Breath is just one of the oceans inside of us.
Listening to the movement of your outbreath, like gently slipping into the ocean. Tissues along your bones softening. Bones falling into the ground.
Perhaps, not doing anything. Giving generously. The same amount you give, you get back.
Imagining, at this time you breathe in what I breathe out. I breathe in, what you breathe out. Pores in your skin opening. Air entering like the wind.
Supporting you from the inside and outside.
Our bodies contain the same amount of fluid to mass as the earth carries water to land.
Flesh. Blood.
Cradling your skull, like the earth in my hands.
Each suture is like a river, or a crack down a mountain.
Each tectonic plate still moving.
A stratum of soil contains all the organisms for a body to exist. Your body contains more non-human organisms than it does DNA.
Soles of your feet and hands touching the earth as if you they could see, smell, feel and hear. Exploring the landscape on your hands and feet.
If gravity didn’t exist, I would fall of this earth as it is spinning. I am always falling in every direction.
Emotions moving as energy through your inner caverns like a river running through pebbles and stones. Overflowing. Emptying.
Always becoming, never arriving.

Text published in “Flood Drafts: A Field Guide for Sensuous Repair” by Hungry Mothers Collective

Tuva Hildebrands practice and research is consisting of deepening and integrating a few specific somatic and improvisational techniques, including the work of Eva Karczag, into her own practice, as well as mapping out the relationship she finds between dance improvisation, somatics, queer theory, biopolitics, feminist phenomenology and feminist new materialism. Her performance making practice is investigating how she can translate methods and politics from her improvisational practice into choreographic work.

Currently Tuva is finishing her MFA thesis at University of Gotheburg, Contemporary Performative Arts, in which she is researching and writing about the ethics and methods within somatic dance practice from a queer-feminist perspective and archiving the work of Eva Karczag. Since 2017 Tuva has been in a close mentor-apprentice relationship with Eva Karczag, archiving her work, assisting, conversating, teaching and practicing together.


Tuvas research is investigating how one can through experiencing ones own anatomy in its physical material, allow the mind to connect with the body and desexualize/subjectify the body. She is looking at the difference between conceptualizing the body through language and experiencing it in its “intrinsic value”. A part of her practice is to investigate the power-structure between language and our perception of the body and the world. How language constructs the experience of ourselves, and how one can through improvisation exist in a sense-perception beyond the codified norms of language. As a person who grew up with a uterus and as a codified woman, Tuva is also interested in gender constructs, feminist health and non violent modes of relating. How using somatics and improvisation to connect with the actual substance of the body, and not treat it based on assumed information or as a means to an end, can support non-violent relationships. If one gives time to sense the body and the environment it is placed within, one can connect to their inner volition, have greater bodily agency and autonomy. Tuva is also researching the use of movement improvisation and the use of somatics to practice a hightened sensitivity in relation to power-play, intimacy and consent. In the practice the idea that the personal is political, and relations to political ideas around the queer body and the anarchist body are also being investigated.


Alexander Technique
AT helps you through guided language and hands-on work to observe, identify and bring into consciousness the harmful movement and psychological habits you’ve built up throughout life and learn how to make new choices that brings more ease, freedom and presence.
From 2011-2017 Tuva has practiced AT in group classes and privately, with Gary Ramsey, Kathe Jarka, Shelley Senter, Ann Rodiger and Eva Karczag. In November 2016 Tuva joined the Teacher Training program at Balance Arts Center and will finish her teacher training within the next three years.

Skinner Releasing Technique
SRT has evolved from the simple principle that when we are releasing physical tension, we can move with greater freedom, power and articulation. In SRT classes, spontaneous movement evoked by guided poetic imagery, supported by music and sound, enables a creative and easily accessible exploration of technical movement principles such as multi-directional alignment, suppleness, suspension, economy and autonomy.
Tuva has been practicing SRT since 2009 with Jennifer Lynn and Sally Dean in UK, but most of her experience comes from working with Karl Anderson weekly 2013-2017 and taking workshops in OSF with Stephanie Skura. Currently Tuva is researching SRT/OSF through a weekly lab in Stockholm.


Eva Karczag
Eva’s performance work and teaching are informed by dance improvisation and mindful body practices (including T’ai Chi Ch’uan and Qi Gong, the Alexander Technique (certified teacher), Ideokinesis, and Yoga). Since 1972, she has been a member of leading groups in the field of experimental dance, including the Trisha Brown Dance Company (1979-86). Through her performing and teaching, she aims to communicate her love of full-bodied dancing and her interest in the practice of being in the moment.
Tuva has been taking private Alexander lessons and workshops with Eva since 2013, and is currently working closely with her as a teacher assistant and collaborator.

Stephanie Skura/Open Source Forms
Deeply rooted in, and fluidly expanded from Skinner Releasing Technique (SRT), Open Source Forms is about cross-fertilizations and deep commonalities of SRT and creative process: shedding outer layers, finding primal energy, agility navigating subconscious realms, and imagery as powerful tool for transformation.
Tuva has taken workshops with Stephanie Skura in New York 2014-2016 and in October 2017 she participated in a three week full-time pre-Teacher Training course in OSF in Wales with Stephanie Skura.

Meisner Technique
This acting technique is built on the idea that “acting is to live truthfully under given imaginary circumstances”. It is about stepping into who you are, rather than becoming someone else, and responding truthfully and uncensored to how your environment affects you. In Meisner one focuses on letting go of thinking, by practicing focusing to a 100% on our partner. If we can let go of directing ourselves, we won’t be self-conscious, let our partner penetrate our defense mechanisms and therefore respond intuitively and authentically.
Tuva studied Meisner technique at the Actor’s Temple in London in 2009 and then during two years conservatory training at the Neighborhood Playhouse School of the Theater, the school where Meisner taught and developed his technique.

Body Mind Centering
BMC is an integrated and embodied approach to movement, the body and consciousness. Developed by Bonnie Bainbridge Cohen, it is an experiential study based on the embodiment and application of anatomical, physiological, psychophysical and developmental principles, utilizing movement, touch, voice and mind.
Tuva has never studied BMC in depth, but taken shorter workshops in BMC as well as classes with teachers who have been highly influenced by it, such as KJ Holmes, Levi Gonzalez, Michelle Boule, Luciana Achugar, Olive Biertinga and Beth Goren.

Contact Improvisation
Contact Improvisation is an evolving system of movement initiated in 1972 by Steve Paxton. The improvised dance form is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. Alertness is developed in order to work in an energetic state of physical disorientation, trusting in one’s basic survival instincts. The body, in order to open to these sensations, learns to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement, bringing forth a physical/emotional truth about a shared moment of movement that leaves the participants informed, centered, and enlivened.
Tuva has practiced CI in New York through Movement Research and at jams, with KJ Holmes, Margaret Paek, Paul Singh and Bradley Teal Ellis, among others.


TUVA - anywhere with anyone.

“Kill the choreographer
Our heart on top of our diaphragm moving up and down with the breath
Walk, bike, travel
Be disrupted by distractions
The insides of your body
Feel the fluids
Of space
Can you feel what you see and see what you feel?
What should I do with my brain?
I am material relating to other material”

In 2009 Tuva discovered improvisation and the practice Skinner Releasing Technique during her studies at Northern School of Contemporary Dance in Leeds, UK, and in 2010 she practiced SRT with Sally Dean in London. This meeting made her question the conditioning of form, end-gaining and objectification in dance training/performance as well as within language and society. Philosophical questions around the self, the body, reality and consciousness began to occupy her time and there was a notion that it could be investigated through improvisation and releasing body-mind techniques.
This led her to change the course of her artistic path and move to New York to study Meisner technique for two years. During her acting training she had Alexander Technique twice per week. After her graduation Tuva got an internship with Movement Research (2013-2015) and studied Skinner Releasing Technique (introduction and ongoing work) on a weekly basis from 2013-2017 with Karl Anderson in New York, and participated in a pedagogy group facilitated by Karl in 2016-2017. In 2013 Tuva also discovered the work of Eva Karczag, who is integrating Alexander technique, Ideokinesis, Body Mind Centering, Tai Chi, SRT and Contact Improvisation with her own research and since then Tuva has taken every opportunity to study with Eva. Today Tuva is assisting Eva as well as working and researching with her. In 2014 Tuva also met Stephanie Skura who is Joan Skinner’s protegé, and took workshops in her practice Open Source Forms 2014-2017, which is influenced by SRT and Stephanie’s own improvisation scores using text and voice. For more workshops and classes taken through Movement Research see her CV. In October 2017 Tuva participated in a three-week pre-Teacher Training workshop in Open Source Forms with Stephanie Skura. During 2013-2017 Tuva also continued taking classes in Alexander Technique privately with Eva Karczag and Ann Rodiger, in group classes through Movement Research and in November 2016 Tuva started the Alexander Technique Teacher Training program with Ann Rodiger through Balance Arts Center, which she will finish in New York or Europe within the next three years.