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Dancing Body

Video stills paired with words form an ongoing autobiographical series of stories about the dancing body. The work is an affirmation of the infinite potential of the human body as an archive for physical knowledge. Movement is energy. Energy is power. The dancing body has the performative power to change the present.


Video stills courtesy of Jean Rim and the author

From the Artist:


Looking out over the ocean

where memories spiral around.

Turning time into suffocation

when fear arched up and drowned.

– Natalie Mik (from Dancing Body, 2018)


Movements paired with words are forming an ongoing autobiographical series of stories about the dancing body. At this time, the dancing body struggles to negotiate and decolonize itself from cultural, political and gendered oppression. It seeks to break its choreographed past by accessing embodied memory. Knowledge of the past that can break the spiral of haunting memories. The spiral of the invisible.


How much air is too little to break the mirror?

Which of us is really free of blame?

Who can throw the first stone?

– Luisa Valenzuela (from Other Weapons, 1985)


The dancing body will eventually move freely. Reenact as a method of urgency. Injured and resistant. Resist the fear. Resist the blame. Affirm the potential of the body as an infinite living and dying archive for an embodied knowledge. Dance away from death and survive by rebirthing the present self.


Dance is

time made visible

movement to energy

energy to power

 power to change the now

-Natalie Mik (from Dancing Body, 2018)


The dancing body is ultimately spiritual. It can access sensory modes of awareness leading to a psychological journey and an emotional discovery of oneself.



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Natalie Mik is a performer and writer based in the U.S. and Germany. Her work aims to document and reenact embodied knowledge through dance and other bodily practices. Alongside her creative practice, she is pursuing her doctoral studies in performance art and dance historiography.

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