This process started during a research period in my masters where I found that blocks to my creativity could be met through the power of sound, through ancient tradition as well as ground breaking work of psychologists that deal with the body-mind connection with respect to trauma and resulting neurological states. 

This for me as a dancer was very important as in current dance practices we simply label this kind of work as therapy rather than art, severing it from its artistic results, and often dichotomizing the two processes as if the psyche could ever be diminished of all of its aspects. Potentially in this way also diminishing the power of the art of dance. 

As a dancer, this revelation was crucial. In contemporary dance practices, we often label this kind of work as therapy rather than art, creating an artificial divide between therapeutic results of artistic processes and artistic processes, as if the psyche could ever be compartmentalized in a creative process. This dichotomy potentially diminishes the transformative power of dance as an art form. 

My research aimed to expand the concept of dance by referencing ancient ritual practices. This inevitably led to incorporating the voice, which in a performative setting, became like a fifth limb.

For me this practice  bridges sound, movement, text into a holistic experience.