Bodies, Processes, Traces: Dance and the Moving Images

In 2021 she completed her film editing studies at the Lumiere Film School (Budapest), and in 2023 she became a certified Somatic Movement Educator in The School for Body-Mind Centering®. Her predominant background is movement: contemporary dance and improvisation, somatic approach, Tai Chi and QiGong. Currently she works as independent artist and researcher, movement pedagogue and filmmaker. Her research includes film as embodied art, and the somatic possibilities of choreographic moving image.

She holds a BA in Contemporary Dance from the Academy of Dramatic Art in Zagreb and a MA degree in Dance Research from the Royal Conservatory in Antwerp, Belgium. Over the past decade, she has participated in workshops and residencies and collaborated with dance and theatre artists, organizations, and collectives. Her artistic practice encompasses collaborative and independent works. In 2018, she co-founded Škvadra Art Organization, dedicated primarily to site-specific performance. Since 2025, she has also served on the board of UPUH and contributed to the development of Sauna, an improvisation platform. Her current research explores the relationship between the body and the camera, focusing on the performance of the gaze, the organization of attention, and teamwork.

Urh Pirc (1999) was born in Ljubljana. He completed his undergraduate studies in cinematography at the Academy of Dramatic Art in Zagreb (2023). As a director of photography, he has worked on various fiction and documentary projects that have been screened at festivals in Croatia and abroad. Last year, the Slovenian Society of Cinematographers awarded him the prize for best cinematography in the student category for the film Grčke Marelice. He participates in dance performance projects and participated in Ema Crnić’s artistic research project Pokretiranje (2024).

She holds a Master’s degree in Animation and New Media from the Academy of Fine Arts in Zagreb. Her artistic practice combines fluid, hand-painted imagery with evocative storytelling, often exploring themes of movement, migration, and human connection. Alongside filmmaking, she creates multimedia performances that combine dance and live animation to offer immersive experiences. Her work is also regularly exhibited in galleries and other exhibition spaces.

Müller has served on the juries of numerous international film festivals and led masterclasses at festivals and universities. She has also lectured in animation at the Zurich University of the Arts (ZHdK). Her latest project is an animated documentary based on the life of her co-director, visual anthropologist Darcy Alexandra, scheduled for release in 2027.

She is a doctoral candidate at University of the Arts, Helsinki Her research asks How does ecosomatic choreography foster embodied ethical relationality? She is a Certified Movement Therapist (ISMETA), Infant Developmental Movement Educator® and Body-Mind Centering® Teacher and Program Director of Somatic Education Australasia. She founded BodyCartography in 1998 in San Francisco with Otto Ramstad (USA). BodyCartography’s artistic and educational work cultivates tools for collective evolution in this moment of planetary crisis. Through somatic, dance, choreographic and curatorial practice we work with resonant, relational and regenerative approaches that support the vital materiality of bodies, minds, and the more-than-human world.

Through embodied cinematography, improvisation and rigorous structural processes, she has developed innovative artistic language that expands how movement, time and place are experienced. Over more than 35 years, from her home in Scotland, she has directed a wide range of works created in collaboration with performers, choreographers, composers, and companies. The resulting works have been presented at festivals, galleries and venues worldwide and are held collections including LUX Artists’ Moving Image and Routledge’s Online Performance. Over a period of 15 years, Katrina was a director of arts programmes for UK television, making films for the BBC, Scottish Television, ITV and Channel Four. In 2020, Katrina received a Career Achievement Award at Dance Camera West Festival in Los Angeles; an Honorary Award at the Choreoscope Dance Film Festival in Barcelona (2022) and the Creative Scotland Award (2002). Her films have been the subject of numerous international retrospectives, including most recently at the Jumping Frames Festival in Hong Kong in November 2025. Katrina is the author of “Making Video Dance, a step-by-step guide to creating dance for the screen”, first published by Routledge in 2006, with a second edition published in 2019. Katrina is currently writing the 3rd edition which will be released in early 2027. A much sought-after lecturer and mentor, Katrina teaches extensively and has initiated and facilitated numerous workshops, courses and symposia worldwide. Katrina currently the Course Leader of the MA Screendance at London Contemporary Dance School and is a PhD supervisor at LCDS and University of the Arts London.

She then followed a master’s degree in cinema, particularly motivated by video dances. It is moving towards the production of documentary films and recordings of live shows mainly oriented towards contemporary dance for many production companies. As advisor, then columnist and director, she participated in the birth and development of Numeridanse. She coordinates for the ACCN and the Ministry of Culture, delegation to dance, the digitization of French choreographic heritage and created the site 30ansdanse.fr. She is in charge of the artistic direction and production of the “Histoires d’espaces” virtual reality collection for the Aix and Avignon Festivals, as well as the production of some of the episodes. She produces and co-directs with Yvan Schreck, Nous, la danse, a 52-minute documentary, which follows CNDC students for a year. She develops and produces in situ projects where performance poetizes everyday life, awakens creativity, highlights neighborhoods, architectures and reveals the movements of all.

In their work, they approach choreography as a way of thinking, researching, and creating relations through dance, text, video, drawing, objects, and other materials. They hold an MA in Choreography and Performance from JLU Giessen and a practice research PhD from C-DaRE (Centre for Dance Research), Coventry University. Their doctoral research, Moving Between Cuteness and Violence: A Choreographic Investigation, explores the relationship between cuteness and violence and the metastability of choreography. They enjoy leading workshops that question dance and choreography as disciplinary skills. They hold the academic title of Assistant Professor at the Dance Department of the Academy of Dramatic Art, University of Zagreb, where they occasionally teach as a guest lecturer.

She teaches film theory at both the Academy of Dramatic Art and the Faculty of Humanities and Social Sciences at University of Zagreb.

In 2012, she received the Vladimir Vuković Award for Best New Critic and, in 2016, the annual Vladimir Vuković Award for Best Croatian Critic. Višnja contributes essays on literature, cinema, and visual arts to Croatian National Radio Channel 3 and various magazines. She also regularly conducts film criticism workshops in non-institutional settings.