Humans had been expressing their needs and emotions far before developing speech or any other civilised skills. A body as a source of movement is the closest and primary form for experiencing life as well as perceiving surrounding world.
Dealing with dance as a form of artistic expression I question myself upon the essence of dance both as a dancer and a researcher of the meaning contained in presentations. Contradictory to visual arts, literature and even music dance is life and ephemeral art that becomes in time and space in front of a spectator. Without time and space the experience would not be possible. The input on dance of the reality and human condition draws art trends. Observing transformation of the art of dance, searching for deeper understanding of its roots as well as for artistic self reflection I have come upon with principles which can define the essence of my dance. Except for condition of time and space I also find a fusion of body and mind a crucial aspect. This relation may work both ways, brain dictating precised instructions to the body and the body informing brain where it wants to go, though the most interesting seem to be constant “team work” of the two. Thanks to uniqueness of every individual and unlimited ways of expression dance may be a tool for exceeding stereotypes and limiting ideologies, defining ones identity. From a form of a physical practice to a form of art, dance is emerging in confrontation of an artist and a spectator, building a very special, primary channel of non verbal communication.
All the elements – body, mind, time, space, artist, spectator may take different configurations influencing each other. Therefore I define my dance as the art of relations. Direct input on individual character of dance experience and dance interpretation seems to lay in body awareness which is a never ending challenge. I believe this human phenomenon is placed between body and mind and it triggers constant change and urge for development which evokes another type of important relation for dance which is theory and practice connection. One could not go without the other. It helps the spectator to understand and follow the dance but is also a crucial feedback and motor for a dancer. It builds a discourse and develops a tradition.
In my work I mean to examine and follow the primal essence of dance reaching beyond explicit meanings and theories staying aware and open for all the changing elements of the context.