Natalia Barua (UK) is a choreographer, performer, dance filmmaker and inclusive dance practitioner.  She has recently relocated to Edinburgh from London. Her work concentrates on the exploration and creation of Screendance/Dance Film and dance for non-theatre spaces.

Whilst living in Barcelona, Spain, Natalia created live dance performance installations for galleries UntitledBCN and Gracia Arts Project and further presentations of her live works include Off-Loop Festival (Spain) and Varazim Teatro (Portugal). She was artist in residence at Centre Civic Barceloneta in 2011, which supported her first screendance Occupational Hazard.

Natalia often works in collaboration with a diverse pool of artists, meaning the range of her work is broad and always experimental in its process of creation. She now regularly collaborates with artist filmmaker Owa Barua and their screendance works have been selected for several international festivals such as Agite y Sirva (Mexico), Festival International de Vidéo Dance de Bourgogne (France) and have been awarded at Light Moves (Marzanna – Most Innovative Use of Sound) and The 2016 Philadelphia Screendance Festival (Feathers of La Fronde – Audience Award).

In 2016, Natalia was awarded the Lisa Ullmann Travelling Scholarship Fund which supported her participation in the International Screendance Conference & Workshop held at the International Video Dance Festival of Burgundy. In the same year, she was invited to work with award-winning dance filmmaker and author Katrina McPherson for the creation of we record ourselves as both a standalone film and an installation.

Aside from her artistic practice, Natalia also works in arts production and project management, having worked with organisations such as East London Dance and English National Ballet School and has supported events including Greenwich+Docklands International Festival, TUDANZAS (Spain) and Latitude Festival.

Statement

As an artist I believe in disregarding just one way of working and therefore let go of any expectations that my past and future works will feel or look the same. Collaboration is a tool to make each process of creation challenging and exciting – I feel this is key to shaping my identity as an artist. Dance, for me, should be real and relatable but it should also be out of this world, bonkers escapism. Sometimes I want it to reflect the mundane and other times I want it to go the fully bizarre. 

I began experimenting with dance and the camera to satisfy a want to experience (and for audiences to experience) the beautiful complexities of movement from all angles and found pleasure in the less ephemeral nature of screendance. Using moving image as the medium to explore my work gives me the opportunity to realise my artistic visions with heightened preciseness and presents new challenges in the collaboration of dance and my developing visual literacy.