As I integrate the art of movement with Embodied Psychotherapy, I experience the fulfillment and the joy in supporting people towards self-awareness and transformation. The exploration of physical touch and the significance of human contact determines all aspects of my work. In this process, I meet my best self through a long commitment to a life long journey of creativity and meaning.

“There is a contradiction in wanting to live in absolute security in a universe whose very nature is characterized by the momentary, the sense of transience and fluidity.”

Alan Watts

“The art of dance educates the dancer to accept the challenging condition of impermanence, to live harmoniously and creatively with this reality. To accept the continuous changes of the body and its effects both on the individual’s daily life, as well as, on the artist’s expression.

Thus, dance, may be a revolutionary and a particularly demanding form of art that sometimes is difficult to be received by the general public. It promotes the principles of life, mirroring the subconscious and the incomprehensible through the body; the beauty and the truth of the present moment with all that it contains.”

Christina Klissiouni

“Art is beauty, and beauty radiates truth, without which, there is no art.”

Antonio Gaudi

Dance and Embodied Psychotherapy (1980 – present)

Choreographer, dancer/performer, Somatic Movement educator, improviser, Contemplative movement teacher, Body Psychotherapist, Gestalt and Trauma Therapist, Shiatsu practitioner. A continuously active professional presence in Greece and abroad.

Since the beginning of my exploration in dance and therapy, I have been focusing on the embodiment of movement with the aim of developing mindfulness and awareness through movement improvisation/Somatics/dance practices. The exploration of the mechanics of movement that promotes physical intelligence through the art of dance, naturally led me to Embodied Psychotherapy and healing modules. For the past 40 years, I support the individual’s evolution towards connection and self-expression; how to be in contact with one’s self, in order to allow change and transformation in a creative and therapeutic framework.

Since the early years of my research, the art of contemporary dance and improvisation led me into a self-explorative path. The embodied experience deriving from sensing, feeling, acting and expressing oneself through movement, brought me to the creative and profound world of psychoanalysis. Thus, I intuitively discovered a link that connected my experiences from dancing with the understanding of my emotional self, my personal narrative and the subconscious imprinted in my body-mind. The psychotherapeutic ground provided a safe space that supported growth in my primary steps as an artist, helping me dive into my inner vital resources and learn more about my potential, my strengths and my shortcomings.

As a contemporary dancer I have been researching the biomechanics of movement, the complexity and the connectivity between the bodily systems and the relationships that bring harmony and balance to the body as a unified organism. How we develop our skills of perception, becoming aware of the sensorial and the emotional signals that are revealed while dancing, following our inner movement.

I have been working as a dance/movement educator, dancing and choreographing since my initial studies in Liberal Arts, majoring in dance and history (BA Deree College, 1980 – 1985). My studies and work experience continued in New York City (1986 – 1991) where I discovered postmodern dance forms such as Contact Improvisation and Somatics/Release techniques, studying with the pioneers of those practices in the 80’s. Simultaneously, I studied at the professional training course for 4 years at the Merce Cunningham Studio, being taught by Merce Cunningham himself and by the members of his company. The above mentioned contemporary dance technique brought Abstract Expressionism to the forefront of the dance world at the time. During the same period, I trained in postmodern dance and improvisation as an independent artist at the studio of Simone Forti (being taught by herself and other influential teachers who participated in the Grand Union and in the Judson Dance Theater groups such as Yvonne Rainer and others). I also attended multiple labs throughout my stay in New York City at major studios such as Movement Research, La Mama, Peridance Dance Studio, Trisha Brown Studio and many others.

Since 1986, researching movement through dance brought me into contact with Somatic practices such as the Alexander Technique (3 years with Kim Jessor, director of ACAT in New York), Body-Mind Centering (since 1987 with Gail Turner and many other teachers), the Kinetic Awareness practice (Elaine Summers, Barbara Mahler), Authentic Movement, the Susan Klein technique, Ideokinesis (Irene Todd) as well as the Skinner Release practice (with Stephanie Skura, 1987).

The research of dance through improvisation forms the basis of my work continuously to this day. It led me, in those years, to postmodernism and in particular to Contact Improvisation (1987). I was fortunate to meet and study the innovative practice of CI from the founders and the first generation of dancers and teachers, with whom I collaborated later on in my career.

I belong to the second generation of CI teachers and in 1990-91 I introduced CI teaching based on Somatics in Greece. I developed the teaching methodology in my country by training dancers (State School of Dance), actors (Lefteris Vogiatzis and his team of Nea Skeni) and amateurs who were interested in movement and contemporary dance training, focusing on alternative approaches that cultivate physicality and embodiment based on self-awareness. Since the beginning of my research I have been actively in contact with the international CI community. I have been invited to teach intensive workshops and present performance work in many cities in Europe, America and Asia. I participated as a central teacher in the most important international CI festivals (Freiburg, Grenoble, Israel, Italy, London, Paris, Oslo, St. Petersburg and others). I have also been an active CI teacher participating in thirteen European conferences of CI teachers (ECITE). I have co-taught and organized numerous workshops and retreats since 1993 with particularly notable instructors and pioneers of the above practices such as Nita Little, Daniel Lepkoff, Ka Rustler, Charlie Morrissey, Christina Svane, Ray Chang, Kirstie Simson, Mary Prestidge, Suprapto Suryodarmo, Andrew Harwood and many others.

Alongside teaching, I presented my work as a dancer/choreographer, initially with the Helix Dance Company formed in 1992. The art dance works were developed through investigation on improvisation, as well as on exploration of concepts and themes around kinesthetic material that articulated imagination through the performer’s physicality. My main curiosity was focused on relationships in space; based on the duet form and on the investigation around contact, the tactile vocabulary of the senses in physicality.

My artistic work has always been inspired by Contact Improvisation and by Butoh Dance (contemporary dance from Japan), a practice which I first encountered in New York in 1988 by Eiko and Koma. My interest in performance art led me to explore tools from the Action Theater by Ruth Zapora and study vocal expression with Meredith Monk collaborators such as Bob Een and Andrea Goodman, as well as with Lisa Sokolov/NYU, Ann Papoulis and many others.

As a choreographer and as a dancer I collaborated with important performers from Greece and abroad. I created works, solo and in groups, with the aesthetics and philosophy of postmodernism and sensorial movement. From 1992 – 2003 the performances I created were mainly choreographed works, whose material was inspired by improvisational research. Gradually, from 2004 onwards, I focused much more on structured improvisation performances. For detailed information about the performances: https://presentbody.com/dance-performances/

My focus, the significance of relational skills in physical communication

Contemporary dance, improvisation and Somatics, my personal study focusing on the process of embodied movement led me to psychoanalysis and Body Psychotherapy. The experience of movement revealed to me the need for awareness, to free up my self-expression. I, thus, sought a greater depth and understanding of my personal narrative, not only through the art of movement but also through the art of psychotherapy. The relationship between these two accompanied me from the first steps of my career, enriching me both as an artist and as a person.

In retrospect, I realize that I intuitively chose to work in parallel with these 2 fields, which have as a common denominator the investigation of the individual and his/her relationships. Both dance, Contact Improvisation in particular, and psychotherapy offer creative tools for the art of living, both focusing on the realm of relationships, connecting with the self through contact.

Relationships, I reckon, have always been one of the greatest human challenges. Each choice while improvising mirrors the responses of the individual who in turn, simultaneously influences with his/her perceptions, acts and interrelations everything that happens in the environment. Being in contact with our conscious/unconscious choices and experiences as we always move in relation, we realize on a deeper level how our life is depicted in our physicality and form; that is, how our movement articulation becomes our personal signature.

Dance and Embodied Psychotherapy, as two human-centered fields of research that converge with the goal of self-awareness and self-expression, opened up ways for me to believe in man and in his transformative powers.

Embodied Psychotherapy training & other healing practices since the mid 90’s

Researching movement through dance brought me into contact with Somatic techniques, as well as psychoanalysis early on in my career. The experience of movement revealed to me the need to trust myself more and my passion for dance expression. Contemporary dance and improvisation led me directly, at the beginning of my training as a dancer, to seek the tools of psychotherapy, illuminating the value of emotions and how they are inextricably linked to physical expression and our perception.

Thus, alongside my studies in contemporary dance and my research on movement through Release techniques, I received intensive personal analysis of neo-Freudian direction in New York, for 4 years (1987-1991) and continued in Athens, in a group of Systemic Psychotherapy approach for another 4 years. I proceeded to the next round of personal analysis, training as a Body Psychotherapist and as a supervisor at E.I.N.A Center in Athens (Training based on Wilhelm Reich’s theory). Simultaneously, I attended 2 two-year Master Courses for therapists; the first one was taught by Barrie Simmons, (close collaborator to Fritz Pearls) on Gestalt and the second one with Alberto Torre training on Body Psychotherapy with the subject: Posture and Character Analysis. In addition, I attended multiple self-awareness and psychotherapy workshops with important master therapists/teachers such as Bert Hellinger, Bjorn Blumenthal, Berit Heir Bunkan, Genovino Ferri, Maria Louisa Aversa, Francois Lewine and many others. I have completed another 2 long cycles of Body Psychotherapy personal analysis with Clorinda Lubrano (Director of E.I.N.A Center) and Olaf Trapp (Bioenergetic Analysis).

I have been working as a psychotherapist offering individual and group sessions since 1996-97. I have participated as a leader of labs/trainings in multiple conferences, seminars and workshops in Greece and abroad. I am a member of PESOPS and the European Association of Body Psychotherapy (EABP) and a certified supervisor of Body Psychotherapy by Genovino Ferri.

Since 1994 I also offer Zen Shiatsu sessions at my private practice space. I was trained for 3 years (Certification from the European Shiatsu School) in Athens by international Shiatsu teachers/practitioners.

Since 2021, I attend a professional training course in Cranio-Sacral Therapy (Completed the 3^rd level, Upledger Institute in Athens) and in April 2024 I completed Narm, a Trauma Therapy training, a specialized course for therapists according to Laurence Heller’s approach. I have always kept my curiosity active in learning, arguing that the apprenticeship needs to be a lifelong process.

Since 1997 Suprapto Suryodarmo (Indonesia) has been a very important mentor, collaborator, friend and spiritual teacher to me. The study of meditative movement connects human creative expression based on self-awareness; through free-form practice (Amerta Movement) the mover discovers ways to bring a sense of spirituality and religiosity in his/her physical dialogues interacting with the environment. The process of self-mirroring where mind – body – emotions – imagination and instinct integrate, supports transformation and self-healing.

The art of teaching and research in improvisation (1986 – present)

The methodology I have developed as a movement educator and researcher is based on two main pillars. The first pillar deploys the synthesis of the knowledge I have acquired by continuously studying movement re-education (Release techniques, Somatics), contemporary dance techniques focusing on the Merce Cunningham technique and improvisation/Contact Improvisation. Simultaneously, I have been practicing Mindfulness through body awareness, exploring various schools of Yoga and Tai Chi.

My curiosity and my need to stay connected with the learning experience and the inspiration drawn by different approaches to the art of dance and therapy, led me to a rich lifelong pathway. Studying and collaborating with prominent master teachers/artists/therapists, I was blessed to be in contact with the authentic source of knowledge. Sharing my understanding and creativity, imparting all this experience with so many people of all backgrounds, helped me to discover more about humanness.

Teaching, in my experience, is a natural space for communication and creativity. As a movement teacher, I include the presence of each participant with openness. While teaching, I take into consideration the dynamics of the group, which varies each time, depending on the composition of the class. In each movement session, I am called upon to respond to the needs of the participants by helping beginners to understand the function of movement, to trust their body, themselves and to free their expression, while playing with gravity, the natural forces and the other bodies. Advanced professionals may have other needs also. They wish to explore further and to deepen the tools they are already familiar with. New information sometimes conflicts with the way they have trained their bodies, calling them to change in order to evolve. My job as an educator in this case is to give the students room for experimentation and to discover what really works best for the way they perceive their movement, as well as their artistic demands as performers.

The second important pillar that supports my work when I teach is the process of non-identification, which allows my instinct to guide me, as if I become a network, a channel. This almost magical teaching process, like alchemy, carries and transforms the energy that needs to manifest for the individual and the whole group as well.

When I teach I enter the sensorial and the intuitive space within myself. In this role, I, in a sense, disidentify from my ego and from my personal preferences. The space expands internally, I become more available and present to listen to what is happening in the room. I read the stimuli I receive from the participants so that I can follow the signals emitted by the physical and energetic presence of each mover. Thus, when I teach, I respond creatively with ideas and suggestions to these signals that empower people to embody their movement. Both my intuitive self and the knowledge I have acquired through the years as a dancer, support technique and personal expression. Creating an atmosphere characterized by different states of being, I allow authenticity and the unexpected to emerge, while playing with movement tools that cultivate physical skills. Movers experience an enhanced state of attention and feel more open and free to connect to each other.

A defining element of teaching is the structuring of the material of the class to allow presence and attention. I aim towards the creation of an atmosphere that accompanies and supports the process of integrating information and embodiment. The experience of oneself on all levels that brings a sense of wholeness, connection and flow supports growth and freedom. While teaching, associations, metaphors and images arise to inspire and activate the senses and the imagination. Thus, the movers may allow themselves to let go of resistances and understand their narrative with more consciousness, experiencing various states of being. Following this explorative approach to movement work, may lead participants to instigate the search for therapeutic practices, in order to deepen the perception of themselves and their relationship to the environment.

My intention for the class is to create a space for experimentation, inclusion, acceptance, self-discovery and self-development. Emphasis is given on self-awareness training the body and the mechanics of movement, cultivating attention. As a teacher, I get excited when my work makes it easier for people to better understand their bodies and the way they think, acquiring greater clarity as they feel physically and emotionally relieved.

The movement class primarily helps the participants discover new means of managing stress, while connecting with their inner strength and a wider range of their expressive potential. Participating as a teacher in this journey of peoples’ transformation, I experience the joy of contributing to the individuals’ capacity for change, combining art and healing; in these moments, I meet my best self through this pathway of deep creativity and meaning.

Since 1991, I developed a methodology for amateurs and professionals who were interested in committing to the academic year and devote themselves to the practice of movement for longer periods of time. I proposed a full weekly program of classes/workshops creating my own independent school that comprised a full training in the direction of embodied practices, contemporary dance, Contact Improvisation, Contemplative Movement, Authentic Movement and other forms such as Yoga and Tai Chi.

In the early 90s, the synthesis of all these practices was an innovative proposal in the field of dance in Athens, especially when addressed to amateurs of movement. I have had the pleasure of seeing several of my students who started out as beginners develop professionally and become teachers/performers themselves in different movement modules and dance practices.

In 2009, I opened up my own professional studio, Present Body, a unique space that promotes practices of embodiment and therapy. Contact Improvisation has always been the main form of practice and ground for exploration that connects the performative aspects of contemporary dance with the therapeutic and healing aspects of movement improvisation.

In short, teaching, as I understand it today, becomes the playground, a creative mirror of ourselves that reflects our everyday experience and our way of being with the others. It offers a framework of support for change and transformation of the individual, who is called every moment to confront his/her tendencies towards inertia and resignation.

We are continuously challenged to face our difficulty in accepting what we experience in ourselves as dysfunctional, painful and repetitively wrong while moving. This attitude of inner conflict prevents us from liberating ourselves from blockages, physical constrictions, tensions and a sense of self-imprisonment in our own body.

In each lesson we negotiate with our resistances, our habits and the automatic mechanisms that tend to take over during our movement expression. We train to understand the obstacles we encounter in our body, to practice with a friendly and compassionate look towards ourselves. In the process of our movement exploration we study how to tame and understand our negative thoughts/emotions. Thus, we open up space and time for self-reconciliation that heals our pain, freeing us from our blockages.

With patience and perseverance, learning to trust the process without expectations for the result, we discover that little by little our body follows its own wisdom and changes naturally, leading into more functional ways in its use. Thus, the articulation of movement and its expression acquire more subtlety, flow and a variety of qualities in the physical dialogues. At the end of the class, the participants, feel more unified, integrated, inspired, released, fulfilled and alive.

My path as an Embodied Psychotherapist

“People will never be able to heal unless they learn what they know and feel what they feel.”

From the book “The body does not forget” by Bessel Van der Kolk

In the course of my work, I have combined my experience of dance with the training and tools of body psychotherapy, applying methods that cultivate embodied movement and expression in the therapeutic process. Dance and psychotherapy are two parallel paths that I follow on personal and professional levels. Sometimes they converge, sometimes one takes up more space than the other in my life.

I was one of the first professionals in the fields of dance and psychotherapy in Greece to study, to explore and to integrate the two human-centered fields in my work with people. They have as a common denominator the cultivation of self-awareness and the liberation of the authentic expression of the individual.

Both dance and therapy support experientially the potential that exists within ourselves, so that we allow ourselves to bring about the change we need.

I have always focused on research through experience that supports embodiment based on contact and connection to oneself. Thus, the participants cultivate their physical and emotional perception, their intelligence that allows their self-expression to be actuated by their inner vital forces.

The intention of my work is to connect the art of movement and dance with therapy and more specifically, with body psychotherapy and trauma therapy. The art of dance, as well as psychotherapy, illuminate aspects of the self that people often suppress, as they cut themselves off from their needs to receive attention, acceptance and love. Therapy offers choices and alternatives for healing, to enlighten and to navigate life’s traumatic experiences.

The adult’s ability to make choices moves us towards freedom and self-agency away from the emotional influences and the consequences deriving from developmental traumas, our confinement in the past. It widens the space of self-acceptance. We learn how to resolve inner conflicts, discovering the solutions that we may be able to endure best, in order to own our choices and become more mature. As we connect with our inner child while at the same time we cultivate a better parent in ourselves through the therapeutic process, we embrace functional ways towards self-care that bring more balance to challenging relationships in life.

By freeing the body/mind from dysfunctional beliefs, it opens the field so that one may heal past traumas and move creatively and authentically closer to the truth of the self in relation to the realities of the environment. It is important to recognize our history, the experiences that define and affect us, no matter how painful they are. We discover the strength that incites and promotes our life connecting us with our potentiality, our capacity for joy and love. In the psychotherapeutic setup, we embrace disappointment and frustration which is a strong element in real life and in authentic relationships. We learn how to handle our difficult emotions and our pain and take responsibility for ourselves to fall and rise up, a continuous process in life.

Self-care and self-love, which is shared with others, is mirrored through our relationship to the body and its movement. Connecting with our creativity, expanding towards “the other” we blossom. My work as a teacher, as an artist, as a therapist and as a facilitator is a challenging path that often leads to rewards of change, self-acceptance and transformation. My intention is to accompany peoples’ process towards self-work with active presence, an expanded state of being; to stay receptive and understanding in their conflicts and dilemmas that prevent them from realizing their true needs.

My job is to support and offer a safe space for people to unravel hidden parts of themselves, to help them get in contact with their inner wisdom and to trust their emotions and sensations. In this process individuals connect with what is mostly possible and available to themselves as adults in the present moment. Thus, they may experience freedom and relief from the impasses, the obstacle and the impossibilities they experienced in traumatic events during childhood, where they were completely dependent on their parents.

The skills that I have developed from both professions, help me to contain and support the clients’ material of life with respect and compassion, to honor their trust. Every client’s journey in therapy is unique and determines the perception of myself in relation to the realities of life.

To summarize, my aim as a therapist is to offer a supportive space of trust and inspiration, where clients explore ways to reconnect with their resources, their vital energy. In a therapeutic group framework participants interact with others both verbally and experientially to discover how every human being has something valuable to offer to oneself; we practice how we receive a sense of self-mirroring relating to others, how we avoid and how we embrace aspects of our self that we recognize in others.

In the therapeutic process as an Embodied Psychotherapist I offer individual sessions, couple sessions and Embodied Psychotherapy group work.

All ages above 16 years old are welcomed. I treat cases suffering from: