Kristin is dancer, educator, and choreographer from St. Louis, MO and currently residing in Brockport, NY. Kristin is currently attending SUNY Brockport for her MFA in Dance with a projected graduation in May 2019. Kristin graduated Magna Cum Laude from Ball State University in 2014 with a BFA in Dance Performance, a minor in business, departmental honors in dance, and degree from the Honors College.
Ms. Dowdy has taught dance at Camp Wicosuta for girls for five summers and now runs the dance program and manages 7-8 staff members. While living in New York City, Ms. Dowdy taught dance, gymnastics, and fitness classes to students of all ages. Kristin has trained in Cecchetti, Vaganova, Hawkins, Bartenieff, Horton, Jazz, Musical Theatre, Rhythm Tap, and Clogging techniques. Curretly Kristin is a graduate teaching assistant at the College at Brockport where she leads a Movement and Self Awareness course for non-majors and subs for departmental faculty.
Kristin would like to thank the faculty at Ball State and Brockport who have helped her hone her skill, Ms. Christine Kardell her hometown dance teacher, as well as her parents and grandparents because she wouldn’t be where she is today without their support and encouragement.
As an artist, I believe it is valuable to create works that speak to everyone. Every piece should have little nuances that even those most accustomed to dance will find intriguing; however, the basic emotion should be able to be expressed to the least experienced audience as well. Finding this equilibrium is a delicate and challenging process, but I believe that if you find that perfect chord, the art will live on in the viewer’s minds, and that is crucial in attracting people to the world of dance.
Dance frees the mind, body, and spirit of a dancer; it is inspirational, emotional, and passionate- feelings that everyone should be able to enjoy. I also believe that everyone should be able to dance. Even if someone has never been technically trained, it does not mean that he, she, or they lacks potential or the artistic zeal required. Similarly, I do not think any physical limitations should be confining to the art of dance. Bob Fosse worked around his imperfections and created a unique style that requires extensive mastery to perform it accurately. For example, a choreographer working with a dancer who cannot move one of his or her arms, would trigger new innovative ideas. One may have to scale the wall before you create something worthwhile, yet in the end, the movement is much more revolutionary than if the artist had stayed with his or her initial idea. In order to create a novel conception, limits have to be pushed. If we as choreographers are unable to be challenged by restrictions, how can we consider ourselves true masters of the craft?