French/German dancer and visual artist
1996-2002 Studies of Fine Arts with focus on video art and experimental film at the Bauhaus-University Weimar with diploma/ Classes in Modern Dance and Butoh
1999-2000 One year long Erasmus- Studies in Barcelona at the Elisava School for Design/ Member of the theatre group Las Lenguas de Eva/ Classes in physical theatre with Jessica Walker (Laboratorio de teatro experimental in Barcelona)/ Classes in Flamenco
2001-2002 Formation in Shiatsu in Mannheim, Germany with diploma from the Institut de Shiatsu traditionnel de Paris
2002-2005 Three year long stay in Barcelona: Shiatsu- therapist, model and author of the first documentary about life and work of four foreign artists in Barcelona (El Viejo y las Comepesadillas/ The old man and the Nightmare-Eaters).
2005- 2007 formation and workshops in the film domain, screenplays for two documentaries are written / author of the documentary Kaiser Wilhelm unter Sizilianern und Dominas, about a run-down dockland area in Mannheim, Germany.
2010 Birth of a son
2011-2013 Formation in theatre pedagogics, Heidelberg, Germany/ one year long theatre project with handicapped people, Viernheim, Germany
2013- 2018 Formation in Butoh with the film director and dancer Masaki Iwana, Atsushi Takenouchi, Naomi Mutoh, Sabine Seume and Modern Dance and Ritual Movement with Angela Foid (both former Pina Bausch students)
Since 2014 Solo performances and performance-collaborations with other artists/ instructor of workshops and classes in Butoh and physical theatre
11/2016 Foundation of the Duo Kitsune and The Burning Violin with the musician Ruben Mesado Estrada.
2019 Formation in a trance technique, re-discovered by anthropologist Felicitas Goodman, called “Ritual Body Postures”® with the therapist and researcher Sabine Rittner in Heidelberg, Germany
I am interested in expressing and dancing life processes as birth, growth, decay, death inclusive all its “middle-tones” and appearances. These main psychological an material states have many faces in daily life. The dance is about awakening the body, on as many levels as possible, for example: flexibility, strength, fluidity, refining of all the senses and imagination. With such preparation, precise movements and dance can be found in improvisations. I believe that we carry ancient information of evolutionary processes within our body, and that we can find states and movements in dance which are transpersonal. I am attracted by artistic creations which hints to a coherence with the mysteries of life and something bigger than us. Therefore my dance is often inspired by other art forms as film, painting, poetry, literature.
Dancing is being in connection with the truth, whatever this means for each one of us. Dancing is becoming something different than I with my personality and day-to-day life routine. In refining the senses, every of us can find in hers/his own physicality a dance, which cannot be taught by any institution. Physical skills can provide a wider range of forms, like a wide color palette of a painter can produce more varieties. But without presence, movements are meaningless and without affecting reach. By this means, standing still with presence, could be considered as a dance in its purest form. Because the seed of dance is hidden inside the body with its microorganic earthquakes, volcanic eruptions, birthes and deaths and rebirthes, spreading out in gaze and body surface. But as the technical knowledge of a painter, who finally draws abstract when he before started and learned to draw figurative, I find that physical/mental training and continuous preparation, is the base of deepening dance. In times of fast consuming informations and goods, "multitasked" actions in daily life and the social separation, I recognize a profound loss of focus, silence and physical, mental and spiritual experiences. With its deep diving into awareness, “total” physical expression, presence and its perception of time, this dance, for me, is a counterpoint of the social conditions.
"In the noh theatre, a player employs nonmovement and nonaction in his quest to create a rapport with the spectator. The ideal is to dance without moving. In fact, such sparseness of expression is an effective means to evoke the world of spirits, for inaction, more than physical movement, affects us on a much deeper level. Anyway, what's the purpose of our being here? Ultimately, aren't we here to link hearts? It's a difficult challenge. Bear in mind that restraint plays an essential role in creating your onstage presence. "
11/2016 s.p.e.c.i.e/ in a stairway of an old house/ Lichtmeile-Festival Mannheim, Germany
03/2017 s.p.e.c.i.e/ B-Seite Festival/Mannheim, Germany
07/2017 Fallen Diva/ White Stage tanzminiaturen, Heidelberg, Germany
11/2017 Fallen Diva II/ Lichtmeile, Mannheim, Germany
02/2018 Tristeza/ smallformatdance`18, Rettigheim, Germany
03/2018 stone_ghost/ Kunstverein Familie Montez, Frankfurt, Germany
07/2018 RYU BOKU/ Festival Freier Tanz im Delta VIII, Mannheim, Germany
12/2018 RYU BOKU/ Somatic Academy Berlin, Germany
11/2014 untitled in the stairs with red dress/ Lichtmeile- Festival Mannheim, Germany
07/2016 Parallaxe with the dancer Janna Schimka and the musician Rolf Schmuck/ long durational Performance and installation, Raum S4, Mannheim, Germany
11/2016 segment:blau with Janna Schimka and Rolf Schmuck/ Opening Lichtmeile-Festival, Mannheim, Germany
05/2017 Erwachen with the dancer Piotr Tomczyk and the musician Shinichi Minami/ Japanischer Garten, Karlsruhe, Germany
10/2017 Expressivitesse with the musician David Fenech/ en chair et en son (festival Butoh et musique acousmatique), Paris, France
Since 2018 garden 185/ Performances in regular base with live musicians in a garden, Mannheim, Germany
11/2018 She-into Silence/ Church St Stephanskirche Karlsruhe, Germany