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Bio

 

About Katie Workum

Katie Workum began making dances in 1997.  She has been presented by MASS MoCA, Mount Tremper Arts, Danspace Project, Movement Research at Judson Church, Dance New Amsterdam, Dance Theater Workshop and  many other NYC-based venues as well as through series such as PS122’s COIL and Catch.   She has been an artist in residence at Chez Bushwick, Dance new Amsterdam, Mount Tremper Arts, The Kitchen, Tribeca Performing Arts and others. Described by the New York Times as “serious and ambitious,” she has been supported by New York State Council of the Arts, The Foundation for Contemporary Arts Emergency Grant, Concord Academy Summer Stages, and The Astral Artists.  She was part of the curatorial team for DANCEOFF! With Terry Dean Bartlett, a dance cabaret series at Performance Space 122 for many years. Additionally, DANCEOFF! was presented at Tanz Im August in Berlin, Lincoln Center Out of Doors Festival, Symphony Space and Joe’s Pub.  As a dancer, she has worked with and has learned a great deal from: Ivy Baldwin, Young Jean Lee, Katy Pyle, David Neumann, Stacy Dawson, Ken Ninzel, Elizabeth Streb, Sarah East Johnson, Jenny Seastone Stern, and Julia Jonas. She holds a Master’s in Dance Education at NYU and has been a guest teacher at Brooklyn Studios for Dance, Gibney Dance Center, DNA, Barnard, NYU Experimental Theater Wing, and Lehman College. Off the dance floor, Katie lives in Brooklyn with her family of four plus cat.

ARTIST STATEMENT

I make dances that meld our common experiences with the expansive potential of the natural body. I like to create work that is both an investigation of the formal elements of dance: how bodies move within structures of space and time and the messier humany-ness of the dancers as people within these carriages. My dances can be textured with a specific time and place and utilize form, psychology and atmosphere create a dynamic push and pull within each piece.

In my current practice I have stripped set movement and content and the dances unfold in real time. This shift is the result of my ongoing examination of the duality between mind and body through a rehearsal methodology based in the improvisational technique Authentic Movement. With repeated practice expanded physical, intellectual and emotional possibilities grow, intertwine, and lead to a more integrated persona, performative availability and my understanding and embodiment of the form has profoundly shifted: my choreography is a simple yet bold willingness to be seen and see, and to create by listening to real time and space.

I am always interested in creating a generous and fluid space that allows the dancer and viewer to transmit a shared feeling, sensation or stirring of a private memory. I want to let the audience in on what we are doing and experiencing to broaden our specific viewpoints and bring us to a broader collective. I received my training on soccer fields, hockey rinks and dance studios, with cello lessons, musicals, plays, in math classrooms and from a deep involvement with the natural world. This personal and physical history informs my style of moving and creating work: rigorous, engaging full body commitment, but does not readily reference one dance technique or style. I generate material from improvisations, authentic movement as well as work with pre-ordained movement scores.