INA wants to focus her attention to the territory that her body serves to the other, or to the space around her. INA has a clear approach to the surface she gives or uses. INA controles and searchs for freedom in her corporal node. INA is sensible to tact. INA is my Mother and my way to understand the movements of my body.

As a child, I lived planning our daily movements and fisical needs to be able to advance in space with another body, to keep control and, on the other hand, to try to be as natural as possible.

My mother, INA, lives with the sindrom Arnold Chiari and needs a reference to be able to recognize the position of her own body.

We used to walked around our ”Moshava” (village) each time more connected, always planning the act of every movement.

After years of creating choreographies based on my research of balance and its manipulation, trying to control my passion for the potential that hides in the connection between bodys, and developing as an individual my sensibility to gravity and tact, I’m happy to finally give it the name of INA: The sense of my Balance.

In the last 10 years I’ve been working on a series of tasks and contact practice in the field of creation and improvisation. My approach to make choreography based on the FREE FALL (2013) of the body and ALL the WAYS (2016) it can find, or form, a new base  (HASTA DONDE?2011). The connection with the balance is a life ritual (ERRITU 2018) and is meant to connect us like a RIZOMA (2013). Each contact we do build is aSTABLE (2015) place for both and can lead to a new form. This process is my DOSE OF PARADISE (2020).

The focus of this language is placed on the concept of gravity, on digging deeply into this matter, on discovering its most unexplored aspects. How is my body capable of manipulating the weight of the other? What are the active centres that allow me to carry out this manipulation? What new forms of movement can I generate from there?

On the other hand, to these questions we must add the energetic expression that shapes the bodies, because it never goes unnoticed in the creative processes. Movement implies the transmission of an element with which it has previously been connected… I move as a direct expression of what happens inside me, not as a tool of expression, I move out of an internal and irreversible need.