Could you tell us about your practice as a choreographer and how you will be working with the students?
From the start of my choreographic journey, I have explored various forms of tension. This tension has manifested differently in each piece—through intense or subtle contact, text, or direct interaction with soundscapes. My aim now is to share this practice with the students, incorporating their desires into their final project. Additionally, I want to foster a space that emphasizes both physical reflection and engagement. What kind of collaborative work can we create that allows them to pursue personal goals while remaining interconnected, even if their individual expressions differ? Can we build a sense of community while preserving their unique voices?
How do you situate your artistic work within an International performing arts landscape?
Over the past few years, I’ve been focusing on integrating my positionality into my work. Navigating my cultural background has posed challenges in understanding contemporary dance definitions and positioning my work within the European landscape. Recently, this perspective has evolved as the scene seems to be striving for a more diverse body of artistic voices. My work has been generating curiosity as I’ve been exploring alternative dance forms, references, and staging techniques to challenge conventional norms, utilizing provocation, humour, and joy as tools of resistance
Currently, I balance smaller-scale independent projects that curate social and political elements from both my background and that of the performers, alongside commissions from established dance companies such as Dance Theatre Heidelberg, Unusual Symptoms/ Theater Bremen, Danish Dance Theatre, and Cullberg. These institutions have shown particular interest in innovative creative processes that challenge traditional studio hierarchies in a decolonial manner. This approach has become a crucial aspect of my choreographic practice.