Ramona Nagabczynska
Ramona Nagabczynska

Why do you do what you do?
I have been exposed to dance and visual art from a very early age and this has developed two things. Firstly, I don’t see any clear line between the two art forms. Secondly, it quickly became clear to me that the organization of matter in artistic practices is a great tool for developing and reorganizing the perceptual hardware of our minds. I became addicted to creating and being exposed to artistic practices and forms that expand our understanding of the order of things.

Even though I intended to study fine arts, I finally decided to stick to dance. I’m drawn to the pleasure factor of dance, which is a rich source of physically articulated desires and taps into a particular type of corporeal empathy between the performer and the viewer. I see a great importance and social responsibility lying in the role of the choreographer, however the main reason I do what I do is the drive to do. I trust this drive. I feel that a creative gesture always has a force that disrupts reality, regardless of whether the impact of this force is immediately visible and easily articulated or not. 

How do you work? (What are your sources of inspiration and how do you work on them? You have daily practices?)
I will start by stating that I do not have a daily practice and for the time being I do not intend to have any daily practice. I do whatever I feel drawn to. I am not stable. I change all the time and want to have the freedom to choose new things to immerse myself in according to my current interests and desires. In that respect I am omnivorous. I don’t really believe that some practices are worthwhile whereas some are not. It’s more of a question of where one takes this practice and what it does.

The majority of the time I choose to work with other people and create a common field of play. That way the work grows on the edges of everyone’s control. It conquers a space that belongs to no one but the work itself, thereby developing subjectivity equal to the subjectivity of its co-creators. Subjectivity that resists being fixed.

Most of the sources of inspiration for my work come from a corporeal situation or a fantasy of a corporeal situation, but often via a phenomenon theoretically unrelated to choreography. This may be an abstract idea, a cultural phenomenon, physical phenomenon or a particular work of visual art. I either become interested in how this phenomenon can unleash unknown physical states or how it can produce a subversion of relationships when translated onto another medium in another context. Most often, I go for both. It’s not necessarily important for me to make the link between the source of inspiration and my work clear but to leave a strong trace of it’s force. 

For you, what role does the artist have in society today? 
The artist should show people how to get lost.


Ramona Nagabczynska

Born in Toronto, Canada in 1984 but began her dance education in the Warsaw State Ballet School after moving to Poland at the age of 11. She continued contemporary dance training at the Hochschule für Musik und Darstellende Kunst in Frankfurt, Germany and at The Place in London. She also received a Bachelor’s degree in Culture Studies at the University of Social Sciences in Warsaw.

As performer she worked with Fleur Darkin, 30 Bird Productions, Emma Martin, Rebecca Lazier, David Wampach, Ula Sickle, Sjoerd Vreugdenhil, Maria Stoklosa, Komuna Warszawa, Kaya Kołodziejczyk, Alex Baczynski-­‐Jenkins, Marta Ziółek, Paulina Ołowska, Paweł Althamer and Clod Ensemble.

Her choreographic work includes: Man's Best Friend (2009), Turao/Dziw (2010), New (Dis)Order (2012), Re//accumulation (2012), Dinge (2014), Actions to relate to Verbs (2015) and pURe. She is currently working on Shift. In 2013 Ramona co-­‐founded collective Centrum w Ruchu, which lead’s an important dance space in Warsaw.

She is the recipient of many scholarships, amongst them the danceWEB scholarship in 2014. In that same year she became Aerowaves Priority Company with the piece New (Dis)Order .