Nattie Trogdon is a performer, dance-maker, and educator based in New York, NY.

Her own choreographic works have been presented at Stuffed at Judson Church, Chez Bushwick, Dixon Place, Triskelion Arts, Gibney Dance Center, The Juilliard School, Boston University, NYU, SUNY Purchase and the Taipei National University of the Arts in Taipei, Taiwan.

Her collaborations with partner, Hollis Bartlett (Hollis + Nattie) have been presented at First Look at Brooklyn Ballet, Slice & Dice at The Joffrey School, Triskelion Arts, the Jack Crystal Theater at NYU, Gibney Dance, Earthdance, The Dance Complex, The Boston Contemporary Dance Festival, School for Contemporary Dance and Thought, No Theme Festival, and at universities including Skidmore College, NYU, Salem State University, Swarthmore College and The College at Brockport. They have received residencies through the Dance Complex, the Peaceable Barn, the Floor on Atlantic and Work Up 5.0 through Gibney Dance.

As a freelance artist, she has had the pleasure of working for David Dorfman, Oliver and Teri Steele, Elizabeth Dishman, Annie Kloppenberg, Nelly Van Bommel, Kensaku Shinohara, Mark Dendy, Michael Foley and Doug Varone.

As an educator she has taught at Purchase College, The Dance Complex (MA), NYU Tisch, NYU’s Gallatin School, and is on faculty at Gibney Dance Center and the Floor on Atlantic teaching contemporary forms, and improvisation classes.

Born and raised in North Carolina, her desire for making and performing began at an early age. She is a graduate of UNC School of the Arts where she studied in both the ballet and modern departments; and holds a BFA in performance from SUNY Purchase where she was fortunate enough to be invited to perform and share her work in Taipei, Taiwan as part of the 2012 daCI/WDA Global Dance Summit.

photo: Olivia Moon

photo: Olivia Moon

Artist Statement

My work is an embodiment of formality and fervor - a subterranean examination of the mercurial and the temperamental. I am interested in fabricating worlds that deal with mess, the occult, psychic intuitions, textures, purgation, and the inhabitation of a body that betrays itself. Utilizing my lineage of codified modern techniques, experimental dance, somatic practices, pageantry; I muddle and meddle these forms in my body to produce work that is authentic to my experiences.

I am drawn to the mysticism of movement. I am intrigued by psychoanalysis and suicidal tendencies.

I gravitate toward rigorous practices and laborious tasks.

I am enthralled by stillness and the immaterial, the invisible. I am bewitched by the anatomical structures of the body - the marrow, the guts, the synapsis, the lymphatic system.

I aim to ride the line between extreme ritualism and the chaotic wilderness. I connect to the narrative while working through and with abstraction.

I love lines (because they keep me contained).

I invite audiences into these worlds to examine their own demons and ghosts in the hope that we can exorcism them together. I acknowledge my place of privilege and my background, the politics and reality of it; and actively wrestle, fight, and work to understand that in my process. I deeply trust that movement is healing and that through performance- research, we ( I ) can begin to reconcile our ness-es. My work and performance practice is an undoing of myself - a state of rendering myself and my body to the unexpected or perhaps more realistically the inevitable.