Hometown: New Castle, Pennsylvania

Current city: Seattle, Washington

Age: 38

When you
started to dance: I was clumsy so Mom
put me in a ballet class when I was 5 and a tap class when I was 6. My early
training was a composite of ballet, tap and jazz (all for which I’m really
thankful). But in high school, my enthusiasm for ballet superseded the other
styles.

When you first
took a modern dance class: I
took a single Graham class every summer from the time I was about 13. In terms
of regular study, I first took modern as a freshman in college.

College and
degree: B.F.A. in Dance from the Juilliard
School

Graduate school
and degree: I
just began a two year M.F.A. degree program in dance at University of
Washington.

Website: www.nataliedesch.com

How you pay the
bills: UW’s
grad program is designed for returning professionals and offers financial help.
Prior to this current chapter, though, I worked with the Limón Dance Company
for several years and then most recently for Doug Varone and Dancers. During
those company stints, I taught independently when I could, but primarily paid
the bills directly from the dance company gigs. I should say that when I
first started out, I babysat quite a
bit and worked as a telemarketer for the Met.

All of the
dance hats you wear:
Up until this point, I’ve been a performer who also loves to teach. I
occasionally dabble in making work, but haven’t really pursued that path. Now
that I’m floating independently in the world, I’m not necessarily done
performing, but my focus is primarily on my grad studies. I’ve also been more
excited about improvisation recently and am not sure if that interest is
signaling me in a creative direction? Anyway, I’m trying to listen and stay
open.

 ——————–

Photo: Hope Davis

Write about your years in NYC and various performance gigs. How
long were you with Limón and Doug Varone?

Right out of school I was lucky enough to work with the Limón Company for five years. It was an
amazing time to work with many remarkable artists in very differing dance
styles. During this period I was also collaborating with friends – some from
college, some that I was working with in the company. It was a really vibrant
time. Then I had the opportunity to change gears and dance with Doug Varone.
That amazing chapter lasted for eleven years.

How did you get into the Varone Company (audition, seen in class,
etc)?

It’s a long story for a journey that took a long time to get realized. I
auditioned for Doug the fall of my senior year in school. Although already a
fan of his work, the audition was the first time I’d experienced his movement
physically. I did fine in the audition, but ultimately it wasn’t the right time
for things to move forward. After getting my job with Limón a few months later,
Carla (the director there) acquired the final movement of Doug’s Possession Quartet. I was cast in it,
Nancy Bannon came to stage it on us, and I was absolutely in love with the
experience of performing his work. 
A few years later, I was a part of a new piece that Carla commissioned
Doug to choreograph. In this new piece, The
Plain Sense of Things, I finally had the opportunity to work with Doug and
the relationship felt very right. A few years after that creative experience,
Doug was looking for someone like me to fill a spot in his company, and it
happened to be my time.

Photo: Hope Davis

Write
about one dance project over the years that you could really sink your teeth
into.

In 2007, Doug and I started working on material that would eventually
become a solo to the first movement of Edward Elgar’s Cello Concerto. I had
such fun then in the studio with Doug – a very easy creative swirling back and
forth for the two of us. Although Doug was always either directing me or giving
me generated material, I felt like we were efforting together, trying to
uncover what the solo would be. And at some point we started realizing how the
music could be a part of the event. The opening movement in particular, is
among the most beautiful I’ve ever danced to. But really, from the time that
all that work began happening, through the gestation period where I got to
research the material and qualities I could bring to it, right up until the
time when I was able to perform it, it was a very special process and rich
experience.

Talk about touring, life on the road,
finding time for friends, family, and relationships. 

Seeing new places and cultures as part of my job was a dream
come true. But gigs weren’t always in exotic destinations. Though it was for
me, touring is definitely not for everyone, and even if you love it, it can be
challenging. A company is a big family, and spending so much forced time
together on the road brings out the real in people (….which is also lovely,
but can be intense). My touring experiences were completely delightful because
I was blessed with the kindest, most fun and remarkable people in the field.
But ultimately, you may not choose who you work with. Different situations can
present their own challenges on tour as well: poor performing conditions, long
days, limited desirable food choices, finishing punishing shows and not getting
enough rest or care for your body – all those situations were common. After a
while I figured out the things that gave me happiness on tour. As well, finding
time to keep up with and foster relationships with people is just something you
figure out with time.

What was your inspiration for going back to school for graduate
studies?

Teaching. I’ve been convinced more and more recently, that dance has powerful
properties that can help people on many levels. By learning how to best share
the positive aspects of the art form, I think education could help change some
of the broken parts of society that need attention. Everyone needs to have a
good dance experience at some point in their life…..

What is the next chapter in your dance life? 

I really have no idea. I laugh a little
to think of the place I’ll end up next. I’m not sure what my role might be, who
the players around me might be, or where that will all take place.  I’ll just keep at it and stay open to
opportunities and to things I find intriguing and desirable.

Do you have a mentor? How has this person been a part of your
life?

I’ve naturally been drawn to a few people along the way who’ve had a considerable
influence (positively) on my life. But right now, Hannah C. Wiley, a professor
who was the architect of the M.F.A. program at UW feels like a first true
mentor figure.  She’s helping me
sort through all kinds of important ideas and issues that are afloat for me.
Her energy and guidance have been invaluable since I landed in Seattle and she
certainly is the kind of person I aspire to be like. And I can just be my most
perfectly normal self around her. That’s what I love the most.

On teaching…..

I think it has to come from the heart. First and foremost I think
we all have to search out the values and the ideas we believe in. And then our
responsibility to each individual is to share what you can and remain open to
the lessons that your students can help you learn as well.

Advice to young dancers (general):

Try for
honesty in yourself above all else. Focus on your work and be committed to it,
but always try to sink back into your own skin and be yourself. Then let
everything else fall into place. 

Advice to young dancers wanting to move to NYC:

It’s a
wonderful place full of energy and uniqueness. But it’s also complex and not
the place for everyone. You should never be afraid to try it – with a full
heart! Keep your radar out for like-minded people though. Dancers are good folk
and can be so helpful in any transition. My best advice would be to try to stay
open to the big picture – the idea that there are good people and opportunities
in lots of places – and remember that it’s okay to continually reevaluate what
you think success means.  Life is a
long and a wonderful mystery.