Bio
Katie Miller is from Fishers, IN. She has attended Indiana University for the last four years, and will be receiving her BFA in Contemporary Dance while pursuing her passion for Physical Therapy (PT) when she graduates this May. Prior to coming to Indiana university, she danced at a studio called Turning Pointe Academy of Dance, training in all forms but enjoys contemporary and jazz the most. At Indiana University she trained specifically in Horton, Limón, Bill Evans, House, Modern, Graham, Contemporary, and JoJo. In addition she was able to learn from Andrea Ward, Cameron McKinney, Eisenhower Dancer Detroit, Erik Abbott-Main, Juel D. Lane, Company Danzante, Bill T. Jones, Iris Rosa, Stafford C. Berry Jr., and Robert Burden when they taught at IU. During her time at IU, she has had the opportunity to be in Juel D. Lane’s (2020), Dr. Prathiba Natesan Batley’s (2021), and Azuki Umeda’s guest artist pieces (2022), along with her IU faculty dance pieces (2019-2021). Katie performed in multiple student works and choreographed on different occasions all throughout her time at IU (2018-2022). She has since been accepted to different Doctorate of Physical Therapy Programs and will be continuing her education at the University of Indianapolis this fall, where she dreams of becoming a physical therapist for dancers one day.
Artistic Statement
My work is constantly focused on musicality, authenticity, and the ability to lose oneself in a piece. As a student, I am always learning and focusing on the amount of knowledge I can retain in any aspect of life. I aim to be open to learning everywhere I go and to observe others who can teach me. My goal is to hold true to my character throughout any artistic process I find myself in. I aim to bring my choreographer's vision or my own vision to life with the understanding of the movement, music, other dancers, and environment in which the piece is set. Music can create a mood or atmosphere that can change or enhance the beauty of the piece and how the audience experiences it. Therefore, I tend to be cautious when choosing music so it can be my inspiration for my choreography. Along with that, authenticity in my movement is a very important aspect of my choreography. I want my dancers and myself to connect and engage their audience with a visceral connection of the everyday. This is not easily done as it takes time and practice to convey artistic expression and nonverbal communications through movement. As this is practiced, the end goal is to form a connection with the intention of the work and be so comfortable with the movement that you lose your mind and soul to the choreography.
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