Below you will find a selection of stage experiences as a dancer. Each performance has a description, photos and sometimes a trailer, as well as quotations from critiques.

As a dancer, I am always fully involved in the process. I am not afraid of challenges, rather I see them as an opportunity to transcend comfortable barriers for the body as well as the mind. In performative research, I am interested in the body as a resource for storytelling and human connection. Importance and potentiality of humor I perceive as a mirror, in reflecting and deconstructing our understanding of ourselves, and in humanly making us available to connect -  to a piece of work, its performers, its subject matter and each other. To me dance is the only place where movement has no functional purpose and this is why it is the only place where movement can become all the things it was never before. We need hope and imagination to make a reason to live our lives and dance can physically bring us both.

My interest in exploring a participatory approach to performance arises from what I argue to be its potential – specifically with regards to contemporary dance theatre – as a platform for a democratization of art, to asses how important the act of collective creation is. At its best, participatory performances establishes a space where all voices can be heard, facilitating the sharing of pain and hopes, building common ground, and fostering collaborative ways of working. This dynamic encounter of creativity and empathy holds the potential for finding improved ways of coexistence. Particularly in overlooked or marginalized communities, participatory art becomes a potent tool for crafting a more promising future—though not without ambiguity. Art, as a force, is not inherently virtuous. While participatory art can empower people, its relays on the nature of participation, the terms involved, and the ultimate objectives. Like all art forms, it possesses the capacity for depth, sincerity, or triviality, and the desirability of participation hinges entirely on the specific context, terms, and intended outcomes.

My ambition as a performer and creator is to use a participatory performance strategy to achieve so called ‘successful performance’, which in my opinion happens, when the audience leaves the theatre or venue with a thought, a question, an emotional impression, or a new perspective, for good few moments, provoked/initiated by the profound impact of what they have just witnessed.