Tatiana Kamieniecka is a dancer, performer and choreographer. She graduated in cultural studies and pedagogy (major: social animation) from the University of Gdansk, and completed the 1st Degree Music School in Gdańsk. In 2007-08 she studied at the Ludwik Solski Academy for the Dramatic Arts in Kraków – Dance Theatre Department in Bytom. She completed the annual Course in Experimental Choreography organised by the Burdąg Foundation, and has honed her skills with such pedagogues as Maria F. Scaroni, Katrin Deufert, Lisa Nelson, Myriam Gourfink, David Zambrano, Ivo Dimchev, Keith Hennessy, Jess Curtis, Iwona Olszowska, and Sławek Krawczyński.
Together with the Dada von Bzdülöw Theatre, Kamieniecka has realised such productions as Czerwona Trawa [Red Grass](2009), Le Sacre (2010), Celebration, czyli koniec. I jeszcze raz! [Celebration, or the End. And Once Again] (2012) and Enclave 4/7 (2013). As a dancer/performer, she has collaborated with the Tricity-based collective Good Girl Killer (Le Sni, 2010), Patrycja Orzechowska (Sculptures Just Now, HOMEBODY), Roberto Olivan (Enclave 4/7), Iza Szostak (Wilgotny Rytuał Oczyszczający [The Moist Cleansing Ritual] 2016), Marta Ziółek (Twerk like a teen spirit, 2015) oraz Renata Piotrowska-Auffret (Sorcery/Common, 2015/2016).
As part of the residency programme Residency/ Premiere, organised by the Żak Club in Gdańsk, Kamieniecka produced her debut solo piece Wieloryb (2011) in collaboration with the Isreali choreographer Arkadi Zaides, and co-created Best F(r)iends (2012) with Kasia Wolińska. She is the author of Kawalerka [Studio Apartment] (2013, Gdańska Galeria Miejska 2) and the site-specific action Stany skupienia [States of Aggregaiton] (Festiwal Streewaves 2014). Her next project, NIEBO [Sky], is an interdisciplinary performance/installation, which problematizes the relation between humans and animals, the attendant system of exclusion, the need for proximity with nature and ecstatic, spiritual rupture.
A recipient of the Scholarship of the Ministry of Culture and National Heritage in dance (2016), the Cultural Scholarship of the City of Gdańsk (2012), and the Alternative Dance Academy (2011) organised by the Art Stations Foundation in Poznań (Old Brewery New Dance programme).
Since 2009 she has been an active educator, teaching contemporary dance techniques, improvisation, and body awareness. In her practice she uses, among others, somatic practices and the Authentic Movement method, which she harnesses to explore such notions as embodiment, expansion of perception and sensitivity. Her main interest for years has been with broadly defined improvisation, working with states, imagination, and experimental approaches to physical activities.