Sensitive Dances is a movement practice that treats any temporally and spatially structured movement as a complete, one-time, unique dance. It steps outside the paradigm of fine-tuning—of making movement clearer, better, or more articulated—and instead honors each dance as already accomplished in itself. The practice unfolds in sessions or series that generate sequences of dances, each examining particular aspects, focal points, or ideas. An ongoing accumulation becomes a substitute for evaluation, in the broadest sense of the word. The practice explores the emergence of movement: movement that arises without pressure, that is effortless, comfortable, and mobilizes the body before being allowed to dissolve back into space. It also explores movement that hovers on the edge of perception—movement about to appear, not yet formed, or not formed at all, invisible yet deeply significant.

Assuming that movement is inherent to the body—that the body genuinely seeks to move and understand itself through movement, even when it appears still—this practice enriches and deepens the experience of moving and thinking about movement on multiple levels. Sensitive Dances emerged from choreographic practice, proposing movement technique as an integral part of choreographic research. I have taught Sensitive Dances in a range of settings, including the University of Zagreb (Department of Dance), Østfold University in Norway (Theatre Department), the Latvian Academy of Culture (Department of Dance), the Dance Institute Notafe in Estonia, Zagreb Dance Center, Uferstudios in Berlin, and many more. Versions of the practice adapt to different levels of complexity, depending on the context.