I am choreographer and researcher who loves to be in-between the tensions or conflicting perspectives and I have my ways of being there. 

On the one hand, I worked as a performer – dancer in professional companies. Together with Granhøj Dans we received two Årtes Reumert awards for the best dance performance. I collaborate with Theater CHOREA, one of the legends of engaged physical theater in Poland and many other local choreographers. In each project I trusted in energetic, physical dance. I have also created performances based solely on improvisation supported by emotions and the state of raised awareness. I try to reach with my body and movement as far as I can, looking for moments of a real meeting with my partner on stage or the audience. On the other hand, I am a researcher.  I wrote the book “Dance Mind. Theater of Movement and Dance in a Neurocognitive Perspective”. Currently, I am writing a doctorate on methodologies of contemporary dance studies, performance-as-research in particular and running a research project on dancer’s attention as a creative tool.

These two, often quite opposite areas, form the axis of my work. Moving on it and drawing from both poles I try to touch places where tension or conflict occurs. I try to get into the middle of them through choreography and performance. Create opportunities for myself and audience to see the third perspective. I use creative strategies of contemporary dance, generative choreography, improvisation and physical theater, always giving a huge space for the imagination of my co-creators – their perspectives from which I can draw. Then I go out, check the effects and get it in again to correct and validate my outcomes. That is why many of my projects are always premiere performances, even slightly changed, adjusted to the circumstances and the shifting point of tension. 

Both in my performances and scientific projects I value constant questioning and trying out new solutions, even if the outcomes are different than expected. My excitement comes from digging into the problem, not making statement about it.

on stage