About Gisela Rocha


Born inSalvador Bahia Brazil, Gisela Rocha is an artist of movement and a specialist in the self-knowledge process of body-mind relation.

In her career as a choreographer, she created more than 35 modern dance pieces and starred on the stages of such dance houses as New York's acclaimed Joyce Theatre.

In the Netherlands she collaborated for 5 years with the modern ballet company, Introdans. She has been running her own dance company in Zurich, Switzerland for more than 10 years, leading the Zurich state bids. 

Besides Switzerland and Brazil of course, her creative work has also been presented inBelgium, Germany, theUSA, Seoul,France, Holland, Japan, South Korea and Thailand. These travels included the launching and leading of various workshops and the serving on juries for numerous international dance competitions.

With such an international profile, Gisela has proved her ability to be a very charismatic and powerful body movement instructor, surpassing the borders of culture and language.

Even with such an artistic career in her curriculum, the deep interest in understanding the ability of human beings to thrive ended up directing a research into the potentials of self-healing and self-knowledge, thus newly defining the second phase of her creative career.The searching personality -still a very young sociological topic –has entered the field of spiritual interest, now introduced into mysticism as part of it's recent common discourse.Everyone who has visited Salvador Bahia knows that culture is ensconced in music, dance and a very predominant religious syncretism.


But it is with the philosophy of Buddhism and the metaphysics of the course of miracles that Gisela finds clarity and explanation for the mental landscape. As well as within the body techniques developed in Europe over the last 22 years.On her professional journey, Gisela has amassed an experience of unique content, thanks to her particular passions, discipline and determination.



Today, as a practitioner facilitating groups to investigatetheir souls, fears, belief systems and blockages, Gisela guides people back to the present moment, connecting them with the total presence. This has become the overall focus of such work.As a 30 year dance veteran of the theatre business, Gisela definitely had ample space to express her charisma and presence. But that still fell short of a soul revelation for her.Performance artists are present, but most are driven by the ego, and it was only when she took refuge and devoted herself to learning from masters, surrendering to endless years of practice, that Gisela came to understand how all forces balance themselves through freedom and flow.If you have had the chance to be in a group session led by Gisela, you will have certainly observed her capacity to read space and groups and bring the members into high vibration and rhythmic coherence.

As a shaper of soul and energy fields, Gisela touches each participant with great joy and lightness, insisting that we can choose our best version in any and at every given moment.Behind the gentle aura and with such a profile of lightness and certainty, consistency and competence, lies the true mark of this leader.Movement for Life is Gisela's currant brand name, offering a comprehensive catalog of design exercises which provide instruction to teachers in retreat trainings through weekly one-on-one personal coaching sessions, aimed as well at uplifting lovers of movement and wellbeing.


Everyone who has visited Salvador Bahia knows that this culture is en
sconced in music,
dance and a very predominant religious syncretism.



Introdans in Messiah by Ed Wubbe
Photo by Hans Gerritsen

Written by Steve Ha

Closing out the 2011-12 Season of the University of Washington’s World Dance series was an honor bestowed upon Introdans, a modern ballet troupe hailing from the Netherlands. Starting their three day run on May 10, 2012, Introdans brought their program entitled Heavenly (or Hemels, in Dutch) to Meany Hall, featuring the choreography of Nils Christe, Gisela Rocha, and Ed Wubbe. Though classical ballet can often struggle to find a voice in contemporary themes, Heavenly reassured those centuries old steps can find new life when properly utilized.
The merging of ballet and modern dance is often precarious, as dancers who find their strengths in one genre over another are easily exposed; but the company members of Introdans showed proficiency in both, and, more importantly, excelled in achieving the delicate balance between them, as if to say that contemporary ballet is in fact its own classification. Christe’s Fünf Gedichte, set to Richard Wagner’s “Wesendonk Lieder” opened the program in gossamer fashion. A barely clad Zachary Chant began the piece with a lyrical solo as a divine, celestial presence that never ceased motion, the smoothness with which he moved a most remarkable quality, like unraveling a bolt of silk of infinite length. Divided into “poems,” several pas de deuxfollowed with dancers in simple, but elegant unitards in rich colors, each couple embodying the enigmatic transition between life and death. Soft and serene, Fünf Gedichteshowed elegance, simplicity, and a marvelous musicality.

Photo by Hans Gerritsen


Introdans in Paradise? by Gisela Rocha

Rocha’s Paradise?, a large ensemble piece, could not have been any more different. Punctuated by sharp angles and dynamism, Paradise? at times was an ether of bravura technique, in fast pirouettes and effervescent jumps, but masked with a sense of earthiness. The arabesque penchée, an iconic move in ballet where a dancer lifts one leg to the back and tilts forward, took on new meaning when one of the performers practically exploded into that shape, then held it in perfect stillness, frozen in time with her partner. Rocha’s choreography was both clean and efficient, but showed great complexity in layers. Though difficult to discern the inclusion of certain moments, watchingParadise? could be likened to observing several parallel universes at once—there were moments of humanity, and others less so but not entirely alien, having their familiarities that were enough to inspire nostalgia, but altered to fit within the context of the work. A dancer’s ethereal rendition of “Somewhere Over the Rainbow” highlighted the piece, her vocal talents equal to that of her dancing.

Article in Seoul South korea