I am driven by curiosity and discovery and intend to infect my students with this spark.
My aim is to create alive spaces, where people find enough trust to manoeuvre themselves towards the unknown, where the learning and the growing happens, partly with a smell of disorientation, discomfort and excitement.
Even though I like performing Contact Improvisation and Instant Composition, my art form is teaching. I feel a good workshop as a piece of art. I improvise on a gradually growing and changing vocabulary. Teaching is an instant composition into a proposed direction that integrates all the layers of space, time and the needs & intentions of the engaged people. I see more and more that the core part of teaching is to set the right tone – content and methods then easily unfold organically.
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I foster the polarity of detailed and precise work that brings us to the edge of what we can perceive and on the other hand rather open frames where the new information can unfold by letting it go. I also see the benefit from very concrete movement material and the eagerness ‘to get things right’ in frames, where ‘getting it wrong’ is embraced as an essential part of learning.
My work has grown from a strong love for movement technique, where a key part is the ability to sense movements and connections in the body, with efficiency and physical delight as a base line. The other foundation of my work is the communication between the dancers, with a particularly deep exploration of the touch. These fields are my main doors to enter the dance that includes all other facets of us as human beings.
Contact Improvisation has become my main field of teaching, but my research also informs a lot solo movements and improvisation. I am happy if this branch of my work continues growing.
I am used to teach groups between 20-30 people. In festival frames I don’t mind if the groups are up to 100 people if the space is big enough.[/read]