KATIE BURKS
If movement is involved,
I'm interested.
Katie Burks is an American dancer,
choreographer, educator, and adventurer.
Frequently Asked Questions
Dallas, Texas | October 11–13th 2024
Hailed as "Moving" by Dallas Theatre Journal and “Powerfully Palpable” by Onstage NTX, HAZARDS is a dance-theatre production surrounding the topic of forced displacement. The production celebrated its World Premiere as part of the AT&T Performing Arts Center's Elevator Project 2024-2025 season and is currently being reworked for a wider audience and adapted to evolving themes.
Фестиваль надії - Celebrating Hope Concert
Warsaw, Poland | May 13th 2023
(Ukrainian: Festival of Hope) Performance Concert in support of refugees impacted by the Russian invasion of Ukraine presented by Artists Sans Frontières nonprofit
Burden
Warsaw, Poland | July 2022
Created in partnership with English contemporary dance company The Glitch Project to investigate the generational burden placed upon all impacted by the Russian invasion of Ukraine
Global | October 30th 2020
Auteur. Global "solo" production presented as the capstone project of MFA research combining elements of fear, movement, sound design, and lighting design
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised approximately $3,000 for non-profit The Aspire Project
Creative Dance Workshop
Wenzhou, China | July 5–8th 2019
Teaching Artist. Creative Dance, Technique, and Choreography workshop organized by UK-China Performing Arts
Greenwich Music Time Festival
London, England | July 2nd 2019
Performer, Boundless Skies. Instructor, Painting the Sky adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14–15th, 2019
Choreographer + Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by GesamtAtelier
Architectural Association Interprofessional Studio | London, England
Freelance Artist, 2018 - 2020
Performer and Collaborator in projects including A Portrait of Humans (2018) and Processing (2019),
Choreographer 21.21.2.1.0. (2020)
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
The Aspire Project
Portland, Oregon
Attack Theatre
Pittsburgh, Pennsylvania Booker T. Washington High School for the Performing and Visual Arts (Guest)
Dallas, Texas
City of Garland and Garland Independent School District
Garland, Texas
CK Studios
Rockwall, Texas Crowd Pleasers Dance Camp
Dallas, Texas Legacy Dance Boutique
Richardson, Texas
The Jekyll and Hyde Club's Chamber of Horrors, quite literally.
Times Square, New York City
Old Royal Naval College
London, England
Point Park University (Community Classes)
Pittsburgh, Pennsylvania
Ready Set Grow
Portland, Oregon
Trinity Primary School
London, England
UK China Performing Arts
Wenzhou, China
XD2 Dance
Garland, Texas
and many more
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Eliza Larson, In Circadia | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Laura Stilwell, So What, Driftin' Blues, and more | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Mr. Robert Battle | Doug Bentz | John Cann | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Garfield Lemonius | Theo Lorenz | Jason McDole | Ariane Reinhart | Kyle Richards | Tanja Siems | Sam Situmorang | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Dr. Sara Wookey | Jesse Zaritt | And so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography, with Distinction 2020
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
Celebrating Hope
Warsaw, Poland | May 2023
Performance concert for residents of CPH Modlinska, Ukrainian refugee humanitarian aid center bringing together international performing artist dancers, musicians, and actors, and providing performance opportunity for children residents of the center
Burden
Warsaw, Poland | July 2022
Artists Sans Frontières partnered with The Glitch Project (London) to produce ASF's first residency-based immersive dance theatre work supporting performing artists from Ukraine and Belarus
Global | October 30th 2020
Horror dance-theatre production based on Total Theatre and the process of generating fear for dance and theatrical stage
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised
approximately $3,000 for local non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Four-day Creative Dance and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by Gesamtatelier
AAIS - Architectural Interprofessional Studios | London, OR
Performance Projects, 2018-2019
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Contractor, Teaching Artist, Dancer 2011 - 2014
Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball
Zoe Bennett | New York, NY
Performance Project, 2014
Distilled Vinegar reconstructed at Dixon Place
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Jason McDole | Ariane Reinhart | Kyle Richards | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Sara Wookey | Jesse Zaritt | and so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised
approximately $3,000 for local non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Four-day Creative Dance and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by Gesamtatelier
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Jason McDole | Ariane Reinhart | Kyle Richards | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Sara Wookey | Jesse Zaritt | and so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance practitioners including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017 - 2018 season.
Katie began professionally teaching dance in 2012, after a broken jaw rendered a prolonged performance [career]. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and ___ for their [ineffable] wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at encouraging children.
In 1993, Katie forced three younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been choreographing and bossing dancers around ever since.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
PERFORMANCE
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
TEACHING
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
CHOREOGRAPHY
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
BUSINESS
In 2020, Katie merged a longstanding dabbling in copywriting and telling people how to do things online better to begin a digital advertising agency. She has since narrowed down her client intake to serve the performing arts community and helps both for-profit and 501(c)3 organizaitons generate leads and sales through teaching clickfunnels, social media optimization, and ____ through [her program].
CURRENT
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
PERFORMANCE
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
TEACHING
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
CHOREOGRAPHY
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
BUSINESS
In 2020, Katie merged a longstanding dabbling in copywriting and telling people how to do things online better to begin a digital advertising agency. She has since narrowed down her client intake to serve the performing arts community and helps both for-profit and 501(c)3 organizaitons generate leads and sales through teaching clickfunnels, social media optimization, and ____ through [her program].
CURRENT
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
Global | October 30th 2020
Horror dance-theatre production based on Total Theatre and the process of generating fear for dance and theatrical stage.
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised
approximately $3,000 for local non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Four-day Creative Dance and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by Gesamtatelier
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Jason McDole | Ariane Reinhart | Kyle Richards | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Sara Wookey | Jesse Zaritt | and so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
Global | October 30th 2020
Horror dance-theatre production based on Total Theatre and the process of generating fear for dance and theatrical stage.
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised
approximately $3,000 for local non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Four-day Creative Dance and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by Gesamtatelier
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Jason McDole | Ariane Reinhart | Kyle Richards | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Sara Wookey | Jesse Zaritt | and so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
Global | October 30th 2020
Arteur. Global "solo" production presented as the capstone project of MFA research combining elements of fear, movement, sound design, and lighting design
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised approximately $3,000 for non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Creative Dance, Technique, and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by GesamtAtelier
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Theo Lorenz | Jason McDole | Ariane Reinhart | Kyle Richards | Tanja Siems | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Dr. Sara Wookey | Jesse Zaritt | And so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography, with Distinction 2020
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
Global | October 30th 2020
Horror dance-theatre production based on Total Theatre and the process of generating fear for dance and theatrical stage.
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised
approximately $3,000 for local non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Four-day Creative Dance and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by Gesamtatelier
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Jason McDole | Ariane Reinhart | Kyle Richards | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Sara Wookey | Jesse Zaritt | and so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
PERFORMANCE
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
TEACHING
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
CHOREOGRAPHY
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
BUSINESS
In 2020, Katie merged a longstanding dabbling in copywriting and telling people how to do things online better to begin a digital advertising agency. She has since narrowed down her client intake to serve the performing arts community and helps both for-profit and 501(c)3 organizaitons generate leads and sales through teaching clickfunnels, social media optimization, and ____ through [her program].
CURRENT
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
A proud native of Dallas, Texas, Katie is a graduate of Booker T. Washington High School for the Performing and Visual Arts. She holds a Bachelor of Arts in Dance from Point Park University, from where she graduated cum laude.
Katie has enjoyed a diverse performance career working for dance companies including Fault Line Dance (PDX) and Attack Theatre (PGH) and performing with various entities as different as Shen Wei Dance Arts (NYC) and the Dallas Cowboys Cheerleaders (DFW). She has been blessed to work alongside and perform the works of many life-changing dance icons including Mr. Robert Battle, Peter Chu, Larry Keigwin, Jessica Lang, and the ineffable Twyla Tharp. A founding member of Portland, Oregon's Leoné Dance Theatre, Katie served as the Jazz dance company's Rehearsal Director throughout their 2017-2018 season.
Katie began professionally teaching dance in 2012 after a broken jaw haulted her performance training and career. She owes the world to dance education mentors Melissa Glasgow, Sue Darrow, Gerri Houlihan, and Dr. Sara Wookey for their profound wisdom and fortitude, and she is so grateful for the ability to speak she will never stop yelling at (encouraging) young dancers to make every second count.
As early as 1993, Katie forced two younger siblings to run around the living room to "Under the Sea" costumed in inflatable duck floats and arm wings. She's been bossing dancers around and choreographing ever since, and thanks Donna for the everlasting support in doing so.
In November of 2020, Katie submitted a graduate thesis to qualify for a Master of Fine Arts in Choreography from Trinity Laban Conservatoire of Music and Dance. She anxiously awaits the results, which will be posted in March of 2021 due to the pandemic.
In conjunction with and as the capstone project of her MFA graduate research, Katie produced her first global "solo" show, TOTAL FEAR.
Currently: Texas, USA.
More often than not, my whereabouts are made public through my social media accounts. If you see I've tagged your stomping ground and you A) aren't psycho, B) are nearby, and C) are craving adventure, please message me! I love making new connections - so long as I'm not actively running a black ops mission in the middle of a jungle, facilitating a jewelry heist, or stowed away on a barge. In the event I am fully off-grid, your best chance of finding me is via bat signal. I suggest you use a moose instead of a bat to avoid confusion, but I respond to either.
Currently: Texas, USA.
More often than not, my location whereabouts are made public through my social media accounts. If you see I've tagged your stomping ground and you A) aren't psycho, B) are nearby, and C) are craving adventure, please message me! I love making new connections - so long as I'm not actively running a black ops mission in the middle of a jungle, on a jewelry heist, or stowed away on a barge. However, In the event I'm fully off-grid, your best chance of finding me is via bat signal. I suggest you use a moose instead of a bat to avoid confusion, but I respond to either.
Home Base: Dallas-Fort Worth (DFW), Texas, USA
More often than not, my traveling whereabouts outside the Lone Star State are made public through my social media accounts. If you see that I've tagged your stomping ground, and you A) aren't psycho, B) are nearby, and C) are craving adventure, please message me! I love making new connections - so long as I'm not actively running a black ops mission in the middle of a jungle, facilitating a jewelry heist, or stowed away on a barge. In the event I am fully off-grid, your best chance of finding me is via bat signal. I suggest you use a moose instead of a bat to avoid confusion, but I respond to either.
Currently: Texas, USA.
More often than not, my whereabouts are made public through my social media accounts. If you see I've tagged your stomping ground and you A) aren't psycho, B) are nearby, and C) are craving adventure, please message me! I love making new connections - so long as I'm not actively running a black ops mission in the middle of a jungle, facilitating a jewelry heist, or stowed away on a barge. In the event I am fully off-grid, your best chance of finding me is via bat signal. I suggest you use a moose instead of a bat to avoid confusion, but I respond to either.
Currently: Texas, USA.
More often than not, my whereabouts are made public through my social media accounts. If you see I've tagged your stomping ground and you A) aren't psycho, B) are nearby, and C) are craving adventure, please message me! I love making new connections - so long as I'm not actively running a black ops mission in the middle of a jungle, facilitating a jewelry heist, or stowed away on a barge. In the event I am fully off-grid, your best chance of finding me is via bat signal. I suggest you use a moose instead of a bat to avoid confusion, but I respond to either.
Currently: Texas, USA.
If I want to be found, a rough location can be stalked via Instagram or facebook.
If you're not psycho, happen to be close, and want to meet, message me!
I love making new friends so long as I'm not actively running a black ops mission in the middle of a jungle, on a jewelry heist, or stowed away on a barge. In which case, you won't be able to find me, and my Mom definitely won't help you, so don't even ask.
The question I most often get asked is more often than not phrased, "But where do you live though?"
Location Independence means trading expenses / amenities like a morgage, car payment, or location-based income source in order to prioritize movement.
That's really the key - I have to be moving. I won't sit still. I don't do well confined to one city for more than a few years. Post-pandemic, that alotment of time shortened to just a few months. I'm constantly yearning to move, be it through travel, dance, or adventure, and I get anxious and depressed when I don't or I can't. Call it functioning ADHD, anxiety, or just call me psycho like my friends do (lovingly). The fact is, settling down in one place, planting roots, and finding stability doesn't float my kayak right now. Maybe one day. But for now, chaos, uncertainty, and unpredictiablity fuel my fire.
So, I stay places as long as I'm happy there, which tends to necessatate a different answer depending on the month, or sometimes even the day. The longest I lived in one place was 18 years - I was born and raised in DFW. My parents and childhood friends remain there, thus I still call Texas home. The shortest I've lived somewhere was for less than five weeks. (I should note that I qualify "living" somewhere as having a personal, residential address versus crashing on someone's couch or renting a room for a week or two. That I call traveling.)
I love the phrase global citizen, as I'm prideful to be American and Texan but have never felt either qualify as home. I feel most at home in one of three places: standing on a proscenium stage, looking through a camera lens, or soaking in a kickass view somewhere epic.
Find your home.
I'm most often asked this question as, "Where are you living right now?"
Location Independence means trading expenses / amenities like the stability of a mortgage or a location-based income source in order to prioritize movement. That's really the key - I have to be moving - be it through dancing or through changing my physical environment.
I'm prideful to be American and to be Texan, but I feel most at home when I'm not at home (in any sense of the word). Instead, I feel at home when standing on a proscenium stage, collaborating with creative individuals, adventuring outdoors, or exploring beautiful places. This is not always an easy pursuit - my downtime is most often spent sleeping outside, en route to my next destination, or in the wings of a theatre - but because of this lifestyle my life is wild, wonderful, and truly my own.
I'm most often asked this question as, "Where are you living right now?"
Location Independence means trading expenses / amenities like the stability of a mortgage or a location-based income source in order to prioritize movement. That's really the key - I have to be moving - be it through dancing or through changing my physical environment.
I'm prideful to be American and to be Texan, but I feel most at home when I'm not at home (in any sense of the word). Instead, I feel at home when standing on a proscenium stage, collaborating with creative individuals, adventuring outdoors, or exploring beautiful places. This is not always an easy pursuit - my downtime is most often spent sleeping outside, en route to my next destination, or in the wings of a theatre - but because of this lifestyle my life is wild, wonderful, and truly my own.
I'm most often asked this question as, "Where are you living right now?"
Location Independence means trading expenses / amenities like the stability of a mortgage or a location-based income source in order to prioritize movement. That's really the key - I have to be moving - be it through dancing or through changing my physical environment.
I'm prideful to be American and to be Texan, but I feel most at home when I'm not at home (in any sense of the word). Instead, I feel at home when standing on a proscenium stage, collaborating with creative individuals, adventuring outdoors, or exploring beautiful places. This is not always an easy pursuit - my downtime is most often spent sleeping outside, en route to my next destination, or in the wings of a theatre - but because of this lifestyle my life is wild, wonderful, and truly my own.
I'm most often asked this question as, "Where are you living right now?"
Location Independence means trading expenses / amenities like the stability of a morgage or a location-based income source in order to prioritize movement. That's really the key - I have to be moving - be it through dancing or through changing my physical environment.
I'm prideful to be American and to be Texan, but stability doesn't float my kayak. I feel most at home when I'm not at home (in any sense of the word). Instead, I find I feel at home when standing on a proscenium stage, collaborating with creative individuals, adventuring outdoors, or exploring beautiful places. This is not always an easy pursuit - my downtime is most often spent sleeping outside or in the wings of a theatre - but because of this lifestyle my life is wild, and wonderful.
• Company Director + Dance Instructor | XD2 Dance, Garland, Texas
• Writer + Co-Producer | The Dark Grey Podcast Series
• 2021 Travel Schedule: Arkansas, Colorado, Connecticut, Mexico, Missouri, New Jersey, New York, Oklahoma, Wyoming (more announced soon)
Short Answer: No, and the kind that prefers to get paid for her work (a kind less prominent than you might think!)
Long, novel-length answer:
Growing up, I studied Ballet, Jazz, and Tap fundamentals alongside gymnastics, cheer tumbling, and musical theatre. Raised exceptionally Southern, I also trained in baton twirling... a lot. In fact, I spent so much of my childhood twirling that I had the privilege of being one of 16 to represent Team USA by performing at the Sydney Olympics - and you can bet those batons were dragged all the way down under for the show!
Soon after, a competitive dance studio introduced me to the world of Contemporary dance and I pursued focused training in Ballet, Jazz, and Contemporary. Following in the footsteps of the studio's Artistic Director, I auditioned for Booker T. Washington High School for the Performing and Visual Arts to study dance pre-professionally.
It was there, at 14 years old, that I was exposed to Modern Dance’s Martha Graham and Lester Horton techniques, and I fell madly in love with the idea of a concert dance career. Dallas’ premiere dance presenter, TITAS, exposed me to every dance company and dance performance imaginable; I took workshops and learned from more dance icons than I can currently count. By 18, I had worked alongside and learned from more dance professionals than most dancers get to meet in their lifetime - and that was only the beginning.
Studying Dance at Point Park University and spending three summers at The American Dance Festival, I continued training in Ballet, Jazz, and Modern Dance. Point Park's curriculum taught in-depth Graham and Horton techniques as well as Katherine Dunham technique, while the ADF taught me José Limón technique and introduced me to the style of Postmodern dance. Along the way, I was also exposed to the styles and teachings of dance masters Lar Lubovitch, Mark Morris, David Parsons, Paul Taylor, Twyla Tharp, Shen Wei, Doug Varone, and more. I soon began dancing professionally for Contemporary and Jazz dance organizations across the USA.
Some years later, I moved to England to pursue graduate studies at Trinity Laban Conservatoire of Music and Dance, where I was exposed to interdisciplinary art and performance art. I watched a lot of dance and a lot of hyper-visual performance work that called itself dance but was absolutely not dance. I recognized the prevalence of dance in the museum and in site-specific locations abroad versus the traditionally stage-based work presented in the USA. But mostly, I held steadfast to the belief that my country (and the many great dance masters that came from it) pioneered Modern Dance, while my school's Hungarian namesake alongside many great other dance masters pioneered European Expressionist Dance.
So, I spend a lot of time calling myself a Modern dancer when abroad, mostly for the sake of American pride (moot that I don't work for the Martha Graham Dance Company, the Paul Taylor Dance Company, etc.). When making dances, I tend to select dancers who have a rather Americanized Jazz dance background in addition to steadfast Ballet training (or in my favorite special case, a European heavily trained in Latin ballroom dance alongside Ballet). And to save everyone from the long-winded explanation, I just say I'm a "contemporary dancer" to cover everything!
LIVE DANCE + THEATRE
There are no live performance projects and/or productions scheduled at this time.
Please check back soon for updates.
KIDS RECREATIONAL + PRE-PROFESSIONAL CLASSES
Available for ages 2-18. Fall term begins August 9th. Contact for registration Info.
ADULT MOVEMENT CLASSES
Upcoming classes, workshops, or lectures available to the general public in-person or accessible online will be posted here. Please check back soon for updates.
OUTDOOR ADVENTURE
There are no group excursions planned at this time.
Short Answer: No, and the kind that prefers to get paid for her work (a kind less prominent than you might think!)
Long, novel-length answer:
Growing up, I studied Ballet, Jazz, and Tap fundamentals alongside gymnastics, cheer tumbling, and musical theatre. Raised exceptionally Southern, I also trained in baton twirling... a lot. In fact, I spent so much of my childhood twirling that I had the privilege of being one of 16 to represent Team USA by performing at the Sydney Olympics - and you can bet those batons were dragged all the way down under for the show!
Soon after, a competitive dance studio introduced me to the world of Contemporary dance and I pursued focused training in Ballet, Jazz, and Contemporary. Following in the footsteps of the studio's Artistic Director, I auditioned for Booker T. Washington High School for the Performing and Visual Arts to study dance pre-professionally.
It was there, at 14 years old, that I was exposed to Modern Dance’s Martha Graham and Lester Horton techniques, and I fell madly in love with the idea of a concert dance career. Dallas’ premiere dance presenter, TITAS, exposed me to every dance company and dance performance imaginable; I took workshops and learned from more dance icons than I can currently count. By 18, I had worked alongside and learned from more dance professionals than most dancers get to meet in their lifetime - and that was only the beginning.
Studying Dance at Point Park University and spending three summers at The American Dance Festival, I continued training in Ballet, Jazz, and Modern Dance. Point Park's curriculum taught in-depth Graham and Horton techniques as well as Katherine Dunham technique, while the ADF taught me José Limón technique and introduced me to the style of Postmodern dance. Along the way, I was also exposed to the styles and teachings of dance masters Lar Lubovitch, Mark Morris, David Parsons, Paul Taylor, Twyla Tharp, Shen Wei, Doug Varone, and more. I soon began dancing professionally for Contemporary and Jazz dance organizations across the USA.
Some years later, I moved to England to pursue graduate studies at Trinity Laban Conservatoire of Music and Dance, where I was exposed to interdisciplinary art and performance art. I watched a lot of dance and a lot of hyper-visual performance work that called itself dance but was absolutely not dance. I recognized the prevalence of dance in the museum and in site-specific locations abroad versus the traditionally stage-based work presented in the USA. But mostly, I held steadfast to the belief that my country (and the many great dance masters that came from it) pioneered Modern Dance, while my school's Hungarian namesake alongside many great other dance masters pioneered European Expressionist Dance.
So, I spend a lot of time calling myself a Modern dancer when abroad, mostly for the sake of American pride (moot that I don't work for the Martha Graham Dance Company, the Paul Taylor Dance Company, etc.). When making dances, I tend to select dancers who have a rather Americanized Jazz dance background in addition to steadfast Ballet training (or in my favorite special case, a European heavily trained in Latin ballroom dance alongside Ballet). And to save everyone from the long-winded explanation, I just say I'm a "contemporary dancer" to cover everything!
Short Answer: No, and the kind that prefers to get paid for her work (a kind less prominent than you might think!)
Long, novel-length answer:
Growing up, I studied Ballet, Jazz, and Tap fundamentals alongside gymnastics, cheer tumbling, and musical theatre. Raised exceptionally Southern, I also trained in baton twirling... a lot. In fact, I spent so much of my childhood twirling that I had the privilege of being one of 16 to represent Team USA by performing at the Sydney Olympics - and you can bet those batons were dragged all the way down under for the show!
Soon after, a competitive dance studio introduced me to the world of Contemporary dance and I pursued focused training in Ballet, Jazz, and Contemporary. Following in the footsteps of the studio's Artistic Director, I auditioned for Booker T. Washington High School for the Performing and Visual Arts to study dance pre-professionally.
It was there, at 14 years old, that I was exposed to Modern Dance’s Martha Graham and Lester Horton techniques, and I fell madly in love with the idea of a concert dance career. Dallas’ premiere dance presenter, TITAS, exposed me to every dance company and dance performance imaginable; I took workshops and learned from more dance icons than I can currently count. By 18, I had worked alongside and learned from more dance professionals than most dancers get to meet in their lifetime - and that was only the beginning.
Studying Dance at Point Park University and spending three summers at The American Dance Festival, I continued training in Ballet, Jazz, and Modern Dance. Point Park's curriculum taught in-depth Graham and Horton techniques as well as Katherine Dunham technique, while the ADF taught me José Limón technique and introduced me to the style of Postmodern dance. Along the way, I was also exposed to the styles and teachings of dance masters Lar Lubovitch, Mark Morris, David Parsons, Paul Taylor, Twyla Tharp, Shen Wei, Doug Varone, and more. I soon began dancing professionally for Contemporary and Jazz dance organizations across the USA.
Some years later, I moved to England to pursue graduate studies at Trinity Laban Conservatoire of Music and Dance, where I was exposed to interdisciplinary art and performance art. I watched a lot of dance and a lot of hyper-visual performance work that called itself dance but was absolutely not dance. I recognized the prevalence of dance in the museum and in site-specific locations abroad versus the traditionally stage-based work presented in the USA. But mostly, I held steadfast to the belief that my country (and the many great dance masters that came from it) pioneered Modern Dance, while my school's Hungarian namesake alongside many great other dance masters pioneered European Expressionist Dance.
So, I spend a lot of time calling myself a Modern dancer when abroad, mostly for the sake of American pride (moot that I don't work for the Martha Graham Dance Company, the Paul Taylor Dance Company, etc.). When making dances, I tend to select dancers who have a rather Americanized Jazz dance background in addition to steadfast Ballet training (or in my favorite special case, a European heavily trained in Latin ballroom dance alongside Ballet). And to save everyone from the long-winded explanation, I just say I'm a "contemporary dancer" to cover everything!
Technically, I'm a contemporary dancer. But you name it and I've probably done it:
Growing up, I studied Ballet, Jazz, and Tap fundamentals alongside gymnastics, cheer tumbling, and musical theatre. Raised exceptionally Southern, I also trained in baton twirling...a lot. In fact, I spent so much of my childhood twirling that I had the privlege of being one of 16 to represent Team USA by performing at the Sydney Olympics - and you can bet those batons got dragged all the way down under for the show!
Soon after, a competitive dance studio introduced me to the world of Contemporary dance and I pursued focused training in Ballet, Jazz, and Contemporary. Following in the footsteps of the studio's Artistic Director, I auditioned for Booker T. Washington High School for the Performing and Visual Arts to study dance pre-professionally.
It was there, at 14 years old, that I was exposed to Modern Dance's Martha Graham and Lester Horton techniques, and I fell madly in love with the idea of a concert dance career. Texas' leading dance presenter, TITAS, exposed me to every dance company performance imaginable, and I took workshops and learned from more dance icons than I can currently count. Through Booker T.'s Repertory Dance Companies, I was afforded the exceptional privledge of working with and performing the works of American dance icons such as Mr. Robert Battle, Larry Keigwin, Jessica Lang, Camille A. Brown, Christopher Vo, Kate Skarpowska, and more. By 19, I had worked alongside and learned from more dance professionals than most dancers get to meet in their lifetime - and that was only the beginning.
Studying Dance at Point Park University and spending three summers at The American Dance Festival, I continued training in Ballet, Jazz, and Modern Dance. Point Park's cirruculum taught in-depth Graham and Horton techniques as well as Katherine Dunham technique, while the ADF taught me Jose Limon technique and introduced me to the style of Postmodern dance. Along the way, I was also exposed to the styles and teachings of Paul Taylor, Mark Morris, Doug Varone, Lar Lubovitch, and even Eastern dance influences. By 22, I had again been ridiculously privledged to work with and perform the works of dance legend Twyla Tharp, dance master Shen Wei, and more, and I began dancing professionally for Contemporary and Jazz dance organizations across the USA.
"Some years later", I moved to England to pursue graduate studies at Trinity Laban Conservatoire of Music and Dance, where I realized that European concert dance is an entirely different world. (Mostly, I think, becasue arts funding is so different abroad, but also becasue the term "concert dance career" is synonomous only to American jargon.) Via travel and European exposure, I was exposed to interdisciplinary art and performance art. I watched a lot of hyper-visual performance work that called itself dance but was absolutely not dance. (A lot.) I recognized the prevalance of dance in the museum and in site-specific locations abroad versus the traditionally stage-based work presented in the USA. But mostly, I held steadfast to the belief that my country (and the many great dance masters that came from it) pioneered Modern Dance, while my school's Hungarian namesake pioneered European Expressionst Dance - and they are not the same.
So, I spend a lot of time calling myself a Modern dancer simply for the sake of pride, moot that I don't work for the Martha Graham Dance Company, the Paul Taylor Dance Company, etc. When making dances, I tend to select dancers who have a rather Americanized Jazz dance background (or in my favorite special case, a European background heavily trained in Latin ballroom dance). And to save everyone from the long-winded explination, I just say I'm a "contemporary dancer" to cover everything.
Mostly Modern / Contemporary dance, but you name it, and I've done it.
Growing up, I studied Ballet, Jazz and Tap fundamentals alongside gymnastics & cheer tumbling, baton twirling, and musical theatre. (If I could move through it, I was doing it.)
I pursued focused training in Ballet, Modern dance, and Contemporary dance starting at age 12; at 14 I was exposed to Modern dance's Graham and Horton techniques and fell madly in love with the idea of a concert dance career. By 19 I was exposed to Post-Modern and Contemporary dance techniques, as well as a few Eastern influences. I began seriously choreographing. Now, Ballet and American Jazz dance heavily influence my work, but I label myself a contemporary dancer to save people from the long-winded explanation.
"Destiny, quite often, is a determined parent."
(Twyla Tharp's The Creative Habit.)
My Grandmother was an opera singer, originally trained to sing, dance, and perform alongside Vaudeville-era entertainers. My Grandfather was a Broadway lighting designer, photographer, and producer. I suppose I followed in both of their footsteps.
As soon as I could walk, my Mother enrolled me in dance classes. By 9 I had performed internationally; by 15 I had performed for 15,000-person crowds at Dallas Cowboy's halftime shows. When I wasn't dancing, I was getting lost in my family's acreage I named the "Creepy Forest," taking 35mm photos of birds and trees, and plowing over tarantulas or grasshoppers on a 4x4. I took my first photography class my senior year of High School, and claimed a double major in Photography my second year of undergrad. (I never finished the degree - my Junior year I broke my jaw in 3 places, suffered a massive concussion, and realizeda God had other plans.) But I never got away from the craft - no matter what city I found myself in, I always made friends most easily with photographers, video content creators, and creative individuals - humans with an eye for framing time, albeit off of a stage.
By 2019, I was disenchanted with the reality of a concert dance career, for many reasons. Namely, I was exhausted of being location-dependent. The notion didn't happen overnight, but it was certainly fueled by visiting Latin America for the first time. I was floored by the fact that in rural areas of Costa Rica and Nicaragua, movement wasn't commodified. Dance was a part of everyday living - not an extra entertainment entity to carve out time and escape the drudgery of the quotodian in order to consume. The same year, I turned 30, and the reality was, I was tired of moving to a city because finding my next company contract or gig necessitated doing so. I was uninterested in staying in one place for a pre-set amount of time. I'd lived and danced all over - Pittsburgh, Portland, Durham, New York, London, and so many more wonderful places - but the fact was, I felt stuck in every single one of them. I
only truly felt at home looking out at the world - through the wing of a theatre, the lens of a camera, or from the top of a hike.
So I threw away everything I'd been taught about success.
Again.
I threw that away again.
The first time was the decision to leave NYC, and it was one of the hardest decisions I've ever had to make.
Dancers flock to NYC left and right. A great friend says "new York is not the center of the dance world" and quotes Trey Mac moving his company to Boise (notoriously tht failed but give the guy credit where it's due. that shit takes gumption)
I remember writing down why was leaving NYC.
It wasn't because I thought I was better than the other dancers in the city.
it wasn't because I was jealous or caddy or cruel.
I wanted more.
at the time, I wrote I wanted trees that weren't as manicured as Central Park.
but the reality was, I wanted uncertainty.
I craved mystery and heartbreak and surprise.
and I'll never forget the exact moment I knew I was leaving:
I was standing in the bathroom of a DanceNYC meeting which discussed the government's funding for the city of NYC arts and culture. huge names were there - in dance, and in politics, and I was the scrappy new artist looking for networking contacts and leads on a sucesful future. there was a woman I idolized - her biography was badass, she did everything an dknew everyone, ran BAM (did Maria bowman do that?) made work, performed - the quadruple threat of the century. and as I washed my hands in the sink and told her I respected her work , had read her bio, was impressed, adn was new and was looking for advice for a way in a city that never sleeps - she dropped a bomb I wasn't ready for.
she looked me in the eyes and said
it takes about 3 years, to really find your way in a city. I think that's true for anywhere you live, but coming from the south, transitioning to NYC - it takes about 3 years to give up fighting for granite table tops, space on a train, (I'm making this up now) or ease of any kind. to settle, and stop wishing an dhoping anddreaming. to let the city Harden you. (maybe replace w 3 yr plan fo rsucess)
the truth was, I wanted none of it.
it wasn't fear, or insecurity, or anything like that.
I looked in the mirror, and I knew.
I wanted something else.
and so, I went and got it.
I threw away the idea that to be successful, you have to abide by the phrase jack of all trades, master of none.
that dance careers can only happen in a big city.
or have to look a certain way.
Find your own way.
Short Answer: No, and the kind that prefers to get paid for her work (a kind less prominent than you might think!)
Long, novel-length answer:
Growing up, I studied Ballet, Jazz, and Tap fundamentals alongside gymnastics, cheer tumbling, and musical theatre. Raised exceptionally Southern, I also trained in baton twirling... a lot. In fact, I spent so much of my childhood twirling that I had the privilege of being one of 16 to represent Team USA by performing at the Sydney Olympics - and you can bet those batons were dragged all the way down under for the show!
Soon after, a competitive dance studio introduced me to the world of Contemporary dance and I pursued focused training in Ballet, Jazz, and Contemporary. Following in the footsteps of the studio's Artistic Director, I auditioned for Booker T. Washington High School for the Performing and Visual Arts to study dance pre-professionally.
It was there, at 14 years old, that I was exposed to Modern Dance’s Martha Graham and Lester Horton techniques, and I fell madly in love with the idea of a concert dance career. Dallas’ premiere dance presenter, TITAS, exposed me to every dance company and dance performance imaginable; I took workshops and learned from more dance icons than I can currently count. By 18, I had worked alongside and learned from more dance professionals than most dancers get to meet in their lifetime - and that was only the beginning.
Studying Dance at Point Park University and spending three summers at The American Dance Festival, I continued training in Ballet, Jazz, and Modern Dance. Point Park's curriculum taught in-depth Graham and Horton techniques as well as Katherine Dunham technique, while the ADF taught me José Limón technique and introduced me to the style of Postmodern dance. Along the way, I was also exposed to the styles and teachings of dance masters Lar Lubovitch, Mark Morris, David Parsons, Paul Taylor, Twyla Tharp, Shen Wei, Doug Varone, and more. I soon began dancing professionally for Contemporary and Jazz dance organizations across the USA.
Some years later, I moved to England to pursue graduate studies at Trinity Laban Conservatoire of Music and Dance, where I was exposed to interdisciplinary art and performance art. I watched a lot of dance and a lot of hyper-visual performance work that called itself dance but was absolutely not dance. I recognized the prevalence of dance in the museum and in site-specific locations abroad versus the traditionally stage-based work presented in the USA. But mostly, I held steadfast to the belief that my country (and the many great dance masters that came from it) pioneered Modern Dance, while my school's Hungarian namesake alongside many great other dance masters pioneered European Expressionist Dance.
So, I spend a lot of time calling myself a Modern dancer when abroad, mostly for the sake of American pride (moot that I don't work for a Modern Dance company like the Martha Graham Dance Company, the Paul Taylor Dance Company, etc.). When making dances, I tend to select dancers who have a rather Americanized Jazz dance background in addition to steadfast Ballet training (or in my favorite special case, a European heavily trained in Latin ballroom dance alongside Ballet). And to save everyone from the long-winded explanation, I just say I'm a "contemporary dancer" to cover everything!
I'm not a bot! I do tend to keep such late hours that many people are suspicious I'm a vampire, but my birth certificate says I'm human.
Learn more about me + check out my credentials HERE.
My Grandmother was an opera singer that was originally trained to sing, dance, and perform alongside Vaudeville-era entertainers. My Grandfather is a retired Broadway lighting designer, photographer, and entertainment producer. People say talent skips a generation; I suppose I followed directly in both of their footsteps.
As soon as I could walk, my mother enrolled me in dance classes. Twyla Tharp says in her book The Creative Habit that, "Destiny, quite often, is a determined parent.” Mine was and remains the Dance Mom of the century: by the age of nine I had performed internationally. Soon after, I was performing for 50,000+ person crowds at Dallas Cowboy’s halftime shows. Who do you think dragged this girl out of bed at 5am to do her hair and makeup, or consistently ensured I was rehearsing? Thanks, Madre.
My mother also took care of three younger children until I was in public schooling, effectively giving this only child three younger siblings. Fittingly, my first choreographic premiere was in 1993, in which two children costumed in inflatable duck floats and arm wings ran around the room in a circle to the Disney song Under the Sea while I yelled at them to put their arms in the correct place and to run faster. Some say I’ve been bossing dancers around ever since.
Outside of dancing, my fondest childhood memories remain that of exploring the outdoors – especially getting lost on my Aunt and Uncle’s forest acreage. I’d spend ten percent of my time taking 35mm photos of buzzards I mistook for hawks and 90 percent plowing through tarantula webs and over grasshoppers on their 4x4 ATV. The former hobby stuck; I developed a serious interest in photography my senior year of high school and went on to pursue a BFA in photography alongside my undergraduate BA in dance.
Through the wonderful and influential friendships I made while in college in Pennsylvania, I fell in love with outdoor exploration even more. I learned to camp, hike, bike, and adventure. Off-roading a bicycle around Southside Pittsburgh, I got into an accident, broke my jaw in three places, and suffered a massive concussion. The crash necessitated rearranging a multitude of my priorities (including ability to finish the photography BFA). I left the Northeastern US to recover in Texas. Once partially recovered, a dear friend and mentor invited me to speak to her students and teach a masterclass surrounding the privilege of movement. I fell in love with teaching, returned to school and finished my Dance BA, and set off on a movement adventure that spanned the continental US.
Many years of performing, teaching, and making dances all over the world later, I found myself burnt out pursuing movement as a profession because I was exhausted of living location dependent. I tired of being confined to a singular metropolitan city because finding my next company contract, teaching role, or performance gig necessitated doing so. I wasn’t happy with the idea of staying in one location indefinitely.
I threw away everything I'd been taught about having a successful or meaningful dance career for the second time in my life (the first being leaving NYC and meeting the many humans in PDX that changed my life forever). I threw away the notion that in order to be successful, a dance career can only happen in a big city. In doing so, I began traveling and prioritizing global exploration. I learned about places in the world where movement isn’t simply an entertainment commodity nor educational supplement but a cultural necessity of everyday living. I began learning about entrepreneurship and how to prioritize time for the things that matter most. And I started slowly piecing together what works for me – moving on stage, in the classroom, and outdoors in any capacity. I hope you find what works for you too. xx
My Grandmother was an opera singer that was originally trained to sing, dance, and perform alongside Vaudeville-era entertainers. My Grandfather is a retired Broadway lighting designer, photographer, and entertainment producer. People say talent skips a generation; I suppose I followed directly in both of their footsteps.
As soon as I could walk, my mother enrolled me in dance classes. Twyla Tharp says in her book The Creative Habit that, "Destiny, quite often, is a determined parent.” Mine was and remains the Dance Mom of the century: by the age of nine I had performed internationally. Soon after, I was performing for 50,000+ person crowds at Dallas Cowboy’s halftime shows. Who do you think dragged this girl out of bed at 5am to do her hair and makeup, or consistently ensured I was rehearsing? Thanks, Madre.
My mother also took care of three younger children until I was in public schooling, effectively giving this only child three younger siblings. Fittingly, my first choreographic premiere was in 1993, in which two children costumed in inflatable duck floats and arm wings ran around the room in a circle to the Disney song Under the Sea while I yelled at them to put their arms in the correct place and to run faster. Some say I’ve been bossing dancers around ever since.
Outside of dancing, my fondest childhood memories remain that of exploring the outdoors – especially getting lost on my Aunt and Uncle’s forest acreage. I’d spend ten percent of my time taking 35mm photos of buzzards I mistook for hawks and 90 percent plowing through tarantula webs and over grasshoppers on their 4x4 ATV. The former hobby stuck; I developed a serious interest in photography my senior year of high school and went on to pursue a BFA in photography alongside my undergraduate BA in dance.
Through the wonderful and influential friendships I made while in college in Pennsylvania, I fell in love with outdoor exploration even more. I learned to camp, hike, bike, and adventure. Off-roading a bicycle around Southside Pittsburgh, I got into an accident, broke my jaw in three places, and suffered a massive concussion. The crash necessitated rearranging a multitude of my priorities (including ability to finish the photography BFA). I left the Northeastern US to recover in Texas. Once partially recovered, a dear friend and mentor invited me to speak to her students and teach a masterclass surrounding the privilege of movement. I fell in love with teaching, returned to school and finished my Dance BA, and set off on a movement adventure that spanned the continental US.
Many years of performing, teaching, and making dances all over the world later, I found myself burnt out pursuing movement as a profession because I was exhausted of living location dependent. I tired of being confined to a singular metropolitan city because finding my next company contract, teaching role, or performance gig necessitated doing so. I wasn’t happy with the idea of staying in one location indefinitely.
I threw away everything I'd been taught about having a successful or meaningful dance career for the second time in my life (the first being leaving NYC and meeting the many humans in PDX that changed my life forever). I threw away the notion that in order to be successful, a dance career can only happen in a big city. In doing so, I began traveling and prioritizing global exploration. I learned about places in the world where movement isn’t simply an entertainment commodity nor educational supplement but a cultural necessity of everyday living. I began learning about entrepreneurship and how to prioritize time for the things that matter most. And I started slowly piecing together what works for me – moving on stage, in the classroom, and outdoors in any capacity. I hope you find what works for you too. xx
My Grandmother was an opera singer that was originally trained to sing, dance, and perform alongside Vaudeville-era entertainers. My Grandfather is a retired Broadway lighting designer, photographer, and entertainment producer. People say talent skips a generation; I suppose I followed directly in both of their footsteps.
As soon as I could walk, my mother enrolled me in dance classes. Twyla Tharp says in her book The Creative Habit that, "Destiny, quite often, is a determined parent.” Mine was and remains the Dance Mom of the century: by the age of nine I had performed internationally. Soon after, I was performing for 50,000+ person crowds at Dallas Cowboy’s halftime shows. Who do you think dragged this girl out of bed at 5am to do her hair and makeup, or consistently ensured I was rehearsing? Thanks, Madre.
My mother also took care of three younger children until I was in public schooling, effectively giving this only child three younger siblings. Fittingly, my first choreographic premiere was in 1993, in which two children costumed in inflatable duck floats and arm wings ran around the room in a circle to the Disney song Under the Sea while I yelled at them to put their arms in the correct place and to run faster. Some say I’ve been bossing dancers around ever since.
Outside of dancing, my fondest childhood memories remain that of exploring the outdoors – especially getting lost on my Aunt and Uncle’s forest acreage. I’d spend ten percent of my time taking 35mm photos of buzzards I mistook for hawks and 90 percent plowing through tarantula webs and over grasshoppers on their 4x4 ATV. The former hobby stuck; I developed a serious interest in photography my senior year of high school and went on to pursue a BFA in photography alongside my undergraduate BA in dance.
Through the wonderful and influential friendships I made while in college in Pennsylvania, I fell in love with outdoor exploration even more. I learned to camp, hike, bike, and adventure. Off-roading a bicycle around Southside Pittsburgh, I got into an accident, broke my jaw in three places, and suffered a massive concussion. The crash necessitated rearranging a multitude of my priorities (including ability to finish the photography BFA). I left the Northeastern US to recover in Texas. Once partially recovered, a dear friend and mentor invited me to speak to her students and teach a masterclass surrounding the privilege of movement. I fell in love with teaching, returned to school and finished my Dance BA, and set off on a movement adventure that spanned the continental US.
Many years of performing, teaching, and making dances all over the world later, I found myself burnt out pursuing movement as a profession because I was exhausted of living location dependent. I tired of being confined to a singular metropolitan city because finding my next company contract, teaching role, or performance gig necessitated doing so. I wasn’t happy with the idea of staying in one location indefinitely.
I threw away everything I'd been taught about having a successful or meaningful dance career for the second time in my life (the first being leaving NYC and meeting the many humans in PDX that changed my life forever). I threw away the notion that in order to be successful, a dance career can only happen in a big city. In doing so, I began traveling and prioritizing global exploration. I learned about places in the world where movement isn’t simply an entertainment commodity nor educational supplement but a cultural necessity of everyday living. I began learning about entrepreneurship and how to prioritize time for the things that matter most. And I started slowly piecing together what works for me – moving on stage, in the classroom, and outdoors in any capacity. I hope you find what works for you too. xx
I'm not a bot! I do tend to keep such late hours that many people are suspicious I'm a vampire, but my birth certificate says I'm human.
Learn more about me + check out my credentials HERE.
I'm not a bot! I do tend to keep such late hours that many people are suspicious I'm a vampire, but my birth certificate says I'm human.
Learn more about me + check out my credentials HERE.
I'm not a bot! I do tend to keep such late hours that many people are suspicious I'm a vampire, but my birth certificate says I'm human.
Learn more about me + check out my credentials HERE.
Global | October 30th 2020
Horror dance-theatre production based on Total Theatre and the process of generating fear for dance and theatrical stage.
Portland, OR | September 14th 2019
Creator. 90-minute benefit dance production based on research of perception and accessibility which raised
approximately $3,000 for local non-profit The Aspire Project
Wenzhou, China | July 5-8th 2019
Teaching Artist. Four-day Creative Dance and Choreography workshop organized by UK-China Performing Arts
London, England | July 2nd 2019
Performer, Boundless Skies; Instructor, Painting the Sky - an adaptation of Boundless Skies through dance and music composition workshops held with 40+ Primary School students and musician Richard Navarro
Athens, Greece | June 14– 15th, 2019
Choreographer and Performer, Processing (in collaboration with AAIS) and solo work Thread (world premiere) as part of Interdisciplinary Festival presented by Gesamtatelier
Leoné Dance Theatre | Portland, OR
One Year Contract, 2017- 2018
Founding Member, Rehearsal Director
Fault Line Dance | Portland, OR
One Year Contract, 2016-2017
Founding Member, Executive Assistant to Artistic Director Eliza Larson
Attack Theatre | Pittsburgh, PA
Independent Artist, 2011 - 2014
Teaching Artist, Dancer – Game Night and the Seven-Minute Dance Series, annual productions of The Dirty Ball, etc
Shen Wei Dance Arts | New York, NY
Performance Project, 2012
Undivided Divided presented at North Carolina Museum of Art
Repertory Dance Companies I and II | Dallas, TX
Educational, 2007-2009
Booker T. Washington High School for the Performing and Visual Arts
Those Gracious Enough To Let Me Perform Their Work:
Camille A. Brown, Sand | Peter Chu, Smell Memory with Nine | Bill T. Jones via Stuart Singer, Chapel Chapter | Larry Keigwin, Angels of Anxiety | Jessica Lang, Prayers | Mark Morris via Elisa Clark, Polka and Bedtime | Judith Leifer-Bentz, 9 Minutes | Solveig Santillano, Faces of Trafficking | Kate Skarpetowska, Tidal Intersections | Twyla Tharp, Treefrog in Stonehenge | Christopher Vo, On The Cusp and Remembrance
Those Gracious Enough to Teach Me:
Doug Bentz | Mr. Robert Battle | Elisa Clark | Dr. Rosanne Cox | Sue Darrow | Michele de la Reza | Melissa Glasgow | Mark Haim | Ms. Gerri Houlihan | Dr. Linda James | Peter Kope | Eliza Larson | Garfield Lemonius | Jason McDole | Ariane Reinhart | Kyle Richards | Laura Stilwell | Jeannie Strain | Tony Thatcher | Deborah Weaver | Lee Ann Strain-Whittington | Lily Weiss | Sara Wookey | Jesse Zaritt | and so many more...
Trinity Laban Conservatoire of Music and Dance | London, England
Master of Fine Arts in Choreography
Programme Leader: Tony Thatcher
Point Park University | Pittsburgh, Pennsylvania
Bachelor of Arts in Dance, cum laude 2013
Artistic Director: Susan Stowe
Booker T. Washington High School for the Performing and Visual Arts | Dallas, Texas Artistic Director: Lilly Weiss