Before I elaborate further on my research, I will introduce the foundations that penetrated my practices during the whole process. It is a state of constant questioning about how things happen, how we learn, how we obtain new tools in order to find our balance within unstable and unknown territories.

Starting from our axis, feet, weaknesses, doubts and desires, straight to our autonomy which exists through inter-dependence with other human and non human beings. This is the point from where we enter, explore and co-create ‘infinite worlds’ as well as open up new territories of knowledge. The words of the theoritisian Astrida Neiman come to mind.

we need to keep some part of our subjectivity intact, or else risk total dissolution. The human body could not survive without this double articulation. The BwO* and its molecularities provide us with the possibilities for change, subversions, and partial dissolution (for better or worse); but they also serve as a substrate for an organized or molar body, which is necessary to keep annihilation at bay.

Astrida Neimanis, Bodies of Water

* BwO: It is a referernce to the concept o‘Body Without Organ’ introduced by the philosophers Gilles Deleuze and Felix Guattari

My research revolves around the field of instant composition, the training of the practitioner to the modalities within its practices and the process of creating the performances. I approach the dancing body as an onion which needs to peel off habits, thoughts, patterns and mind-noise so as to be ready to reflect, affect and be affected by the surrounding environment. As an instant composer ‘relativity’ is at the core of my practices: relation to sound, ground, accidents, other dancers, light, etc.

Talking from the perspective of a practitioner of instant compositions, I perceive the necessity for creating a performance structure that allows to build from where the movement starts. In this way, it feels like the dancer doesn’t get lost on the vast potentialities that a condition incorporates. Playing with the structure, breaking the structure, going beyond and back to it are qualities the practitioner copes with during the time of the performance. The main methodology that I use is the composition of scores.

Below, you will find traces of my research; choreographic scores, experiments with/for/through camera, studio practices, movement poetics, methodologies that I followed, drawings, traces of friends, teachers, peers, lovers and artist relatives who inspired me during the whole process.