Move, Teach, Create
Being engaged deeply with the Feldenkrais method, dance improvisation, and Qigong, three disciplines that offer observation, practice, and creation, I consider myself a “mover”. I constantly alternate between moving, teaching, and composing with movement as I prefer to divide my attention between complementary experiences that improve my understanding and thus ensure ongoing learning.
Movement improvisation feeds my need to develop my unique expression in dance without being committed to a certain aesthetic. My style is constantly reborn when movement patterns are revealed and repeated, and the performative formats are found.
Performing is a way to share my creative processes with others and to rediscover the piece in the light of an ephemeral event. The audience truly helps me understand better the context of one’s creation, and I feel it’s a necessary stage in the process of realizing one’s imaginary world. Performing is a kind of gaze to another level of presence and an act of intimacy with the audience.
As a Feldenkrais teacher, I luckily work with people of a wide range of ages and interests in Israel and Catalunya. I feel that teaching is an ongoing opportunity to improve my skills and chase my creativity while adapting my knowledge to different interests.
As a Movement-improvisation teacher, I apply the fundamentals of the Feldenkrais method in my classes in a way that boosts body awareness, enriches movement repertoire, and improves skills.
As a creator, my language leans on a deep connection I have with music and great sensitivity toward space. As an example; in some works I co-created (Efímer and Deconstruint Traces), the audience was moving in the same space where we danced, and this mass movement was taken into consideration during the compositional process. In my solo Elsewhere I rehearsed with Folk Songs/Luciano Berio, but took the music away and danced silently with the memory of the music in my movement.
Early studies & training
I was born, raised, and educated in Israel.
My training process passed through some significant milestones; a high school graduation in Music&Piano at Thelma Yalin High School of Arts, a bachelor’s degree in movement&dance at the Jerusalem Academy of Music and Dance, and a Feldenkrais method practitioner certificate at teachers’ training under the direction of Ph.D Eilat Almagor, in Jerusalem.
During these years, I was seeking my way through issues such as communication, creativity, and the relationship between body&mind.
After my studies at the Dance Academy, I worked with adults and children as a movement teacher and, in parallel, participated, as a dancer in two ensembles that based their creations on movement notation Eshkol-Wachman.
The Feldenkrais Method in my path
After finishing the Feldenkrais training, I was lucky to find work as a Feldenkrais practitioner right away; I gave individual and group sessions at Alternative Israeli Health Services, at community centers, at a center for blind people in Jerusalem, and in my private studio in Tel-Aviv.
That period could have been the beginning of a stable professional career. Nevertheless a few years later, seeking adventures, I immigrated with my small family to Catalunya and started all over again.
The countryside of the Penedes region in Catalunya was and continues to be my adoptive land: here I raised my 3 kids and initiated my educational, professional, and artistic projects.
As a mother, concerned about the limitations of the traditional education system, I managed to create with other parents, an alternative education project for children of primary and preschool age named El Pampol. I took a leading role in its management.
A new community of movers
I founded and trained a movement ensemble called Dancingdays and in parallel created an annual training program in movement & improvisation for adults, called Dilluns Ballables in St. Pere de Riudebitlles.
An essential financing help to this project came from FEM DANSA, a project led by the dance association APDC with the support of the Department of Culture, which funded dance performances and workshops in the village, and encouraged the growth of our dance community.
Working with the Dancingdays collective, allowed me to create for a group, participate as an interpreter in other members’ creations, and co-create. We performed at several festivals’ editions at St. Pere de Riudebitlles, El Pla del Penedès, and Vilafranca del Penedès.
Over the years I have created a solo called Elsewhere that was presented at the Laselvadansa Arbúcies festival, a video dance called Maletes that was presented at St. Pere de Riudebitlles, and Mediona, and a performance in collaboration with musicians, which was performed at the El Camí festival / Ribes de Freser.
During the Covid pandemic, I participated in an international project directed by the Israeli artist Yael Canaani, in which I created and danced a large number of short solos.
During the years, I was lucky to collaborate with these amazing and creative women who merged into my dream and with their presence made it real; Maria Ruíz, Anna Sadurní, Íngrid Domingo, Marta Alarcon, Mia Esteve, Mireia Sala, and Montse Morilla. I danced, co-created, and performed with them in pieces like Glop de Dansa, Innocents, El palauet de les distingides, Efímer, Trasbals, and Deconstruint Traces.
The richness of these experiences and our unique life circumstances gave birth to a concrete language of creation. This language is based on movement improvisation, the practice of body awareness and a great sensitivity to the space and to the circumstances in which every new creation is made.
Pedagogic point of view
In my classes and workshops, I develop my pedagogic tools out of my experience as a Feldenkrais teacher and assistant trainer, as well as a performer and an improviser. I am thrilled by the great challenge that lies in movement-improvisation&performance and by the impact it leaves on performers and spectators.