In 1993, after 20 years of dancing, a car accident ended my career
But even then life can take unexpected turns. In a grocery store in my hometown of Seattle, I met former ballet star Magali Messac (and ex colleague from Pacific NW Ballet), who had become a Gyrotonics master trainer. Thanks to her and a radically new approach to movement, I was back on my feet again within a year.
My second career as a dancer started in Europe in 1996.
Gothenburg Ballet, directed by Anders Hellstrom, offered me an incredibly rich repertoire of the most prominent choreographers in the dance world. Gaga, a movement method developed by Ohad Naharin changed the way I approached dancing. Little did I know that a simple imagery exercise would further trigger the development of Stream-Flow.
William Forsythe made we aware that the stage and body are lawless places. He encouraged and inspired his dancers to explore their endless possibilities. Our bodies became more intelligent by incorporating knowledge gained from past and present experience. We lived in a movement laboratory full of curious bodies and minds. I was empowered as a person and a dancer. William Forsythe taught me to be my own source of movement.
In 2005 Forsythe dancer Yoko Ando invited Budoh master Hino Akira for a workshop. A life changing experience. Hino taught the importance of focus: the difference of just touch and what you “feel” when you touch, and how it deepens the sensation and quality of the movement. Rather than being preoccupied with developing specific movement, the movement just happens.
In 2006 I retired as a dancer, six months before I gave birth to my son Sammy. I was reading the book “Awakening Intuition” by psychologist Frances E. Vaughan and everything fell into place. Suddenly I realized how I could combine the principles of Gyrotonics, William Forsythe, GAGA, Budo master Hino Akira with all my experience as a dancer. This was the beginning of Stream-Flow movement method that I’ve been teaching and developing ever since.