Previous Work


Image by Annora Holland


ecd-per4mance (experiments in contemporary dance performance) by Choreographer Inma M.Pavon:

A Foreign Language

Last month I had the good fortune to attend a unique dance recital in the Firkin Crane.  Organised by Inma M. Pavon, ‘A Foreign Language’ featured eight amateur enthusiasts from differing countries, schooled to express themselves through the art of movement.  The event took place in the close-contact intimacy of the Firkin’s Chandelier Room. Friendly and helpful venue staff having showed the way, a perfect fit of about thirty people managed to squeeze themselves in for the show.

The performance was planned to foster a close understanding between dancer and audience.  Communication formed a primary thematic tendril around which the various layers were woven. To this end, Ms. Moya encouraged a multi-faceted approach which led to the collaboration of a varied array of creators on this project.

Artists and photographers had attended the rehearsal classes, so the walls were decorated with fine figure drawings and compelling stills.  This daring fusion of media was emphasised further by the lighting arrangements.  Through the use of angled and coloured light-beams, the intensity of the performance was enlarged in shadow, upon the ceiling and walls, creating an airy, cavernous feeling.  To top it all, the fine original score by Toby Eaton (Wiggle) was a musical treat, a fitting touch to complete the sensational panorama.

The dancers began in pairs and worked through tight routines which they had been encouraged to improvise and develop themselves during rehearsal.  Freestyle capers were intended to demonstrate the common ground of non-verbal communication, the dancers using shouts and hand-claps at intervals to lend drama to their performances.  Having been thus introduced, the troupe reappeared all together and a choreographed exploration of group dynamics followed, with many twists and turns throughout.

Alma Kelly was one of the dancers.  She credits her teacher Inma and praises her for overcoming the many difficulties of achieving such a complex arrangement.  “Inma created a space where as an amateur, I felt free to express myself without inhibition.  A year ago I’d never have guessed that I could dance in front of an audience.  It’s truly inspiring to be part of this project.”

The performance was followed by a short film and a slideshow of stills taken during rehearsals.  A slight technical hitch gave audience members the chance to get better acquainted, and the verdict was unanimous approval.

And so a crowded room was left abuzz, impressed and happy to have borne witness to the successful amalgamen of so many art-forms.  Co-ordinator and dance teacher Inma hopes to build on the success of this performance, but says that keeping together a diverse and talented group will prove challenging.  It’s hoped that the proponents of ‘A Foreign Language’ can secure funding and rehearsal space in order to continue to lift audiences like it did this one, in the future.

Tom Jordan

  • ICNWP(Irish Choreographers New Works Platform) 2007.Cork.


Mentored by Wendy Houstoun…and if I think of inma.

Beginning with spain and cork.And places and spaces and growing up and leaving home.And noticing that inside is not a good place to be,that compressed vacuum that the studio can be.And the adapting and playing.And the richness of image.And easiness in the streets.and the body doing it all.And in it somewhere a suggestion of maps,and mapping leads to the gallery visit and the creation of maps with places like-a place that is cold,a place with no name,and the map beginning to focus the bodies into their own search for territories.

And the colour of the image finding brightness of spain on a grey day in cork.

And the constant shifting from inside to outside and how now and again,I think of a bokk or a piece of writing that springs up from nowhere.and when I sat at the gallery and watched them in the street-I saw and heard:

Building work,a three beat high pitch…then a collpase-with the undercurrent of a drill.And behind me a couple laughing.And Ethiopian man stops:”Is this a new kind of dance”and he watched with a smile that is not mocking.A security man watches.

There is a quality of moving which doesn’t demand attention-so doesn’t seem to disturb the atmosphere.The movement feels slightly like the underbelly of the city,a subplot,or a representation of the innards of the place.

Inma seems to be trying to translate a feeling she has inside to the others.It involves closing eyes,listening,quick shifts,some kind of search?Some kind of a response that knows what it is when it sees it.

In some way the movement is extreme and yet so contained that there is no demand for attention.No kind of anxiety of performance.It seems to be trying to meet time in some other way than anyone else on the street can achieve.

As part of Dance House,Dance Ireland,Dublin Association of Professional Dancers.


Entering-new space II was further developed during 2007/2008, in a dance residency in Daghdha Mentoring Programme,Daghdha Dance Co.,Limerick.

                               Photographer  Michelle Hadnett

    • BLANK CANVAS A dance residency at The Firkin Crane,Cork.self-portrait
    • Invisible Body
  CULTURE NIGHT at The Camden Palace Hotel,Cork. 

                                                             Image by Seamus Hegarty

Arriving with balanced tension and a sense of expectancy.

A heightened state of attention and energy. All focus on the dancer.

The calm before the storm.

The eye itself.

And bang, the book is down, the silence is broken with a flash of sound.

That’s how quick it is and how inevitable. How long could that state of tension be held, we need it to be broken

But it is more than the silence that is broken.

They move breaking away from the book and back again.

Expressing a type of strength and individuality (speak more of strength later).

Life, joy, other priorities call them and they are drawn back again and away with expression as the next dancer arrives.

Another arrives; imagine the first freezing as the second tome hits the ground

Imagine one is attached to the book by an invisible string; they reach away and are drawn back again.

The story deepens. And what of these old tomes, written by men for men, a history, a legal requirement, and an age old authority, nothing new.

Whose story is contained in this book, what struggles do they recall, not mine nor yours.

What is the unwritten story.

The unrecognised.

The secret tale.

Where were the real struggles.

The spine of the book, the spine of my back, its body opening and closing.

A flower, a rose, a life opening and closing.

Being opened and being closed.

The slapping shut rythimatic and repetitive, reminisant of what.

Over and over.

Three women facing us, slapping closed there books in unison.

Just standing and looking, I see the vulnerability and strength.

I see the challenge of opposites.

Walking away, slow rhythm.

The door shuts and I see it as a book on its side, what happens behind that closed door.

What story is being written.

Will it ever see the light of day.

Now to speak a little on strength, the different types.

One type of brutal strength is like two cars crashing head on, the smaller will come out worse. And the lessons learnt can take a number of avenues.

Abdication of strength, where one claims not to care, not strength at all and one may find themselves being thought to care.

Another strength, that I have mentioned earlier, is the challenge of opposites; this one is very useful, although it is like death itself and goes as follows.

All strength, must acknowledge weakness.

Arriving fully into a situation with full acceptance of where you are, with your frailty and vulnerability.

Still choosing life and love in each moment.

Accepting, surrendering while still standing.

Falling down while rising.

Accepting all outcomes.

Accepting your death and the death of the other.

Not killing them.

Just accepting all, and in accepting all accepting nothing.

A heightened state, living in the moment.

Living in mille seconds

Touching the infinite nature of time, where the finite and infinite meet.

Surrendering absolutely to the moment.

Not to the other.

This other is just a part of a larger pattern, and you have come together.

Learn what you can and go.

At a certain point and often in this state, they will become insubstantial, just a piece of a very large puzzle. Just one piece. And often a sad piece.

As you accept where you are, acknowledging your position, only then can another step be taken. You know your place in time.

The above is not just theory; it’s an attempt to put into words an experience, it falls short, how can anyone describe touching a great silence with words.

I speak of strength, because often a show of strength is seen as strength.

Show the person who can acknowledge there part in the story.

Who can see all sides.

Surrendering themselves and rising out of flames, newborn and unblemished.

The old form is dead, it fathered and mothered the new

No judgement, no preconceptions, just dealing with each moment as it arrises

No separation while being entirely individual.

Two sides of a book closing.

The challenge of opposites.

Damian Punch


Free admission,6-7:30pm ongoing.

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  • In collaboration with …

I have been collaborating with different artists through out my time in Ireland,here are same images.

Dragan Tomas Photographer

  • Short dance videos:



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