„Widersprüche gibt es nur in den Wörtern, Widersprüche gibt es nur in den Sätzen. Das hat mich sehr nachdenklich gemacht, bzw. mein Körper hat das eigentlich immer gefühlt. Jeder Körper fühlt das.“ (Rolf Dieter Brinkmann)


Teaching is continuing the research and researching gives ground to the teaching. They are deeply intertwined. It´s finding the right questions and accepting that we are already lived answers to questions we don´t know yet. Especially the body. In that sense the body is all there is. Within it is all. The real stuff and the soul. And the unknown.


Teaching and research have always been crucial parts of the artistic work, equally important and necessary. And from the beginning both have never been a patchwork of appropriated exercises and practices incorporated oneself from others but an out of itself developed method of practices and embodied knowledges that can be shared. With coherencies and inner necessities that build on each other.


In the beginning there have been questions of how to live formulations of the body fully on not fall into traps of representation. How to develop a mutable body that has the possibility to unfold in many ways and at the same time remain attentive to its shifting meaning. In the beginning there were a lot of questions about how to connect the speed of the body and the speed of the brain. And training the virtuosity of the body, opening up to the polyphonic landscapes within the body; a body that is not „one“ or always a „globality“, but many details with different textures and layers and rhythms. From there came a whole set of practices on isolation, multi-moving, texture-polyphonies and unpredictable inner-body-symphonies. Including thinking and making thinking visible through the body.

And then more and more entering the unknown, in the

beginning calling it „breaking habits“ or „before naming“ followed by a more radical presence-work of „where do we begin and end, where do we exist, where can we exist?". A kind of presence work that unfolds knowledge about the way we are in space and time deep within and without our bodies. Practices on physical expansion and tapping into something that then was called „unconditional love“. And „the dissolution of the self“ and „melting the individual“.

The collaboration with Jared Gradinger brought the breath into the teaching and research. And the work on intimacy, more precise on „beyond intimacy“. I am breath, we are breath, falling in and out of breath, becoming one organ through the breath, before naming intimacy. And dedication. A whole practice around dedication to the other. That years later became a practice in surrendering.

And then the „no-will-stuff“ and the desire for being moved. Searching for the autonomous forces and principles in the body that move us. Slowly trying to learn how to let those forces incarnate in the very materiality of us, into bones, flesh, organs, skin and thoughts. Meeting those forces and getting a flavour for how it could be possible to reconcile the body and the mind within a very open and sensuous body. Developing practices how to become that sensuous body and how to undo the rest. Entering the territory of „the inside is the outside is the inside“. Leaving the heroic virtuosity of the body behind in favour of a softening of body and fibers that offer no resistance for being moved by the forces that are in us more than us. These autonomous forces leading into the non-human realm behind all things and within the human body. Healing rituals together with Robert Steijn, research periods exploring plant medicine led to working more closely with the spiritual dimension of all things and how to let that dimension speak through the body. This dimension brought the voice and an intuitive sound work into the teaching and research.

Latest processes, also together with Jared Gradinger, and Shelley Etkin enter a deep work with plant consciousness and Co-creative Science, developing a whole set of practices how to communicate with plants and become part of an ecology in co-creative ways and how to co-exist in other ways. How to train new organs of perception, how making space for a true listening and for the felt and for dropping the mind into the heart. And dance from there.


In the end also hoping that all this can change the body equally than the thinking. They are so deeply intertwined as well. And thats another real hope. That shift in thought. Which is also in the body. Thoughts. And how we think, about us, others, about the world and how that makes us act, capital A (for less capitalistic violence).


Acknowledgement: the teaching and research have been deeply infused by the artistic exchange and collaboration with Rosalind Crisp, Martin Clausen, Margret Sara Gudjonsdottir, Robert Steijn, Shelley Etkin, many plant collaborators and by the constant bodywork and healing exchange with Lea Kieffer and Anna Nowicka.

The continuous collaboration with Jared Gradinger over the past 12 years created its own „Gradinger/Schubot-Method“, with a strong focus on partnerwork and nature consciousness.