About me
Ballet developments
I was 9 years old when I entered the Conservatoire de danse du Théâtre Royal de la Monnaie in Brussels.
Contemporary continuation
An uninterrupted 18 years of devoted labour left me exhausted.
Finding the words
I then felt the need to conciliate my knowledge and experience and to define it with words grounded in academic theories.
Getting to the core of movement
Continuum movement
...under construction;)
Finding new meanings to existence
Authentic Eros
Stretch
...under construction;)
My investigation begun at the ballet academy, I was 9, the examiner asked me to point my foot while ‘stretching’ my knees. How could this be possible?
The struggle was surprising and somehow upsetting, but that someone could ask me to do something apparently so unnecessary felt refreshing, adventurous and really ‘cool’. It triggered all my senses and emotions, my body had to become the speaker.
The exam finished I was accepted and became "petit rat de l'Opéra" (term borrowed from the Paris Opera).
My teachers did their best to sculpt and condition my body to jump high and elegantly but, with all due respect for their hard work and love of the craft, they failed to make me conscious of my body’s true nature. ‘Fit the mould’ was then still the order of the day.
It is in fact only after the end of my ballet-career that started my quest to regain the genuine living body underneath the exclusive instrument it had become.
Through various theories of dance and movement philosophies, my perceptions changed and my paradigms got challenged again and again.
My consciousness for the body as organic substance, alive and subsisting to the rhythm of nature awoke; in its shapes, expressions and needs.
