Anna
Katsman
Anna is a philosopher from New York and former Academic Director of THE NEW INSTITUTE. Her thinking is oriented by Hegel, critical theory, psychoanalysis, and modernist aesthetics.
She now turns to contemporary dance as a field for exploring thought as embodied and relational. She approaches dance and somatics philosophically, creating embodied experiments that question how we know, sense, and connect.
Dr. Christos
Litsios
Christos is an economist, mediator, and movement researcher. With a background in behavioral economics and negotiation research, he views movement and cooperation as living laboratories for understanding change. In his work, he draws on practices such as Contact Improvisation, contemporary dance, and soft acrobatics.
His work combines analytical precision with somatic awareness, exploring the intersections of movement, perception, and communication—seeking ways to bring thinking and feeling into dialogue.
Natascha
Golubtsova
Natascha is a dance artist, educator, and movement researcher with nearly two decades of practice at the intersection of Contact Improvisation, somatic approaches, and improvised performance.
Drawing from CI, contemporary dance, Authentic Movement, Butoh, Feldenkrais, the Axis Syllabus, and Body-Mind-Centering, she weaves embodied inquiry with artistic exploration. Based in Hamburg, she teaches classes, workshops, labs, and jams, guided by the question: How can the human bodymind unfold its innate generosity, creativity, and sensitivity in relation to others and the world around it?
Jule
Fuchs
Jule is a dancer, performer, and dance educator. Her academic background in cultural anthropology and educational science shapes her perspective on dance as a cultural practice as well as her understanding of contemporary dance pedagogy. She completed dance training programs in Freiburg, Porto, and Bologna, and is currently in the certification process for The Axis Syllabus.
In her teaching, she values above all the joy and the perception of nourishing, pleasurable movement as a starting point for dance. She uses rhythm as an entryway into new movement sequences and employs improvisation as a central tool for curiously exploring and expanding one’s own movement possibilities.