Research with body and soul and spirit!

Dancing is so much more than physical activity. We think in motion, we move our thoughts.

Our concepts and our ability to perceive determine our dance, whether we are aware of it or not!

That’s why you need clarity of mind and a good eye!

Desire: Space for thinking and knowledge.

Dance touches the interface between body and intellect, mind and spirit. My passion for movement was combined early on with a deep intellectual curiosity. My desire to bring the two together in a coherent way was the motivation for my studies in literature with a focus on theater and media (in parallel with my dance freelancing). Later, during my master’s studies in choreography and modern dance in the U.S., I was able to experience firsthand how practice and theory complement and inspire each other – a mind- and eye-opening and very happy experience.

Since then, the following approaches have proven particularly valuable to me:

Practice as Research

In recent years, an exciting new discipline has emerged in the field of dance studies: practice as research. While dance research critically examines theoretical approaches in terms of cultural, social, and political contexts, Practice as Research focuses on dance practice. This approach extends traditional methods of knowledge generation and transmission by encouraging artists to consider the creative process itself as a form of research. It respects the diversity of artistic expression and recognizes that there is no “right” or “wrong” way to dance. The physical experience and individual expression in its diversity opens up space for new approaches and perspectives.

Laban Movement Analysis and Bartenieff Fundamentals

A structured theory of body movement, originally founded by Rudolf von Laban, further developed in the USA by Irmgard Bartenieff and supplemented by collaborators or their students. It is a sophisticated and complex system to analyze any kind of movement and to be able to describe it as objectively as possible (knowing that our perception is always subjective and “objectivity” must therefore always be relative). The goal is to experience, observe, understand and create the most diverse aspects of a movement.