heidi bunting, corey hamm in l'escalier du diable. imagen photography
Heidi joined Dan Wagoner and Dancer's in 1975, performing and touring extensively throughout North America and Europe for seven seasons. During this time she was a frequent teacher at the Wagoner studio in NYC as well as Guest Faculty for Modern Dance at Princeton Ballet Society in Princeton, NJ. Returning to her native Idaho in 1982, Heidi founded Buntingdance, directed her own school and was on the dance faculty at Boise State University.
Immigrating to Canada in 1986 she began a long-term association with Edmonton presenter Brian Webb Dance Company. Her choreography and performance was also presented in Edmonton by Mile Zero Dance Company, Visualeyez Festival; in Calgary by Dancer's Studio West, Alberta Dance Showcase at Fluid Festival; in Vancouver by The Story of Force and Motion, Dancing on the Edge Festival, The Kiss Project; in Winnipeg by The School of Contemporary Dancers and in the United States by Idaho Dance Theater.
Heidi has taught at The School of Toronto Dance Theatre, The School of Contemporary Dancers, CADA/West, Harbour Dance Centre and SMMO in Vancouver, Circuit-est centre choreographie in Montreal and for Good Women Dance Society in Edmonton.
Heidi thanks the Alberta Foundation for the Arts, the Lee Fund for the Arts Award and the Edmonton Arts Council/City of Edmonton for support. Heidi received a Silver Centennial Medallion from the Province of Alberta for her contribution within the Arts Community as Artist and Advocate for the Arts. Heidi now lives in British Columbia.
from the pulsar project. imagen photography
My work is abstract, and noted for its poly-attentiveness. I embrace a fast and flexible approach with more than one thing going on at a time, which allows each audience member the opportunity to experience freedom of individual perception. My choreography is heavily influenced by dancing with Dan Wagoner, where I was introduced to two primary influences: Merce Cunningham and Paul Taylor.
Like Cunningham, my choreography contains neither plot nor linear progression. Instead I utilize chance structure, a choreographic process that embraces disjunctive ordering as its guiding principle. As with Taylor, music plays a significant role in my work and I weave the choreography into the musical accompaniment as if it were an additional instrument.