What is the music that wants to be played out in our time? And how does my body move in response? Where do I begin? Do I join someone, or start on my own? How much do I want to change that is already there, and how can I contribute? Where needs more care, and where is my (be)longing?

Guided by the ever-changing sounds and movement in the space, families from all corners of the world were invited into a collaborative sculpting play, shaping an evolving multi-sensory landscape.

A collaboration with Hamrabourg Festival and GETA (2026). Co-facilitated by Natalia Duarte Jeremías.

The way we walk. The way we greet someone. The way we shape things with our hands… Even when we arrive in a new place, our bodies carry whispers of the lands we come from, traces of where we have been and who we are becoming.

With students from the University of Iceland, we explored these traces and our experiences of migration and transition through clay — touching memories, inhabiting the spaces between past and future, and dreaming tiny pieces of tomorrow together.

A collaboration with the Sprettur program at Háskóli Íslands (2026). Kindly supported by Juan Camilo Román Estrada.

Each departure is also an arrival. What we carry in our bodies is knowledge that shapes how we relate to the world. Through movement, clay, and play, we invited families — especially those navigating new homes and communities — to activate their senses and explore the experience of transition. Together, we imagined practices of re-rooting and a future woven with connection and care.

A collaboration with Reykjavík City Library, as part of Framtíðar Festival (2026).

Do children make sense? Do they need to? Children navigate the world often without judgement or expectation, just curiosity. What would happen if we followed their lead? This workshop invited participants to co-create a playroom and trace their footprints of wonder. We took inspiration from some of the ways children use play to learn, communicate and navigate their environment. The session began by warming up the bodies and voices in “silly” and playful ways—free from any guiding narratives. We then moved on to an experimental, wild sensory exploration, and finally played with the idea that “there is no such thing as a stupid question”.

This session was run under The Liminal Expressive Arts Collective Berlin (2025). Co-facilitated by Aisling Marnane.

The talented and wonderfully warm students of Tónstofa Valgerðar welcomed their friends from Finland and Norway, co-creating a colourful day through music, movement, play, and raw materials of the land. We flew with parachutes, journeyed across a large canvas, and created a beautiful landscape with seaweed, shells, and other natural treasures from Iceland — listening, moving, composing, and imagining together.

A heartfelt collaboration with Tónstofa Valgerðar (2025).

Can the dark become a place of resource? How does it arrive, and how do we enter it? What lives in the dark, and how do we relate to it? Does that relationship transform over time? And what does it truly mean to “see”?

Taking place in the midst of the harsh Berlin winter, this session invited participants to befriend the darkness, challenge the hierarchy of the senses, and awaken our inner compass. Reorienting ourselves from the outer world toward the inner landscape, we explored new ways of connecting within and without.

This session was run under The Liminal Expressive Arts Collective Berlin (2024). Co-facilitated by Vera Jonas.

How does the space in between shape our experience? What possibilities live in “what isn’t there” — the unseen, the untouched?

In this gathering, we entered 間 (Ma), a Japanese concept of the space, interval, and pause between things — the silence in poetry, the pause in music, the space that gives shape to the whole. Through movement, drawing, and clay, we explored the richness of negative space, discovering what it holds and what might emerge within it.

This session was run under The Liminal Expressive Arts Collective Berlin (2023). Co-facilitated by Polina Yakymenko.

《歌之版圖》或《歌行》，是澳洲原住民透過歌唱來譜記、識別土地與路徑的儀式。本工作坊以《歌行》為雛形，邀請參與者進入自己的生命之歌，透過個別和集體創作，回溯自己生命的河流，並在生命之河的創作中，著墨身心永續的議題，辨識在生命的每個轉彎處，身邊握有的資源。我們利用自然素材創建屬於自己的聖壇，體現自己的故事，最終回到身體與呼吸，透過家族排列的儀式用身體唱出參與者期許的未來。

A heartfelt collaboration with 洄廊 The Corridor Studio. Taitung, Taiwan (2022).

在大自然中，當我們看見一棵樹，它就是樹；看見一隻毛蟲，我們不會期待它是一隻蝴蝶。我們欣然接受萬物本質”as such”；每一個舉動、品質，都值得得被愛與讚許。而身體就是那片曠野 ，也值得被看見。當我們看見身體，就是接納她的各種樣貌；只有放下批判，才能打開許多道門，各種可能性因此油然而生。

在一個被山與樹木環繞、聽得見鳥鳴與溪流的美麗樂土，我們邀請各式各樣的身體，不分性別年齡背景，打開感官，開始我們的身體練習。以動作為語言，讓肢體說一則她的故事。

A heartfelt collaboration with 一塊樂土. Taipei, Taiwan (2022).