As a professional contemporary dancer with a rather classical - in the sense of traditional - educational upbringing and career path, I have always had a strong, unsatisfying sense that there was so much more potential in dance, which I had not yet discovered.
I got interested in the role of the moving body in a digitalized world, especially in the context of the Covid-19 pandemic in early 2020, which strongly highlighted questions around physicality when it comes to notions of proximity, potential threat, and/or (dis-)comfort, community, and solidarity, among others.
Furthermore, I have always been interested in neurological aspects of both the dancing and the dance-consuming body, questioning why dance has the ability to touch and affect us. I am continuously wondering, how the specific knowledge of a dancer, which in my opinion to this day is still undervalued by many, can serve the research on how issues at stake in our world right here right now, can be asked and approached through corporeal artistic research practices. By engaging with these questions, I came across the concept of kinesthetic empathy, which from then on has served as the meta-topic for all my further practical and theoretical endeavours. It has also helped me include other pressing topics of our time, like privilege, equity, accountability, and responsibility in this investigation.
All points mentioned above find their place in my research practice which mostly happens on a level of both (embodied) dramaturgy and through inter-disciplinary improvisation and instant composition.
With my thesis Entangles Agencies – Scoring Kinaesthetic Empathy in Contemporary Dance Practice I graduated from Anton Bruckner Privatuniversität in Linz (AUT) with a Master of Arts (MA) in Movement Research in 2023.