As an artist as well as an audience member, I experience and view a performance as a visible imprint of the flow and continuum of all forces contributing to the process of making. Therefore questions like how do we teach our choreographic frames, how do we choreograph our pedagogic frames and how do we cultivate our bodies and creativity seemed very pertinent research points for the continuation of my process. 

The reflection about the influence of pedagogic methods on the cultivation of artistic practices in dance, began during my educational years in the Salzburg Experimental Academy of Dance. Some of the processes seemed to open up much more space for my own artistic research than others. It appeared to me that a dance class (or for example a movement research class, or even a technique class) is not a self-contained entity of exercises and instructions to train and discipline the body, but is an organism that can be and should be viewed upon as alive, opened, dynamic system of exchange. Every pedagogic as well as choreographic situation is a point of transmittance and rupture. It is an invitation of the whole ecology of the body/mind system to re-visit, transform, re-evaluate, create and discover new relations within and outside of itself. It calls upon creative, mental, psychological as well as physical skills of an individual and therefore has many potentials from facilitating modes of self expression and artistic visions, to embodying’s of different social and philosophical concepts, and moreover allowing a discovery of a unique relationship to movement and its value. 

In 2008 when I started to study Body Mind Centering I began to be even more deeply immersed in the way the body learns and the methods used in this somatic approach opened up the important questions of how variety of outcomes and depth of one’s own experience is depended upon a well defined and sensitively embodied role of a facilitator. A potent departure point for a dialogue between awareness of inner pathways between sensing, feeling, imagining and translating that into movement became an intriguing point which fascinates me, interests me and addresses me as an artist, performer and a pedagogue. By working with fine tuning of the awareness, unfolding through images and experiential/somatic modes of movement research, I have strongly focused my research around the exploration of movement as a presence. 

The idea of transmission for me encompasses many modes of working and in it lies the key connection between my artistic as well as pedagogic reflection. A constant flow between inner and outer, between ideas and embodiment of those ideas, creating an openness and receptiveness while maneuvering between reality of surroundings, physicality of the flesh and imagination; all that evokes a special state of transparency, which is for me the virtuosity of simplicity (being present in the moment) and existing in a highly communicative state.

I see choreography, dance and pedagogy as a constant articulation of this in-between places, viewing movement as an instant trace of the quality of becoming.