Thoughts on body physicality and somatic practices
On awareness and memory

Encounters with a variety of dance techniques and movement practices have constructed the way I approach the body. After having a classical training, then focusing on modern dance techniques and contemporary dance practices, the somatic experiences of gaga were an important step to approach movement from the inside. Also, certain Eastern practices - a completely different philosophy on body - have always accompanied me through yoga, tai chi, chiqun or judo. The enriching experiences of a variety of improvisation techniques, or an anatomic understanding provided in pilates and gyrotonics have as well influenced the way I experience the body, combined with different kinds of massage therapies, meditation or eurythmy. Somehow these encounters with multiple points of view on physicality – analytical observing, understanding different mentalities, having movement experiences, exploration on different states of the body – all relate to the same root: to an aim to increase awareness and to continue expanding the possibilities of the corporeal language.

They all come together in a practice based on bodywork and movement research, that emphasizes the performer's internal perception of the present moment.

The main goal is, perhaps, to unchain the body from established patterns, learned behaviours and conventions, in order to discover its unique approach towards movement and space. This need to explore and question emerged during my years as professional dancer in several international companies, and was intensified through certain creation processes. When sharing a space with other performers all coming from different countries, continents and backgrounds, the shared experience on different body cultures was indescribable. A vertiginous diversity, a polyphony of bodily presences, textures and ways of moving invading the space.

On the other hand, after being years immersed in the learning of rigid techniques and dancing a repertory widely based on form and repetition, other kind of creative processes proposed by some creators uncovered a different world for me. The creativity hidden in my body started to emerge, to spring out. Focusing on listening to the body, and discovering how and endless amount of information, gestures, textures and experiences begun to flow out. Memories turned into movement and the body started to speak out its hidden secrets. Almost shouting. Using the voice that finally was let to come out.

Photo by Jubal Battisti.
On practice
Photo by Jubal Battisti.

In my movement practice I somehow work with all these bodily experiences from past and present, aiming towards the discovery of a unique movement language in each performer, dancer or student. The practice is a process of expanding, opening up and letting go.

Through a variety of tasks the performers explore different states of being: liberate the body from the form in order to enter a world of perception. Proposing enigmas, questions or setting limitations encourage to find unique paths. The movement is conceived from a physical experience or condition, that activates the consciousness to increase gradually. A practice of immersive listening leads the participants to experience their bodies, where a shared energy is the motor to establish connections with the others and the space. The principle of deep playing, creates a place where everything is possible, a place of no judgement that encourages to explore one's own limits.

On a bodily level the focus is set on tracking an energy path through the organism as a tool to open up, discover and scan the body. Alongside with this concept for increasing awareness, the notion of constantly recycling the inner power - never dropping or wasting it – leads towards an almost meditative corporeality, where the variations in approach to movement, bodily textures and dynamics occur non stop. The concept of ‘push-pull’ is essential in relation to the space, to unlock the body and establish a continuous conversation with the environment. The coexistence with other bodies invites the performer to reach beyond individual possibilities, by provoking changes in our routinary paths and challenging individual choices through a collective experience.

Continuous search and the belief that our body and mind can keep on expanding and evolving are essential attitudes to experience the practice.

Confront and question defaults, established patterns and conventionalism.

Accepting the challenge of opening new doors.

Erasing the concept of limitations.

Embracing the unknown with curiosity.

The search of essentials, listening to the needs.

The path towards simplicity.

With the intention to find the individual/unique way of moving through space avoiding formalism.