KATHERINE DESIMINE

Artist Statement (Dance Maker) current as of May 7, 2023 @ 7:20 PM EST

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Katherine Desimine makes experimental dance, with elements of song, voice, comedy, and performance art. She enjoys working collaboratively and creating space for her collaborators to create openly and expansively. 

 

Katherine thinks of herself as a child scientist; exploring and playing are intrinsic parts of her making. She loves touch and partnering, and works with these elements often.

 

Katherine develops practices that prepare collaborators for performance. While preparation is valued, visible effort, mess ups, and honesty are also some of Katherine’s deep interests. She encourages her collaborators to find looseness, freedom, and joy, both in process and performance.

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Archive

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March 9, 2023 @ 11:54 AM EST

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Katherine Desimine makes experimental dance, with elements of song, voice, comedy, and performance art. She enjoys working collaboratively  and non-hierarchically.

 

Katherine thinks of herself as a child scientist; exploring and playing are intrinsic parts of her making. She is interested in how process connects to subject matter, and in connection between content and form. She loves touch and partnering, and works with these elements often.

 

Katherine develops practices that prepare collaborators for performance. While preparing for performance is important, visible effort, mess ups, and honesty are also some of Katherine’s deep interests. She encourages her collaborators to find looseness, freedom, and joy, both in process and performance.

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April 18, 2022 @ 7:57 AM EST

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Katherine Desimine makes experimental dance, with elements of song, voice, theatre, comedy, and performance art. She enjoys working collaboratively  and non-hierarchically. This means she isn’t a “choreographer” or “director” of work, but a facilitator and co-collaborator.

 

Katherine thinks of herself as a child scientist; exploring and playing are intrinsic parts of her making. She is interested in how process connects to subject matter, and in connection between content and form. She loves touch and partnering, and works with these elements often. She develops practices that prepare collaborators for performance. While preparing for performance is important, visible effort, mess ups, and honesty are also some of Katherine’s deep interests. She encourages her collaborators to find looseness, freedom, and joy, both in process and performance.

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May 15, 2021 @ 8:25 AM EDT

 

I make experimental dance, often with elements of song, voice, theatre, comedy, and performance art. 

I enjoy working collaboratively, mutually, non-hierarchically. 

I think of myself as a child scientist- exploring & playing are intrinsic parts of my making. 

I’m interested in how process connects to subject matter. I'm interested in connection between content and form.

I love touch and partnering.

I develop practices that prepare us for and support us in the mental and physical work we are striving to do in process & performance. 

I love visible effort, mess ups, breaking (in the comedic sense of the word), and honesty.

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May 7, 2021 @ 10:49 AM EDT

 

I make experimental dance, which lives in process and performance alongside song, voice, theatre, comedy, and performance art. 

I thoroughly enjoy working collaboratively, mutually, non-hierarchically. 

I think of myself as a child scientist- exploring & playing are intrinsic parts of my making. 

I’m interested in how process supports performance. How is the process of the work connected to the subject matter of the work? Searching for connection between content and form.

I want to develop practices that prepare us for and support us in the mental and physical work we are striving to do in process & performance. 

I love touch and partnering.

I love visible effort, mess ups, breaking (in the comedic sense of the word), and honesty.

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written April 2019, revised December 2020

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I situate my work within experimental and post-modern traditions. I strive to engage in serious play. My process is collaborative and mutually explorative- in it, no one is replaceable. The work is built over time, together, in a layered fashion, so that each person is woven into the fabric of the dance and community. Touch, partnering, text, and the voice are integral to my process as a modes of community building, idea exploration, and movement generation. I find it crucial to engage in performance practices. By doing this, I hope to cultivate for those in the work, an experience of ease, playfulness, and adaptability.

 

I’m curious about disrupting norms of performance by exposing visible effort, especially in connection to how we use our eyes and faces. I question the traditional proscenium performance setting in order to determine what audience/performer relationship the work needs.