Bridget Kirk (she/her) is a Seattle-based choreographer, educator, performer, and the Artistic Director of BKirk Dance, a newly-established company in Seattle, WA with fiscal sponsorship through Shunpike. Kirk earned her BFA in Dance Education with licensure, as well as a K-12 license in Special Education, from East Carolina University (ECU) and her MA in Dance with a concentration in Education from Texas Woman's University. The topic for her thesis concerned widening the scope of dance in schools to provide educational opportunities for K-12 teachers without a thorough background in dance to find ways to incorporate dance learning into their curriculum.

Prior to moving out west, Kirk spent 4 years in Charleston, SC, building an elementary school dance program, acting as Artistic Director for the Dancefx Apprentice Company, and maintaining a professional performance career in two local companies. Since relocating to the Seattle area, she has performed works by notable choreographers such as Pat Graney, Amy J.Lambert, and Alice Gosti, has received scholarships to continue her training at intensives in WA, MT, and CA, has continued her work as a dance educator, has been the recipient of three grants funding her choreographic work, and has received fiscal sponsorship in 2024 to establish BKirk Dance. 

BKirk Dance's work is  dual-focused in contemporary/modern dance performance and dance education, prioritizing finding opportunities for arts integration in local schools. Kirk approaches choreography through the terms of her experience as an educator, specifically through the goal of offering accessibility. This means movement accessibility for performers in allowing their bodies to move in ways that are safe for them, but also accessibility to audiences of creating an inviting, personal space for new viewers to feel welcome without a sense of intimidation that dance can sometimes be fraught with for the non-dancer. Kirk has been the recipient of 3 grants in the past 2 years funding her choreographic work. Two questions driving Kirk's choreographic process and the work of BKirk Dance lately are, "How does the audience's choice-making alter their perspective of the work?" and, "How can we decrease the intimidation factor of viewing dance and bring in new audiences?"