In this brief synopsis, I would like to introduce you to the Circadian Bodies Methodology. A profund, everyday practice, I developed, combining my pharmaceutical knowledge, my experience as a movement practitioner and my ecological activism. It is a practice, which is not only in depth, because of its multidisciplinary character, but also, because of its longterm approach. It is an attempt to meet the complexity of our being in the world, by taking a multiperspectival standpoint.
Before I’m explaining my methodology at length, I want to briefly describe not only what preceded its development, but also the knowledge it draws from. Especially my short film project Nostos - Migrating Bodies, Migrating Dances, in which I explore movement practices and cultural narratives from a multidisciplinary perspective, became central for the creation and dissemination of the Circadian Bodies Methodology. Let me therefore start, by explaining the theme of this film, in order for you to understand, what has given the methodology its shape.
Nostos — Migrating Bodies, Migrating Dances
The theme Nostos is an ancient Greek concept, symbolising the epic hero’s return home, which I reinterpret in the context of contemporary issues like migration and displacement. Investigated through choreographic research and fieldwork, the theme serves as a metaphor for the refugee journeys across the Mediterranean. By drawing on my experiences at the Danceweb Scholarship (Impulstanz, Vienna) and during a residency at Itaparica Island, Bahia, I bridge cultural gaps between Greek traditional dance and Capoeira, revealing their shared expressions of communal healing, resistance, and identity preservation. The ethnographic research involved field interviews with dance practitioners in Crete and Salvador, providing insights into how these dance forms act as cultural archives, preserving narratives of struggle and resilience. A central focus is the affective connection to the socio-political themes underlying the research and the urgency of addressing contemporary social issues, such as migration and cultural preservation. The work is driven by a sense of responsibility to honour the cultural traditions I engage with, as well as a personal commitment to exploring my own identity and place within these narratives. It reflects a professional ambition, but also resonates with my personal journey as an artist navigating complex cultural landscapes.
Developing The Circadian Bodies Methodology
Enriched with the insights of dance practitioners in Crete and Salvador and drawing from my own background in healthcare and my experience as a movement artist, I developed The Circadian Bodies Methodology.The methodology integrates principles of the the physiology and bio-tensegrity of the human body. It emphasises the preparation of the body for the day and for the activities of each person, while also preserving personal agency within flow states. Understanding circadian rhythms, which regulate the sleep-wake cycle and repeat roughly every 24 hours, was crucial to the practice. To achieve that, I worked with the anatomy and physiology of the human body, explaining the relevant anatomy diagrams and basic hormonal systems to the participants of my Circadian Bodies workshops at several permaculture festivals. Permaculture is a philosophy promoting that we should not work against-, but with nature. The Circadian Bodies Methodology is based on this philosophy as well as on the theory of Maurice Merleau-Ponty, who emphasises the importance of bodily awareness and sensory experiences in shaping perception. My practice therefore integrates games and playfulness to promote a sense of wholeness and presence, encouraging the mind and body to function as a unified entity. By aligning the practice with Circadian rhythms, I explore the natural, internal processes that regulate the sleep-wake cycle and how these affect movement. Workshops usually start with an investigation into how movement can be synchronised with seasonal changes, particularly focusing on the current season. This involves studying the relationship between bodily predictions, actions, and environmental factors, considering how external constraints like sand, water, grass and tools influence movement patterns and cognition from the mover’s perspective. This alignment with the rhythms of the outer nature is as vital to the Circadian Bodies Methodology, as finding connection between body and mind. My practice, which also includes daily creative writing and poetry, playfully works on integrating body and mind in order to promote presence.
To end this brief introduction to The Circadian Bodies Methodology, I would like to share one of those writings with you.
Circadian Bodies — A collective Dance Manifesto
Remember
What you love?
What you fear?
What your current question is?
Remember how to be a major worshipper of the sun
Remember to trace back the spirit of things
Remember to honour the ways the body holds
Remember not to impose on the structure of things
Remember the public space and activation of sensitivity
Remember music in your movement practice
Remember common social issues Remember to braid and to smell coffee
Remember your home — belonging War — remember to talk about it
Remember plot twists and hosting
Remember archives and needles while existing in cold waters
Remember to drink water after a long day of being thirsty
Remember to have a deity-cat in your life
Remember the collective agency on memories
Remember how to be an object and honour of flesh
Remember Holograms or the idea of them
Remember to answer ‘If life a gift or a curse? Shall I pass it on someone else’?
Remember to dismantle boundaries while fighting with people
Remember loving kindness within your practice
Remember to make the stream of consciousness descriptive
Remember to engage with plants in different sensorial realms
Remember to erase the above if nothing works for you
