As a classically trained violinist with choreographic experience, I explore the choreographic potential of musicians’ and instrumental bodies in performance. 

My research is concerned with developing forms of choreomusical practice that reimagine the instrument as not just a sound-producing tool but as a corporeal partner, co-mediating movement and sound. This practice-led approach treats the instrument as a dynamic, agentive presence—a “lively body”—blurring boundaries between the human and non-human.