What is dance?

Dance is a form of communication. It needs a message to deliver. But it’s more free than that.

It needs interpretation. Not one, but many. Each person participating in this artform brings within his or her experiences and background an own filter of seeing things. Abstraction is giving all of us the same chance of reading between the lines.

This is why there is no wrong or right. It is a pool of possibilities.

For me this is the most beautiful thing of art and still- it makes it very difficult to consume. Because: what are we talking about, when we are talking about a performance?

In a time that we are used to discussions rather than an exchange, to compare rather than accumulate it seems a moot point to share thoughts about how we perceive abstraction.

I believe that the expression about my individual interpretation, even if it just means to express my feelings about a certain moment I saw in a piece, is a highly educating thing to do. It is an ability, which is getting rare and that is frightening me to see, as within this ability we are loosing all the chances of seeing possibilities and alternative ways to go in our daily life and society.

That’s why theater has an almost educational liability to an audience, not to devaluate known ways, but in order to ask them for their attribution in sensitivity and openess.


I am a very emotional mover, I like to feel emotions and movement influencing each other in mutual ways. This I find in improvisation as well as detailed movement research.

I often got the feedback of having a very natural theatricality. I see it as a natural consequence of making myself feel a certain emotion on a stage, which is projected to an audience. Anyhow I like to make them feel something.

I like to discover new movement and ambitions of movement as well as finding depth in plane and minimalistic material.

Acrobatics and other physical challenges are leading to a sort of adrenalin kick, which I am starving for, although in a choreographic context in my opinion they need to make sense.

I love the exchange verbally as physically with other artists; but I also believe that our body has its own memory and that sometimes unpredictable things can come up while letting go of them or trusting the potential of nescience.

In the past I got the chance to work with musicians, actors, singers, circus artists, mimes, a magician, a rapper, a poet and a philosopher and always felt enriched by their impulses. The more layers you can add, the more intense the working process and the energy of the product feels.

During the last year I created i.a. two pieces by myself, working with a musician and composer and a light designer, which I enjoyed a lot. I think therefore I had a lot of opportunities to train patience and clearness in my communication with other artists.

Usually it takes a while until people are discovering my strength, because I am not feeling the need of hiding my mistakes in a studio, as they are belonging to a never ending learning process.

But I am a group worker, always hungry for new inspiration and my motivation comes from the deeper will of creating something valuable.


I left my 2 ½ years engagement as a solist dancer of Polish Dance Theater and came back to where my professional dance-career started in 2015, to Cologne.

In 2014 I had premiered as choreographer with my piece “Absurdities of life in more than 2 acts”, which was danced by dancers of Polish Dance Theater.

This experience let new wishes evolve and so February 2016 I premiered with my debut as choreographer in Cologne “One must still know how to disappear” in collaboration with colleague and dancer Lenah Flaig in Tanzfaktur Cologne. Our collective work continued in 2018, when we created “None of us” as well as “expecting light” in co-operation with Eric Eggert (live composition) and Garlef Keßler (light design).

I got to appreciate the creative work as choreographer, director, producer, dramatist and dancer. I learned a lot and I am looking forward to new chances to create and experience the outside eye of a production in a new intensity.

But still my main focus lays on my own dance qualities and movement fusions. As a dancer and performer I joined a 4-hours off-space performance in Raum 13 in collaboration with many other artists.

I did an intensive training program in Thai Chi and contact improvisation in Indonesia.

I performed at Sommerblut Festival in a performance about “Identity” about Transgender, danced for the Opera Dortmund in “Land des Lächelns” and soon I will start a new production with Bodytalk.

Still I am glad to announce my next own production in October 2019 in cooperation with the dancers Ale Jara und Marcin Motyl.

So next to the wish of living the creativity, which my job luckily provides, I am always hungry for new physical challenges in the free dance-scene!