Hank Bamberger received his BFA with a concentration in modern dance from Marymount Manhattan College in 2009. After graduation, Bamberger danced for Celebrity Cruises and the Paul Taylor II Dance Company from 2010 to 2015. While dancing professionally in NYC, he made connections teaching and working with the Martha Graham Company, Fire Island Dance Festival, David Grenke, and numerous dance organisations in India. After his tenure with the company, he moved back to his hometown in Richmond, VA, to own and run the West End Academy of Dance until 2018. Bamberger then studied experimental dance and choreography under the tutelage of John Jasperse and Sara Rudner at Sarah Lawrence College. He graduated with his MFA in dance in May 2020.

One of his MFA works, SEA of RUIN, was restructured in collaboration with Global Fashion Exchange (GFX) and performed on the United Nation’s Peace Boat for World Oceans Day. It also debuted for ocean awareness week with Design Pavilion, NYC, alongside Azimut Yachts in Times Square, NY. During that time, Bamberger was selected as an Emerging Choreographer for Jamaica Center of Arts and Learning’s 10th Annual Making Moves Dance Festival, Out of Doors, in Queens, NY. While awaiting the height of the pandemic in the countryside of Virginia, Hank worked as a freelance artist with the Latin Ballet of Virginia and served as the Ballet and Composition Specialist for the Dance Department of the Appomattox Regional Governor’s School.

Bamberger resides in NYC where he remotely studies and works as a postgraduate dance researcher with C-DaRE (Centre for Dance Research) at Coventry University. His work and methodologies are centered around confessional embodiments and performative mess and excess that attempt to dismantle normative behaviours through transgressive acts. Hank’s ideas of front-loading spaces with sensorial overload are used to upend ecclesiastical hierarchies within the performance. He aims to uplift the queer underdog through modes of autonomy and personal clarity and unearth imageries and ideologies of embodied confessional. His goal is to shift the theatre-going experience and bridge worlds of ritual practice, performance art, experimental dance, and trauma.