Irene is a versatile performing artist, facilitator, and dancemaker with a multidisciplinary background. Although originally from Italy, Irene has spent more than two decades living and traveling as an independent freelancer across Europe, Asia, and North America. Her artistic path has been shaped by diverse cultural influences and deeply rooted in self-inquiry investigations and practices.

Irene specialize in offering and producing dance training, events, and performances across esteemed institutions such as universities, companies, cultural institutes, festivals, and independent platforms. Her work has reached audiences across the globe and reflects her distinctive and diverse experiences as a passionate explorer and artist.

In 2011 she created BEING MOTION, a platform for collaborating and sharing her artistic practice, to promote independent educational and artistic projects.

Through her dance, she aims to facilitate a heightened state of presence, enabling more conscious, functional, and effortless movement, broadening the technical, creative, and compositional skills of the movers.

She has a particular interest in researching and refining the embodiment of movement biomechanics through the understanding of principles and explorative learning processes.

She is interested in the “synergy of togetherness”, the relational, communicative and creative aspects of contact improvisation, partnering and group dancing. 

Furthermore, Irene delves into the somatic, psychological, and relational transformative impacts of dance.

Her exploration extends to understanding how the practice heightens self-awareness, breaks down conditioning, instill a sense of empowerment, and contributes to overall well-being.

Live music and voice are part of her performing and teachings, exploring the link to body and movement and the evocative imaginary power of word, sound and music with dancing.Irene believes in exploring and cultivating both inner and outer ecology, recognising that a healthy and creative relationship with the body, oneself, and the environment can generate greater trust, authenticity, and balance in our lives, both as individuals and as a collective.

“Now” We’ll delve into technical themes based on the interests and needs of the participants. I am to cultivate sensory intelligence and movement skills that promote present-moment awareness. This involves making effective choices with a lucid kinesthetic comprehension and availability to the immediate necessities, adjustments, and potentials of the ever-shifting realities of improvisational dance processes. Therefore I wish to cultivate avenues to safely connect with a diverse range of bodies and people and facilitate clear and easy communication during CI dancing. “The Kinesthetics of Tempo” I wish to explore the embodied experience and expression of tempo within movement. How tempo is felt, and translated through the body in motion, with other movers, and with all that surrounds us. Emphasizing the dynamic interplay of delving into the kinesthetic elements of collaborating in in-contact dialogues, and the way we sense and can engage creatively with the tempo of our movements. How our dancing expresses the pace, shift of speeds and intensities, silence, accents, and musicality. Engaging with others and the entire group, our focus is on tuning in, synchronizing, and articulating tempo embodying creative compositions.
Profundizaremos en temas técnicos basados en los intereses y necesidades de los participantes.
Mi objetivo es cultivar la inteligencia sensorial y el movimiento que promuevan la conciencia del momento presente. Este implica tomar decisiones eficaces con una lúcida comprensión kinestésica y disponibilidad a las
necesidades inmediatas, ajustes y potencialidades de realidades siempre cambiantes en los procesos de improvisación
de la danza. Por lo tanto, deseo cultivar vías para conectar de forma segura con diversos cuerpos y personas y facilitar una comunicación clara durante la danza CI.

“La cinética del tempo“
Deseo explorar la experiencia corporal y la expresión del tempo en el movimiento. Cómo el tempo es sentido y cómo se traduce a través del cuerpo en movimiento, con otros
y con todo lo que nos rodea.
Haciendo hincapié en la interacción dinámica de profundizar en los elementos cinestésicos de la colaboración en diálogos de contacto, y el modo en que percibimos y podemos
participar con el tempo de nuestros movimientos. Cómo nuestra
danza expresa el ritmo, el cambio de velocidades e
intensidades, silencios, acentos y musicalidad.
Al relacionarnos con los demás y con todo el grupo, nos centramos en sintonizar, sincronizar y articular el tempo
encarnando composiciones creativas.