After finishing University I was busy: I had lots of dance-jobs. That was what I had planned my life to be. But then my body crashed. I got diagnosed a lumbar disc-herniation and I couldn´t move for at least a month. I had time. And interestingly this phase of physical rest initiated a complete new process, I started looking for ways to join my interests in body-oriented psychotherapy, neuroscience and epigenetics with my knowledge from the fields of dance, movement, acting and singing. This culminated in "medusa" a dance-solo exploring body-memory and transgenerational trauma. Since then I fervidly attempt to find a physical practice – a dance – that can create access to and awareness for personal and collective transgenerational trauma.
In my artistic practice...
I COMMUNICATE: I use personal self-written texts and poems, verbal language, voice, nonverbal/body language, gestures and facial expression to develop dance-movements, to open new channels of communication with my environment and to convey meaning. I experiment with “layering” these different forms of communication in paradoxical ways, while staying attentive to the changes these shifts can provoke. Moreover I work with the structural dimension that is inherent to these forms of communication like syntax, the sounds of a word, the physical shape of a gesture. Sometimes I use these communicative forms closely and sometimes completely unrelated to the semantic implication that for example a facial expression or a word has.
I SELF-INVESTIGATE: I use the two extremes of meditation and physical exhaustion to enter new zones of consciousness while constantly trying to observe the interrelation of body and mind. Through the process of self-investigation I raise my awareness for mental boundaries and physical limitations, which I eventually want to push and overcome. By entering these unknown territories within me I aim to “discover” new and “uncover” stored possibilities of movement or to enhance already known movements with new kinds of experience. After bringing myself to states of extreme arousal or extreme calmness I tend to use “authentic movement”-improvisation as a choreographic tool.
I LIVE EVERYDAY-LIFE: The way I live my life and my perception of and interaction with my environment, the daily routines I have, the food I eat, the people I surround myself with, the music I listen to, the movies I watch, the conversations I have, the way I kiss - they all inform my artistic practice. I consciously include this lived experience into my work as a dancer, performer and choreographer. In a choreographic process I draw inspiration from observing daily practices. Sometimes I deliberately put myself into unfamiliar situations while paying attention to how this unfamiliar kind of information fills my body with new shapes and my mind with new images. I use daily practices as an artistic tool in various ways: structural and timing wise, topical, physical or in a socio-cultural dimension.