BODY OBJECT SENSORIAL PERCEPTION

In my practice I draw on a sensory approach and improvisational tools in dance. Based on an understanding of bodily experience through somatic principles and their potential as artistic tools, I explore improvisational methods to build and structure compositions and choreography. To be present with all senses is a basic value to experience encounter and movements. 

The spatio-temporal practice, is an approach to dance that can be seen as an experiential practice of sensory training that is based on the power of imagery and kinesthetic experience. The practice defines a place from where movement comes requiring a certain sensitivity and awareness of that place. The physicality that emerges are multiple liquid identities, highly empathic and sensitive quality. 

Both approaches – improvisation and somatics, can be practiced independently as independent modes of dance training. At the same time, they can complement and feed each other in their specific ways of training the physical body/mind and thus trigger imagination and creativity. 

The principles I am using for example are the use of anatomical images or hands-on exercises to reach a specific state or way of concentration that allows one to tap into the perception of the body. As well I am inspired by experiential anatomy, to align the body, the Feldenkrais method, which works with the visualization of movements before doing them, this practice serves to achieve a receptive and perceptive body.

Creating a frame and atmosphere is crucial for students to learn to develop their own way of working with the proposed tools and cultivating their individual language of dance rather than learning a specific style or aesthetic.

My practice is greatly influenced by training with Gill Clark, Jeremy Nelson, David Zambrano, and diverse somatic Principles also my work is informed by the perspectives as Pilates instructor and practitioner of Spiraldynamik as well as my interest in fine art and the work with Materiality.

How can the Spatio-temporal practice principles be used to create choreography?

When making performance work the attention lies in the movement material and the embodied values and principles of somatic work itself. I am interested of the different disciplines such as dance, music, light, objects, and visual art, where the diverse languages can dialogue to develop together a specific cosmos of a piece. I seek for each language to appear in its own way to paying attention to the whole. The mediation between dance, choreography, and audience is a process of synchronization. My aim is that the spectator perceives and experiences the performance through different modalities of sensing.