brown, who added that she sought out a private teacher during college.

“The school doesn’t make you,” continued Brown. “You make it.”

Brown said that her voice in dancing and choreography came from accepting that in an industry of criticism and rejection, she had to be her biggest advocate.

“I was never considered the dancer that was going to be something,” said Brown. “I didn’t have the ideal body type and I was never picked for the photo shoots.”

Brown gave credit to her grandparents and mother for being her source of support and strength. “They always told me that even though there are obstacles, you push through and keep going,” said Brown.

“I think it takes great courage to choreograph,” added Brown. When asked which choreographers she admires most, she said, “I will say all of them rather than leave anyone out.”

When asked about how she deals with the media, Brown stated that she “tries not to listen to the voice of critics.”

“I can’t let one person’s opinion dictate my work. If I did that, I wouldn’t be here today,” said Brown. “If I did my work with integrity and humility, then I am okay with it.”

“I’m really inspired by theater and ordinary interaction,” added Brown.

“I don’t see me doing this without my faith,” said Brown about how her religious beliefs are a vital part of her persona as a dancer and choreographer. “It’s a springboard for everything I do.”

Brown is currently working on a piece “Mr. Toll E. Rance,” which is a play on the word “tolerance.” The piece will premiere in 2013 and focuses on themes of African-American humor in relation to slavery and minstrelsy.

Brown showed a completed section of the work in progress “March,” which is a satire on “The March of the Soldiers.” She said this section revolves around the “universal theme of having to put on a mask just to get by.” The minstrel shows of the Jim Crow Era can be a sensitive subject that brings out deep emotional rage for some people, and Brown commented on how her company deals with that.

“We work through that anger and instead make it a celebration of those performers,” said Brown. “I want to do the performers that came before me justice.”

Brown recently finished choreographing for Jonathan Lethem’s musical “Fortess of Solitude,” expected to open in Los Angeles and eventually make its way to a Broadway stage.

When asked what she wanted to get better at, Brown responded by saying, “everything.”

“You’re always a student and I am constantly learning,” said Brown.

.Brown’s residency is largely funded by a grant from the College of Humanities and Fine Arts. The lecture was in conjunction with the Barbara Morgan Dance Photography exhibit, which is on display until Oct. 16. Brown’s piece, “New Second Line,” will be performed in the University Dancers show, Dec. 2-3 at Bowker Auditorium.