For some time now, we have been using grants to visit institutions for disadvantaged children and show them the wonderful power of dance and touching, trying to reach those who need it the most. During these sessions, we experience a visible transformation in participants in a matter of seconds. These children, who can often hardly communicate at all verbally, are able to use this form of communication almost instantly, and – at least for a little while – are involved in a kind of miracle experience.
These children do not get any of the opportunities that I had, namely that I could dance from the age of 4. While I cannot give them such opportunities, what I can do is bring this art form to them, and get them involved in it. Even if it is just one occasion, they get the chance to experience what it means to be a part of the world of dance.
There are, however, very limited grant opportunities to fund this programme.
I believe this initiative should not be bound by national borders that separate individual countries, or by the limited number of local target groups.
I would like to present and disseminate this mission of mine as widely as possible, reaching every country where there could be a need for it.
I am hoping to establish an ongoing crowdfunding movement, meaning that whenever the donations reach a previously set amount, I immediately start planning and implementing my next visit to an orphanage or group of disadvantaged children, where, together with the children, we discover the miracles existing and moving within us.
Suggestions and recommendations are welcome for places or institutions to visit. We are happy to go to any country, any village or community if the necessary conditions are met.
Thus, where and how far this movement will go is up to our joint action.
There are three types of donation.
- One-time donation – When such donations reach the amount previously set, we ourselves choose a city or place to visit – or visit a place recommended to us – within the country where I am at the time, and we hold a group session there.
- Regular donation – A fixed monthly amount, providing a regular and reliable source, which enables us to visit the same place more than once, and – with the help of assistant teachers – bring the joy of dance to more places.
- Specific project – Based on a recommendation we choose a target destination, calculate the funds required to implement a visit, and once that sum has been raised, the project is implemented.
In tribal cultures, when a person got sick, the first question the healer would ask was always the same: when was the last time the patient had danced, sung or embraced another person.
The most powerful self-healing mechanism is movement itself; however, it is the above-mentioned three activities – dancing, singing and physical contact – that we carry out with our whole being.
If we used these three methods well, we would need a lot less medication and therapy.
I myself have been using two of them, dancing and touching, for 25 years, and within this period, I spent 15 years on stage as a professional dance artist.
Although by now I would be in a convenient position in my professional field, since I no longer need to actively seek employment because choreographers seek me out to work with them, at a certain point I felt a personal need for a change.
I would like to share these ancient methods with as many people as possible. What I am talking about is not professional dance, but the power and wonder of movement, dance and touching.
I was lucky enough to be able to work with these day by day, and I had the chance to see the transforming power of such work.
Today, however, it is an unfortunate fact that professional dance is almost exclusively used for entertainment, which means that dance artists experience the direct opposite of what this ancient, instinctive method should be used for. What I mean is the fact that artists burn out, completely neglecting their physical and mental health. In some cases they are used as mere tools or props in a performance.
I, on the other hand, would like to use the beneficial side of dancing and touching, and I hope not to hurt my body ever again.
In the spirit of this motivation, I began researching the ancient techniques and methods of use of dancing. My aim is to pass on the knowledge I have accumulated to dance artists, either to prevent problems, or – if a problem has already arisen – to show them how to achieve regeneration through movement.
Who am I?
When I was 4, I went to my mum and asked her to take me to ballet class because I wanted to be a ballerina. I’ve been dancing ever since. This is what I’ve been doing my whole life. It is through dancing that I’ve developed physically as well as mentally. Whatever I learnt there, I tried to implement in my everyday life as well. I felt already at a very young age that moving my body is the best thing that could happen to me. I loved it then and I still love it today. The best feeling is when I myself become the movement instead of just moving my body. Dancing encompasses everything that intrigues me: the discovery of our potential, music, self-awareness, energies, emotions and states.
I have graduated from the Dance and Fine Arts School in Győr. During my school years, I was also a member of two amateur dance groups, and I participated in countless performances and competitions. My most remarkable achievements include winning a European and a World Championship in the ‘show dance duet’ category, as well as winning first prize in the New Generation Ballet Competition. During the final two years of ballet school, I performed in 2 musicals in the National Theatre of Győr. After graduation, I was a member of the Ballet Company of Győr for nearly three years. Afterwards, I went abroad to gain some first-hand experience about the atmosphere and values of various classical ballet and contemporary dance companies. While there, I attended several courses and auditions. I took part in a variety of projects as a freelancer, which provided me with a lot of learning opportunities; I saw and experienced many things, and I worked really hard. I was mostly a freelancer, but I also became a member of the Royal Swedish Ballet for a while. Later on, I worked as a guest artist in various contemporary dance companies, including the Compagnie Pal Frenak and the Pataky Klári Company.