TEACHERS AND ARTISTS
Karen Nelson
USA
Nica Portavia
IT
Rick Nodine
UK/USA
Zuzanna Bukowski
PL
Alexandra Soshnicova
MD
Serghei Golovnea
MD
Riccardo Sacilotto
IT
Ania Jurek
pl
Aleksandra Rud
PL/RU
Jaime Caballero Milani
ES
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Filip Wencki
pl
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Daniel Rojasanta
CO
Olga Skrzypek
PL
Katarzyna Tekielska
pl
Klara Łucznik
PL/UK
Michał Ratajski
PL
TOMASZ DOMANSKI
PL
Paulina Święcańska
pl
SOUNDSCAPE
Julia Partyka
PL
Daniel Zorzano
PL/MX
Olga Skrzypek
PL
Marcin Bożek i Danny Kamins
PL/USA
Ilya Semashkevich
PL/BY
Karen Nelson and Nica Portavia
USA & IT
Karen (she/her/we) a “mutator” of Contact Improvisation (CI) since 1977within the lineages of Steve Paxton, Lisa Nelson, Nancy Stark Smith, and others. Her lifelong dancing practices include making performance using Tuning Scores, Contact Improvisation, Material for the Spine. She co-founded the CI mixed-ability experiments Dance Ability (1988) and Diverse Dance Research Retreat (1991-99), and co-created ongoing research in Tuning Score Observatories with Image Lab (since 1991) and Tunezoom (since 2020). Her work is deeply rooted in investigating and “re-vers(ion)ing” dominant cultural narratives.
Nica (she/they) was born in Fano, Italy from an Italian father and my mother from Lebanon. A dancer, teacher, researcher, and performer they discovered Contact Improvisation in 2003, first training in contemporary dance in Europe. Falling in love with Contact Improvisation since the first moment, they studied with many influences including Steve Paxton, Daniel Lepkoff, Charlie Morrissey, KJ Holmes, Anya Cloud, Karen Nelson. She had the big pleasure to dive deeply into Material for the Spine with Steve Paxton. She also integrates Tatto Interno (Deep Touch) emphasizing the relation between fascia and the nervous system. She works widely in Europe, Russia, USA, and Mexico, and organizes many projects including the international #ItalyContactFest (www.italycontactfest.com) and #EVERYBODIESAREPOLITICAL (IG), a gathering of contact improvisation, body practices, art and political imagination.
Karen and Nica met exchanging dancing and love for gravity in 2019. This meeting between different human beings and generations creates a space to dance, to hope, to remember, to fall and to be together. Our teaching is rooted in collaboration, where each supports the other’s voice to create an environment for collective creativity. In 2024-25 we created and toured the work SMALLER collaborating with local musicians in USA and Europe, and teaching “Faking It With Gravity” along the way.
MORNING INTENSIVE
Faking it With Gravity
Contact Improvisation Realness
In Contact Improvisation, a dynamic and ever-evolving dance form, we dance with gravity. Faking it creates a space of inquiry to explore presence in our Contact Improvisation dancing. The sensation of gravity, our first felt-touch with the earth, dances us through its field for our whole lifetime. When we turn our attention to it, what happens?
The spirit of inquiry fuels the dancing research. We ask ourselves, what is presence? How do I experience the falling part of falling? Am I still improvising in this present moment? And former participants inquire: When do I know I am faking? Is faking bringing me into realness? When I fake caring for someone else’s safety, it quickly becomes actual caring. I have been faking myself (identity) all my life.
In Faking it With Gravity, we will distinguish between our concept of ourselves including our goals, and our actual felt experience in dancing. We will practice falling, rolling, and softening tissues to receive sensation. We will surrender to the earth as a loving, supportive, constant partner. We will practice “small dance and standing” and include human partners in our dancing, learning to both respect and take risks simultaneously. Risks like: touching, allowing another to support you, to “not know” where you are going next, to be present in the moment of the dance.
As co-facilitators Nica and Karen teach together, each supporting the other’s voice. The material shifts through numerous somatic and physical approaches applying essential instructions in solo, duet and ensemble improvisation scores.
Rick Nodine
UK/USA
My dancing began socially as a teenager and the first technical form to channel my enthusiasm was Contact Improvisation. After some modern dance training I performed through the 90’s for British contemporary dance companies. As a choreographer and Improvisational performer, I have made work for many contexts, including major Opera houses, small theatres, art galleries, touring dance companies and warehouse parties. My choreographic practice has followed and sometimes led the development of my teaching. I started teaching CI in 1996 and gradually expanded the scope of my pedagogy to include performance improvisation, solo dancing and somatic exploration, ensemble composition and the Feldenkrais Method. For 20 years I taught Composition and Improvisation at London Contemporary Dance School and I have been a guest teacher in many institutions, companies and festivals such as CNDC Anger (France), National Taiwan University of Arts, Hong Kong APA, Tanzfabrik Berlin, Freiburg Festival, The Royal Ballet School, Punchdrunk, DV8 and Rambert Dance Company.
For the last 5 years, in collaboration with Emilie Darlet, I have been developing an ecosystem for CI in London which centres around providing regular classes, workshops and pedagogical progressions for all levels of study within CI.
MORNING INTENSIVE
Reframing Flow
Interrogating the meaning of an often-used term, we will be unpacking the word ‘flow’, examining what flow means in our dancing, its importance and its problematic side.
Some times flow is an exquisite state of ease and pleasure, but it can also lead to the status quo, habits and agreeing to pathways we do not really want to go down.
How we access positive flow, how we claim the agency to break flow and the exhilaration of reversing flow will all contribute to wide awake dancing.
ZUZANNA BUKOWSKI
DE/PL/TH
Zuzanna’s embodiment journey began at the age of four with dance and has unfolded through martial arts, ballet, yoga, modern dance, and the Axis Syllabus. Deeply inspired by international teachers in contact improvisation and contemporary dance, she integrates movement principles from the Axis Syllabus and the structure of the Underscore into her practice and facilitation.
She is passionate about the interplay between body and mind—a thread she follows through her work in coaching, IT, and dance. Bridging analytical clarity with embodied presence, she continues to explore how movement can inform and transform ways of being.
Zuzanna finds joy and balance in co-creating spaces for dance and connection. She teaches and facilitates contact improvisation, co-organizes the Thailand Contact & Movement Arts Festival and the Warsaw CI Flow Festival, and is the co-creator of contactimprovkohphangan.com, where she hosts immersive contact improvisation journeys at Motion Space on Koh Phangan, Thailand
Instagram:
@zuzabuko
@contactimprovkp
MORNING INTENSIVE
Moving me, moving you
Axis Syllabus into Contact Improvisation
In this 5-day intensive we will explore principles from the Axis Syllabus and bring them into the practice of Contact Improvisation. The Axis Syllabus offers a rich body of research on human movement, anatomy, and physics, opening new perspectives on how we move, fall, and share weight with others.
Through guided research, solo explorations, patterning, and partner work, we will explore how a clearer relationship to our own movement supports sensitivity, ease, and creativity when dancing with others.
Exploring concepts such as landing pads, areas of the body designed to meet the floor, discovering how falling, rolling, and landing can become soft and supportive experiences that translate into contact improvisation. We will also investigate the sequential movement of motorical body masses and the area around T12, supporting rotation, redirection, and moments of suspension that can feel like flying.
Through these principles we cultivate listening through touch, responsive weight sharing, and a living dialogue between bodies and space.
Alexandra Soshnicova Serghei Golovnea
MD
Alexandra and Serfhei are dancers, performers, choreographers, international teachers, and organisers. Their main practice is contact improvisation and performance. Their cooperation began in 1997, in a modern dance group, “Voices” Performance Dance Company, under the direction of Angela Doniy. They became a duet in 2000. Since then, they dance, improvise, teach, and make choreography together. With equal passion, they create dance spaces with both professionals and beginners, with children, youth, and adults. The quality of their dance and teaching is often described as “physical poetry.” They take part in international projects and performances and travel.
Together they organise international (educative, creative, social) projects and International Dance festivals in Moldova CONTACT +.. They organised 15 festival editions. Teaching geography: Moldova, Ukraine, Belarus, Bulgaria, Israel, Estonia, Russia, Latvia, France, Italy, Greece, Georgia, Poland, Hungary, Romania, Northern Ireland, Turkey, Spain, and Austria. They cooperate with theatres, dance schools/groups, with actors, directors, video makers, musicians, and artists.
They facilitate weekly CI jams, a continuous series of master classes and evenings of improvisation, performance, contemporary dance, and choreography in Moldova, and performances under the S/G leadership. They are also the leaders of the contemporary dance school and youth theatre «Fantezia» in Chisinau, choreographers and dancers of a contemporary dance and performance group «Voices», and teachers of contemporary technique, composition, and improvisation at the National College of Choreography in Moldova.
CI & Performance
This class explores the meeting point between Contact Improvisation and performance practice. We will move from sensing and listening in the body to shaping material that can be witnessed.
Through improvisation scores, partner work, and group exploration, we will investigate presence, attention, and composition in the moment. How does a dance become a performance? What changes when there is a witness? How can we stay authentic while being seen?
We will play with transitions between private and public states, develop sensitivity to space, timing, and relationships, and explore simple compositional tools that support spontaneous creation.
The class is open to dancers with some experience in Contact Improvisation who are curious about bringing their practice into a performative context.
Riccardo Sacilotto
I’m a CI practitioner, psychomotricist, and Contakids teacher based in Treviso (Italy). I have been training and dancing for several years across Europe and South America, including experiences in Germany, Italy, France, Brazil, and Colombia.
My work is deeply influenced by his training in ludopedagogy in Uruguay, where I developed a strong interest in play as a transformative and educational tool.
I integrate Contact Improvisation with play, movement research, and relational practices, creating spaces where participants can explore expression beyond fear and judgment.
I’m actively involved in the growing CI community in Treviso, facilitating sessions and contributing to the development of the local scene.
Playful Contact: from fear to expression
In Contact Improvisation, fear often appears when we meet weight, trust, and the unknown. This lab explores CI through play as a tool to develop trust, support, and authentic expression.
The class is especially oriented toward people approaching CI, offering a safe and accessible entry point into the practice. We will begin with games and guided tasks that use imagination to awaken presence, listening, and group connection. Through these playful structures, participants are invited to soften mental control and access a more intuitive way of moving.
We will focus on the experience of giving and receiving weight. We will gradually build confidence in leaning, sharing weight, and entering physical dialogue with others. Through the experience, participants are encouraged to recognise and communicate their own limits, as well as their desires in movement. This process supports clarity, consent, and relational awareness.
Play creates a space where mistakes are welcome. In CI, what seems like an error often becomes a doorway to new movement, new choices, and a deeper connection with oneself.
Ania Jurek
PL
A freelance movement artist, making dance accessible by sharing my approach to dance as a versatile practice—research, gallery, and social initiative. Her background is in contemporary dance, floor work, improvisation, and interdisciplinary art projects, with her latest research, MOVESCAPE. Started in 2023, the project is structured around creating a collective digital gallery of movement in nature. She hold a BA in Dance Art & Pedagogy from Linz, AT (with Erasmus exchange at Northern School of Contemporary Dance, Leeds UK), a BA in Dance Composition (2016, WSUS Poznań, PL), and a BA in Social Politics (2015, UEP Poznań).
Movespace
As part of MOVESCAPE, I am sharing a movement practice. My teaching focuses on accessibility—not only in understanding disability, but also in building scores and putting them into words to empower the imagination to move. The research is grounded in collective consciousness and somatics, structured with clear physical explanations. The scores are rooted in MOVESCAPE research: creative immersions in natural spaces. I reframe ideas from nature into the studio space taking scores from the outdoor research and from the creative process of writing video descriptions from movement videos.
Aleksandra Rud
PL/RU
Aleksandra Sasza Rud is a Siberian-born multidisciplinary dancer, movement researcher, somatic practitioner, bodyworker, and Contact Improvisation teacher. She holds degrees in psychology and pedagogy, and has been practising CI since 2009.
In 2020, she relocated to Gdańsk, where she regularly teaches CI workshops, courses, and jams across the Tricity region. In 2021, she founded the Contact Improvisation Tricity community, which she continues to lead and develop. In 2025, she opened Flowbody Somatics — a studio of somatic practices in Gdańsk — offering individual sessions and group work at the intersection of somatic bodywork, somatic movement, and nervous system regulation.
Her practice draws inspiration from CI, contemporary dance, site-specific performance, Ideokinesis, Axis Syllabus, Play-fight, Authentic Movement, and Contemplative Dance. She has studied with Ekaterina Basalaeva, Ruslan Santah, Sasha Bezrodnova, Gesine Daniels, Caroline Waters, Frey Faust, Kira Kirch, Barish Michie, Katja Mustonen, Steve Batts, Bruno Caverna, Sabine Parzer, Katy Dymoke, Chris Aiken, Adrian Russi and many others.
Her practice is dedicated to popularising body awareness through approaches that weave together movement, art, and the body’s living intelligence.
Osmosis
Somatic Bodywork into CI
We are mostly water.
Before we are dancers, before we are movers, before we have technique or intention — we are fluid. This session begins there.
This is an invitation to rest together. Not to prepare for something, not to warm up — but to arrive, fully, in the body you actually have right now. Through guided somatic exploration, breath, and gentle partner touch, we return to the body’s original intelligence: its weight, its softness, its capacity to be moved from within.
Nervous systems need time. Time to recognise that this place, these people, this moment are safe. Time to stop bracing and begin breathing — slowly, with trust. When we rest near each other, something remarkable happens: our nervous systems begin to attune. Not through effort or intention — but by osmosis. Breath finds breath. The body that was holding starts, almost without noticing, to soften.
We take time to feel water — in our tissues, in our breath, in the slow wave of a spine that has finally stopped holding. The borders between bodies become more permeable. Weight — which we usually grip so tightly — begins to pour freely, to pass through, to be shared without negotiation.
And from that place — unhurried, without agenda — we find our way into contact.
The transition into CI is not a shift in activity. It is a continuation of the same listening, now shared: two bodies, both fluid, meeting without force. Like water moving through a membrane — not by decision, but because the conditions are right. We explore what becomes possible when we arrive from stillness rather than intention — how weight transfers differently, how touch carries more information, how the dance finds its own shape when we stop directing it.
No previous CI experience required. Open to all levels and all bodies. Come as you are.
Jaime Caballero Milani
ES
Before I studied dance, I studied Engineering (and I worked as a Math and Physics teacher), I also studied Spanish Language and Literature (and I worked as a language and literature teacher), and I also wrote several short stories, poems and even two novels.
I completed a contemporary dance training program at Amelia Caravaca Dance Studio, a one-year-long training plan at Carmen Senra Dance Academy and over the next five years, I studied contemporary dance within the training program at Descalzinha Danza.
As a result of all of this, I have a very wide and different approach to contact improvisation. I have a very clear focus on the physical aspects of dancing CI and, at the same time, I like to introduce compositional and narrative aspects into CI.
From floorwork to flying
When we dance, we are in a constant dialogue with ourselves, with the space (and the floor), with the time, with other bodies/dancers… By being more aware of how our movement is affected by the space, and how it also affects the space and by enlarging our vocabulary, we can enhance those dialogues, move in a more efficient way and even be more creative.
If we stay curious, we remain free.
In this class, after a guided warm-up, I offer some basic contemporary floor work material, we also practice some improvisation tools, some contact improvisation exercises, and we will learn several lifts focusing on soft lifting and soft landing.
All of this will support us in discovering new ways of connecting and staying connected with ourselves and with the other dancers.
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Filip Wencki
PL
an educator and dedicated practitioner of improvisational and contact improvisational techniques, a kinetic artist, and a visionary of movement. For many years, he has delved into the realms of somatic communication and its multifaceted aspects, both in terms of performance and personal growth. As a co-founder of the Linia Nocna Theatre, he has played a pivotal role in the exploration of physical expression through the performing arts. Previously, he was a key member of the international research group in movement theater known as The Bridge of Winds, under the guidance of Odin Teatret. For nearly twenty years, Filip has been deeply immersed in the realms of movement improvisation, dance, and the techniques of physical theater. His creative journey encompasses directing, performing, and imparting his knowledge across the globe. He had the privilege to work and teach among others in countries like Ukraine, Spain, Italy, the Czech Republic, Denmark, Sweden, France, Germany, Colombia, Mexico, Thailand, and more.
LONG JAM
Introduction
A workshop combined with a discussion on the consent culture as an introduction to a long contact improvisation jam. In the consent culture, I am interested in expanding the shared dance space and in catching early signs of freezing in myself and others. We will have the opportunity to explore consent not as a one-time decision, but as a dynamic process that changes over time and in movement. Together, we will look at how to observe our own “yes” and “no,” how to recognize moments of constriction, disorientation, or stalling, and how to respond before the freeze deepens in the dance – in ourselves and in others. We will aim to develop sensitivity to subtle signals coming from the body: changes in tension, breath, tempo, or attention. An important element will be the practice of noticing these signals early and treating them as information, not as a problem. This approach will support regulation, a sense of safeness, and greater freedom to improvise. This introduction will lay the foundation for a jam session based on mindfulness, flexibility, and care for oneself and others, while also, I hope, building a sense of safety as we explore the unknown together.
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Daniel Rojasanta
CO
Multidisciplinary Performing Artist born in Colombia, with a decade of experience teaching Contact Improvisation and Somatics internationally. After co-creating the first Cl community in Hangzhou, China, he has toured extensively worldwide opening workshops and laboratories on Somatics, Performance & Contact Improvisation in Japan, China, South Korea, Thailand, USA, Russia, Ukraine, Poland, Germany, Colombia and Egypt. He integrates his performances and teaching with live music, and Physical Theater, which trained in South Korea with the Theater Troupe Georipae. He also learned Butoh with the Japanese master Katsura Kan (桂勘) and Taichi in Shanghai with the master Zhou ZhongFu (周中福). He has performed pieces in collaboration with Contact HZ, as well as Dance & Theater pieces created by The ASK from Shanghai, the Theater Troupe Teatre Animal from Spain and the Dance Company Ingrid Olterman Dans from Sweden, performing at the India Art Fair in New Delhi, the Myriang Village Theater in South Korea, the National Grand Theater in Beijing and the Power Station of Art at the Shanghai Art Biennial. His performance practice is rooted in Contact Improvisation, with explorations on Theater, Poetry, and Music. Currently he is developing and presenting his new physical theater solo performance: ENSÕ.
Olga Skrzypek
PL
A multidisciplinary artist and workshop facilitator, involved in contact improvisation for nine years. She studied sculpture and drawing at the Academy of Fine Arts, composes music for improvised jam sessions, and is actively involved in the improvisational dance community. She leads workshops, jam sessions and partnering workshops focusing on mindfulness, dialogue in movement, working with body weight, and working with voice and sound. She is a member of the Oddaj Ciężar collective and a graduate of the experimental choreography course at Centrum w Ruchu.
During jams, she is interested in creating a soundscape that supports what is happening in the space. She follows the composition, rhythm and energy generated by the moving participants. She shifts between the roles of observer, musician and physical participant in the jam. She is also interested in working with text and moments of silence.
Katarzyna Tekielska
PL
A viola graduate of the Academy of Music. St. Moniuszko in Gdańsk and Koninklijk Vlaams Conservatorium in Antwerp. She also plays the violin, sings and composes her own music. She performs in both classical music concerts and those related to other music genres. She has worked with bands, such as The Frozen North (post-rock), Ba Bu (original cover arrangements for three voices and looper) and with Emma Bonnici (folk, traditional songs).
She engages with various art genres, i.e. composing music for dance performances (series of performances ‘Connected’ / Fundacja Sztuka Ciała) and drawing inspiration from painting and sculpture. In 2014, at the Museum of Modern Art, she presented, together with a group of independent artists, a series of concerts bringing echoes from the exhibition of the sculptor Maria Bartuszova. In 2015, she created music for the radio play based on St. Barańczak’s “Winter Journey” (Studium Teatralne). In 2017, alongside Dominika Jarosz, she played music for a concert inspired by Angelika Kauffmann’s painting “Ariadne Abandoned by Theseus” (at the exhibition of one painting, Łazienki Królewskie). In addition, she regularly connects with dancers, creating live music for improvisations.
Currently, she is working on solo material. She is passionate about baroque vocal music, which she explores under the eye and ear of Dr Agnieszka Budzińska Bennet.
Klara Łucznik
PL/UK
Klara specialises in being ‘in-between’: in between art and science, in between dance and psychology, in between embodiment and running thoughts, in between improvisation and the need for structure.
She started by studying theoretical physics but obtained an MA in Choreography and Dance Theory and completed a PhD in psychology. Her PhD thesis explored creativity and flow experience in group dance improvisation (University of Plymouth, UK). For the last few years, she has carried out empirical and embodied research on the role of contact with nature at the University of Plymouth and the University of the Philippines (Open University).
She has now decided to try to be a little more sensible and coherent in her interests, so she has returned to researching dance as a research fellow at the University of Warsaw, focusing on the role of embodied communication, touch, and all positive side effects that come from practising dance (contact) improvisation.
She is also a curator and organizer of Warsaw CI Flow, Movement Labs in Warsaw (Poland) and co-organiser of CI Totnes Jam in the UK. She has collaborated with ColLab in Bristol since 2018. She continues living, dancing and researching between Plymouth and Warsaw.
Photo: Inna Arya Pavlichuk
Michał Ratajski
PL
Choreographer, dancer, teacher, mentor and coach. For over 30 years, he has been conducting research and practising in the fields of mindful movement, dance and theatre, combining art with personal development and bodywork in interpersonal relationships.
Creator of the original I_GO_SYSTEM (IGS) methodology for working with movement, developed at the intersection of dance, improvisation and developmental processes.
He is an academic lecturer in Choreography and Dance Techniques at the Academy of Music in Łódź, where he has been teaching Contact Improvisation using the IGS approach for the past seven years. He has twice received a grant from the Minister of Culture and National Heritage to conduct research into the I_GO_SYSTEM methodology.
Founder of the KIJO Dance Theatre, co-founder of the nationwide Contact Improvisation Academy (AKI) project, and creator of the Festival of Dance, Music, Improvisation and Contact – FRU. Producer, director and choreographer of performances and performative events.
He leads workshops and artistic and development projects in Poland and abroad.
PRE-FESTIVAL WORKSHOP
“The whole truth” about partnering in Contact Improvisation
When I say, “Please take seven steps” – you’re unlikely to see it as a challenge, because you know how to do it, don’t you?
But what if we suddenly add 70 kg to your body? Will those same 7 steps come just as easily?
Body structure, weight and the biomechanics of the human body are crucial in Contact Improvisation partnering. How does conscious management of your own body architecture translate into the ability to work with another person’s weight?
During the workshop, we’ll explore the properties of the body, the laws of physics, and the extent to which our mind supports – or limits – the discovery of movement possibilities in dance.
Contrary to appearances, partnering is not complicated. Difficulties most often arise from a lack of understanding of the body’s mechanisms, a lack of practice, and insufficient physical preparation to be able to ‘take on’ more than usual. The emotions accompanying partnering are also significant – as are the narratives our mind constructs around working with another person’s weight.
In line with the I_GO_SYSTEM methodology, we will examine the trio of resources: Body – Mind – Emotions. At the same time, the workshop will be grounded in physics and an attempt to practically harness it through specific movement tasks.
The practice will develop progressively: from understanding the body’s personal biomechanics and managing it in space, to partner work close to the ground (level 1), through structures based on multiple points of support (level 2), up to partner work in a standing position (level 3). If the group’s level and time allow, we will also explore forms of work involving lifting the partner’s weight slightly higher into the air. An essential part of the preparation will also be learning and practising safe falling and rolling techniques.
We have three three-hour workshops ahead of us. Nine hours is not enough to fully master partnering – but it is enough to change your mindset and discover a path of practice which, with regular training, leads to steady progress.
Level: open level for those with at least basic experience in contact improvisation.
TOMASZ DOMAŃSKI
PL
Tomasz is a dancer, performer, and teacher who specializes in Contact Improvisation and partnering classes, as well as facilitating jams. Over the past seven years, he has been a co-creator of the Szur-Sure performance collective and the Oddaj Ciężar partnering group.
In the realm of Contact Improvisation (CI), Tomasz delves into the boundless possibilities of movement and explores various influencing factors: the dynamics of the partner relationship, intention, body awareness, and attention. He encourages everyone to cultivate a profound trust in their own bodies. Recently, his focus has shifted predominantly towards exploring the softness and calmness of the body in inverted positions.
Paulina Święcańska
PL
Graduated from the National School of Music (eurhythmics) and the University of Zielona Góra (BA in Animation of Culture and Sport). Holds an MA in Cultural Studies from the Warsaw School of Social Sciences and Humanities and completed R. Laban’s kinetography at the Institute of Choreology in Poznań. She also studied cultural management, theatre production, and project management.
She gained experience at international festivals and coaching programs across Europe, Israel, Brazil, India, the USA, Japan, and more. As a choreographer, she created over 20 original works, including Food Variations, Hybrid, Butterflies 2046, Perfect Couple, and EXIT, presented at Polish and international festivals. A multiple-time scholarship recipient, awarded by the Ministry of Culture, the Institute of Music and Dance, TVP 2, and the Art Stations Foundation. Speaker and author at international dance conferences.
Engaged in Warsaw’s cultural scene, she was a dance curator for the Re:visions Festival (2008–2012), co-organized the Warsaw Dance Scene (2014–2016), and founded Poland’s first Contact Improvisation Festival, now Warsaw CI Flow. Directed the Dance Art Centre (2016–2019) and initiated the Central Dance Scene project (2020–2025).
President of the PERFORM Art Foundation, she has created three dance films and published six academic papers. In her work, she incorporates Contact Improvisation, Authentic Movement, bodywork, and other techniques. Since 2019, she has been involved in Vedic Art, pouring, and neurography, becoming a first-degree Vedic Art teacher in 2023.
