My research revolves around the field of instant composition, the training of the practitioner to the modalities within its practices and the process of creating the performances. I approach the dancing body as an onion which needs to peel off habits, thoughts, patterns and mind-noise so as to be ready to reflect, affect and be affected by the surrounding environment. As an instant composer ‘relativity’ is at the core of my practices: relation to sound, ground, accidents, other dancers, light, etc.

Talking from the perspective of a practitioner of instant compositions, I perceive the necessity for creating a performance structure that allows to build from where the movement starts. In this way, it feels like the dancer doesn’t get lost on the vast potentialities that a condition incorporates. Playing with the structure, breaking the structure, going beyond and back to it are qualities the practitioner copes with during the time of the performance. The main methodology that I use is the composition of scores.