Eva Priečková (1990, Bojnice, SR)
is a(n in)dependent movement artist working in Slovakia. In her research, she refutes the concept of dance virtuosity and a perfectly controlled and trained body. She focuses on the phenomenon of movement in everyday life and its development in community. Her starting point is the concept of shared experience, embodied experience and a creative observed flow. With the help of somatic assignments, she tries to draw attention to individual or collective needs and possibilities of the body and to stimulate free creativity without an evaluation system and the need to create a dogmatic movement vocabulary. The results of this practice can be regular meetings, city walks, workshops, performative lectures and collective recreations. As a performer and choreographer, she is interested in interdisciplinary and experimental approaches, community projects and situations outside the dance floor. She is currently working as a doctoral student at the Janáček Academy of Performing Arts in Brno.
She considers important especially the co-operations with artists and theorists across disciplines: Zuzana Žabková, Saghar Hosseinpour, Fergus Johnson, Katarína Poliačiková (Bodies in Trouble, Harvesting Darkness, Berghain Duets series, Learning Water, Salty Eyes), Jonáš Gruska, Ján Solčáni, Jakub Juhás, Andráš Cséfalvay, Zoltán Czakó, Silvia Sviteková, Maja Štefančíková (Collective Recreation: ShSssh... It'll be OK!), Peter Šavel (.Touch, Kvint et sense), Yuri Korec (d-BODY-m, Sapiens Territory), Tomáš Procházka (.Touch, My Love), collective mimoOs (Diaries of Touch, education format Body-Voice-Community), collective Apart, collective False Movement (interdisciplinary cooperation czakó vs. juhás), The Schaubmar Mill in Pezinok (Massage Salon Eva), Yoga House Bratislava (movement education for public Beeing Flow).
She participated in the international project Through the Text in Dijon, France and a semester-long movement at the MUK conservatory in Vienna or a monthly dance internship focused on intercultural dialogue in China. The above-mentioned works have been presented at festivals in Slovakia, the Czech Republic, Germany, Hungary, Austria, Chile, and Mexico.
In November 2016, she completed a three-month dance training Smash in Berlin, which helped her redefine the movement patterns used in the creative process. She regularly attends vocal-movement training The World Is Sound (http://www.the-world-is-sound.com) in Berlin and visits the Ponderosa community centre (https://www.ponderosa-dance.de), where she draws new impulses and contexts. She also presented a selection of these educational formats in her performative contribution at the ninth annual JAMU conference (2019) entitled Unknown as a Research Method in Performing Arts.
More info about her practice here:
