About

What I am dealing with in my choreographies is how I understand the world and myself, as part of the world.
Body and voice are my tools. Body-presence and movement- does not represent or interpret reality; instead
it creates reality. I am looking for economy and simplicity in movement. The movement derives from the
kinaesthetic awareness of the body rather than any formal aesthetic codes.


Improvisation as a performing art on its own right. 

I choose improvisation to be the means of generating material in my choreographies as well as a performing arts on its own right. As a human being and performer, improvisation gave me the opportunity to experience how to rest my mind, by living in the present moment. It challenged me to deal with the fear of failing by trusting my own choices. It enabled me to discover a sensation of play and care freeness. It taught me how to find meaning in doing less but with clear intention.

I use improvisation as a map to discover and express the variety of minds that reside in my own and the performers body. It is the process through which my choreographies take form and meaning.

Through improvisation I am confronted with questions that are also active in life:
How aware are we of the spaces we inhabit and the other people in it?
How do we share a space/ territory with other people? What ideas, norms, habits, projections, expectations, do we bring forward and to what extent we are aware of and open enough to challenge them? How flexible can we be in adapting to changes from within the group and/or accept each other’s singularity?

This kind of self-awareness and dynamic relation with the environment are aspects of my work as a
performer.

My teaching/pedagogic work is based on improvisation

I am teaching improvisation to adults and children as well. Students in my improvisation dance classes practice to trust their intuition and imagination. They learn how to explore the elements of dance, (space, time, shape, dynamics and story) in order to articulate their own movement language and create individually and collectively their own dance.

Contemporary dance technique

I consider contemporary dance technique as a tool to get to know one’s body potential and open up one’s choices of expression than a means to achieve technical skills.

In my contemporary dance classes,

• I use images to produce or awaken new kinaesthetic experiences and awareness and in that way
• help students reduce muscular tension in the body.
• I incorporate elements from the psychology of growth. The movement patterns of the baby, while developing the force to stand up, are used to produce an assorted floor work   

I draw attention on:

• Dynamic skeletal alignment
• Relation between centre and periphery of the body.
• Precise movement initiation to guide the body through spatial and floor patterns.
• Use of the weight of the body and weight shifts, fall and recovery, suspension and release.
• Balance as a dynamic exchange of movement forces and relationships between the centre and the periphery of the body.
• The potential of human anatomy that enhances the understanding of the physiology of the body and its mechanics. That results to muscular strengthening and lengthening within minimum effort.
• Musicality as a component of the flow of the movement.
• The dynamics of the movement; space, time, weight and flow.
• Consideration of stillness as a starting and ending point.