My ongoing study of Contact Improvisation and movement research through somatic practices has sparked my desire to convey through performance and teaching what I find coherent and interesting in the language of dance.


I view Contact Improvisation as an efficient jumping off point from which we might expand our understanding of what dance is. My own dances are structured improvisations. I am interested in continuing to incorporate Contact Improvisation into my work, as it facilitates the exploration into ongoing questions of mine: How can we create spaces in which dancing bodies can be encouraged to move together? And: is dancing a state? Or an activity? 

And: Can the ideas and experiences which are born out of our dance seep into other areas of our life?

 Uncovering the tactics that go into translating contact work into meaningful performance, creates an opportunity to engage with the form from a new perspective and aligns with my prioritization of satisfaction as an artistic approach. Due to my travels and studies, I believe this is a very exciting time in the dance field. There is a hunger for meaningful dance and a strong desire for dance as a field of embodied time-based art. Dance and improvisation are now being incorporated with visual art, theater, and art installations in many collaborations around the world. These are fields that I would like to potentially include into my research and dance making, as this multidisciplinary approach aligns with my view that dance can be many things and take many shapes. I sense that by giving myself permission to explore the edges of what I think dance is, I also encourage my students to do the same. I believe in exposing intelligence rather than imposing it, and I enjoy creating classes which allow and encourage imagination and innovation in dance making and in movement research. My background in Photography and visual art has inspired in me a passion for observation. With this skill I am interested in viewing dance and movement through strong image-making and by finding innovative ways of framing where and how dance is seen.


My graduate year thesis at the Academy of Music and dance in Jerusalem revolved around the art of score making for improvisational dance. I would like to continue this work by rethinking dance performance as a live sketch-making, taking this visual arts practice and work into teaching, scores, and performances. I think this playful and open-ended approach to dance making is a device by which to constantly refresh the form, by encouraging new ways of thinking, fresh framing, and by embracing collaboration across mediums and with other artists. I am thrilled to aid the expansion of somatic awareness training through the use of Contact, Improvisation, and teaching; highlighting ways of moving which allow breath and individual creativity to be expressed. I am excited at the prospect of growing in these directions, both as a teacher and as an ongoing student of movement, dance and choreography.