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Georgie Goater is a dance artist from Aotearoa, based in Helsinki. 
She was born and grew up bi-lingual with her twin brother in Nagoya (JP) and Ōtautahi (NZ),  and is of Irish-Scottish descent. 


She performs, choreographs, writes, facilitates workshops and collaborates independently, with Kaaos Company (FI) and with collectives Body Island and Mome: memory as medium.

Her dance practice has been developing over the past two decades between Aotearoa and Finland, through multiple threads.


Working with diverse embodied perceptions across disability and multi-cultural contexts has been a ground. 


 The practice of improvisation is a fabric of this ground. It has been cultivated with Shameless Crowd Pleaser (NZ), Bangers and Mash (NZ), Vitamin S (NZ), Touch Compass (NZ), Kaaos Company and its Sunday Inclusive Movement Improv classes (FI), as well as through Contact Improvisation, somatic practices and dancing outside in natural and urban places.


Georgie gained her BPSA in contemporary dance from Unitec School of Performing Arts (NZ) in 2006, and her MA in dance pedagogy at the Helsinki University of the Arts in 2019.

She's a co-founding member of dance collective BackLit Productions, and has had the opportunity to work with many choreographers and artists over the years including Carol Brown, Malia Johnson, Alexa Wilson, Kelly Nash, Anna Bate, Katie Burton, Claire O'Neil, Zarah Killeen-Chance, Kristian Larsen, Tallulah Holly-Massey, Marc Brew (TC), Anna-Maria Häkkinen, Maija Mustonen, Maria Nurmela, Kati Raatikainen. 

Things I value -- What moves practice: 

- Moving and being moved through sensing and feeling

- Relationality, what emerges in between 

- Being a twin, and being so different

- Memory ecologies

- Always learning as a performer and improviser

- Collaborating with fellow artists, process-oriented co-creation 

- Embracing all learning and making with neurodivergent and 

different lived embodiments toward equality and creativity

- Being in nature

- The playground of the body layers: physical, material, experiential,

and immaterial aspects as political

- Being introduced to the Social Dreaming practice through

patella and practising with WSDM

- Dreaming

- Listening

- Vibrant materials

- The travelling imagination 

- Finding embodied writing as movement and choreographic practice

- Asking questions, taking risks

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