Kim Vetter is a movement artist, a teacher, a healer, and a student of life who creates work with the intention of facilitating transformation. She is the artistic director of Chaos Dance Theatre and has been dancing and teaching for over 25 years. Her choreography has been presented in California, Maine, New Jersey, New Mexico, New York, and Oregon.
As a modern dancer, Kim has worked with many choreographers and directors including Garth Fagen, William Forsythe, Marco Antonio Silva of Utopia Dance Theatre and Meredith Monk. Her interest in African dance led her to Salvador, Bahia where she studied Capoiera and learned to dance Samba. Kim founded the African dance program at the University of New Mexico and has led workshops for adults and children throughout New Mexico, the Northeast United States, the Baltimore/DC Metro area, and in Bahia, Brazil. Her study of Congolese dance and drumming under Titos Sompa, Mabiba Baegne and the late Malonga Casquelourd allowed her many opportunities to perform including a chance to work with world-renowned drummer Mamady Keita.
In New York, Kim studied with and was apprentice to first generation Pilates teacher Kathy Grant. She has been teaching Pilates since 1995 and has taught in the Dance Departments at UCLA, University of New Mexico, SUNY Brockport, University of Oregon and Lane Community College in Eugene, Oregon, Coppin State University, and Colby College as well as private Pilates and Yoga studios in New Mexico, New York, Los Angeles, and the Baltimore/DC Metro area.
Having sustained a fair amount of injuries, Kim uses her body as her “laboratory” and is perpetually discovering new ways of moving to facilitate the healing and strengthening of the body. She is an avid student of tai chi and meditation and is working to integrate both of these practices with her continual exploration of movement potential. An interest in energy-based healing work led Kim to study reiki and she received her second reiki degree in 2000. Her "body" work is always evolving and Kim utilizes all of her experiential knowledge in her performance work and in her teaching and healing practice.