Voices: Navigating Dance, Disability and DEI

Karen Peterson Corash, artistic director of Karen Peterson and Dancers (Photo by Photo by Karime Arabia, courtesy of KPD)

(Editor’s Note: ArtburstMiami begins a new series, “Voices,” publishing community and editorial pieces from guest contributors. Here, Karen Peterson Corash, artistic director of Karen Peterson and Dancers, asks the question, “What Defines Dance?”) 

Arms, legs, and torsos joined together in a joyful sea of non-discrimination and non-bias – I remember a vivid recollection of crutches, walkers, and wheelchairs set to the side and everyone moving as one on the floor. It was 1990 in San Francisco and I participated in several contact improvisational dance workshops where people with disabilities were invited to join the workshop with trained dancers.

I noticed there was no pity or sadness directed at disabled people. Everyone held their own; fragility and strength came together as different bodies listened to one another, shared movement and touch, exchanged weight, and supported mutual rising and falling.

That initial impression has stayed with me for 35 years as I have pursued a substantial career as a choreographer and artistic director of a physically integrated dance company based in Miami. Diverse body types, movement, and different perspectives about who “can dance” have led me to an innovative, distinct choreographic style. Some audiences love the work, while others do not—but the question  “What defines dance?” is always center stage.

“In Your Shoes” by Karen Peterson Corash with Adam Eckstat, Marjorie Burnett, Sun Young Park, and Narieka Rose Masla (Photo by Pilar Andujar, courtesy of Karen Peterson Dancers)

Since 1990, I have had the privilege of raising my family in Miami-Dade County and flourishing as a dance artist. With the generosity of the Miami-Dade Department of Cultural Affairs, my company has performed in nine countries overseas, has worked with over 6,000 teenagers with special needs, has presented in many cities throughout the United States, and has created an annual season of new work performed by hundreds of diverse dancers with guest choreographers, musicians, and visual artists as collaborators.

The 6th Edition of the Forward Motion Dance Festival, which I initiated with Robert Rosenberg and with a large Knight Foundation investment, has provided me with an annual period to share objectives, training methods, and performances with like-minded dance artists from around the world. Because of Forward Motion, I never felt alone in my pursuit and have made meaningful connections since the first festival in 2018.

When the ADA laws were created in 1990, people with disabilities gained the right to equal opportunities and access in the United States. Now, diversity, equity, and inclusion (DEI)—tools I have used for 35 years—are being tested, and their importance is being re-evaluated. With shaky funding on state and federal levels, fewer corporate DEI initiatives, and more government rules about what type of dance gets funded, I wonder if collaboration, community building, empathy, and shared creativity still hold value. I believe inclusive dance enhances the richness and depth of the overall art form, but I do worry that support may dwindle in the future.

Karen Peterson Corash, Artistic Director of Karen Peterson Dancers, in rehearsal. (Photo courtesy of KPD)

KPD will celebrate its 35th anniversary next year. I would like to retire, but there is no successor to fill my shoes or a succession plan in place. I would like to take on smaller independent dance projects without the daily stress of running an organization. I hope to find a person to take my vision into the next 35 years. So far, no one has stepped forward.

It has become more and more difficult to find the grant dollars to produce events. Many of my dancers have left Florida to find less expensive living. I am attracted to the creative work in the studio but lack assistance in the administrative and fundraising tasks. I would truly love to hand the dance company over to someone who is a multi-tasking artist and can fundraise. Replacing KPD dancers when they leave is often challenging, as their roles are tailor-made for their unique physical abilities. One must be resilient to run KPD and find the strength and courage to start over again and again and again.

I am drawn to the humanistic and social justice side of the work as well as how different dancers have influenced my creative process.

My 35-year journey has knocked down barriers, opened doors, and challenged prejudices. My intimate relationships with dancers with disabilities have made me a more insightful and enriched person. For this, I am grateful.

(Artburstmiami introduces its Artburst Voices From The Community and welcomes guest contributors to submit original, well-written pieces about innovations in the creative ecosystem, news,  meaningful corporate and cultural partnerships, creative collaborations and imaginative ideas.  Send to Michelle F. Solomon at editor@artburstmiami.com for consideration to be included in the Artburst Blog Salon. Anonymous posts will not be accepted.)