Katarina Barbara graduated from the Salzburg Academy of Dance in 2014 and gained a status of self-employed in the culture, where she works as an educator, dancer and choreographer. At the same time she became a commissioner for national professional qualifications (choreographer, dancer).
That same year, she created a duet Separate. Broken by. Staring Upon (co-authored by Andrea Gunnlaugsdottir) produced by the Sonda Foundation in an experiment under the GT22 interdisciplinary art incubator. The performance was later listed on the festival Platform by Platform.
The year after she created Čez Noč (Overnight) (co-authored by Jure Masten) for Tovarishia Dance Company, which premiered on the SNG Maribor stage. In 2016, she created the duet Okvir 33.10 (Box 33.10) for Tovarishia and an outdoor dance intervention Gospe in gospodje na Gosposko (Ladies and Gentlemen on Our Lady street).
In 2015 and 2016, she received gold honors at the Festival Živa for choreographies: Deer Hunting, Overnight, One Little Indian Jukebox and Black/White Travel. Following were miniatures Brez sredine (No Medium) and Every Now and Then I get a little bit lonely, where she signed on to the concept and performance. In 2017, at the Dance Theater Ljubljana, she created a solo performance entitled SSPJ, where she worked on understanding / misunderstanding contemporary dance and writing a contemporary dance dictionary.
During this period, she also acted as a dancer in the performances of Cynical Assassins of Her Own Mother (Vita Osojnik), The Witch of Upper Davca (Damir Zlatan Frey), Burn Time (André Uerba), and in performances for young audiences CTRL.SHIFT. ESC. (Natalija Manojlovic Varga) and From Drop to the Ocean (Ajda Tomazin). As a dance educator, she has been working with dancers from 3 years on at the Cultural Center Center Plesa, Plesna izba Maribor, Plesni Epicenter, Aerial Yoga Maribor, EN-KNAPovo gibališče and more.
She is currently completing a pedagogical andragogical education program at the Faculty of Philosophy in Ljubljana and is dedicated to teaching young people and is intensively exploring the field of education with the arts. Through a comprehensive artistic exploration and creation in the field of contemporary dance, Katarina establishes her own vocabulary of movement, whose central theme is the body and its states, which she perceives as an inexhaustible source of inspiration.