Faculty Profile Kristina Berger

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    Kristina Berger

    Kristina Berger

    Modern // School at Peridance Faculty


    Kristina Berger, from Washington D.C., has toured internationally as performer, teacher and choreographer. Principal dancer with Erick Hawkins Dance Company, founding member of Zurich-based artists collective LordMasters, a freelance choreographer, and a teacher of the Horton Technique, she first discovered her love of the Horton Technique as a scholarship student at Jacobs Pillow studying with Jimmy Truitte. Kristina has since performed as soloist with the Lester Horton Dance Theatre, Inc. under the direction of Don Martin, and worked as assistant/demonstrator to Milton Myers for several years.

    Ms. Berger has been on dance faculty at Marymount Manhattan College for eleven years. Kristina also teaches at Steps on Broadway, Joffrey School of Ballet, and Bergen Performing Arts Center, with guest artist positions at La Guardia High School of Performing Arts, Taiwan National University of the Arts, Tahoe Youth Ballet, Performing Arts Center of Connecticut, and Boston Youth Moves. She has danced with Molissa Fenley & Dancers, Joyce Trisler Danscompany and Washington Opera Ballet. Other adventures include solo guest artist as the first female ‚Hanuman The Monkey King‚ with Bali‚ foremost music and dance company, Semara Ratih, under NYC‚ Balinese American Dance Theatre, circus dancer with Ringling Bros. & Barnum and Bailey Circus, and Star Christmas Tree Showgirl with Massachussetts Symphony Orchestra‚ Holiday POPS! concert. This summer she had the honor of performing 'Sarong Paramaribo', original solo choreographed by Lester Horton, for the first annual Lake Tahoe Dance Festival.

    Kristina Berger was more impressive during several sections of the work, notably in the solo ‚(invisible house is female). In her performances in ‚Here and Now‚ and ‚Cantilever, a work for four that explores architectural forms, Ms. Berger maintained the extreme power of strong positions while exuding a peaceful, free-flowing elasticity. For Hawkins‚ choreography, it was just the right kind of poetic juncture.