PHAEDRANA JONES

 

dance /creative writing 

 

Phaedrana JonesGrowing up based in both Budapest and London, moving through a wide range of cultures and fields of creativity from an early age, Phaedrana Jones’ initial studies were in new circus/dance and creative writing. Though it aids the creative process immensely to have a number of different toolboxes to juggle, it is only ever possible to give ourselves fully to one arena at a time – or to the integration of them all, which is then its own arena.’

 

At age 16 she took an unexpected turn to India and prominent south-Indian classical dance Bharata Natyam, forever inspired by legends Rukmini Devi and Chandralekha. This led her to never ending fieldtrips throughout India and South-East Asia and an MA in cultural anthropology and dance. 

 

Upon returning to Europe, the new circus arts found her again in an era of innovative creativity funded by international programs in the arts to explore and showcase, in a theatrical container, the dynamic relation between geometrical forms (circus tools) and the human body in space. Out of this wave of collaborative innovation emerged (and is still emerging) a new generation of artists, new equipment, creative approaches, teaching tools as well as an annual new circus festival.

 

Simultaneous to the performing arts she worked for film and theater on annual commissions as a celebrated young playwright and literary translator. Upon completing her final MA in English Language and Literature she was invited to tutor young talent and produce new writing in the UK, Hungary and Australia (the Royal Court Theatre, the British Council, World Interplay).

 

For years she divided her base between Europe and India, until her art and life out of the blue moved to the West Coast of the United States in 2008; that in due course led to the birthing of PHADROID as an art form to itself in 2009.

 

Alongside traditional techniques, the incentive to explore the source of energy behind movement has led her to since undertake an inward journey in nature and in studios around the world, constantly relating and refining movement vocabularies; while allowing the body to organically fuse elements of the disciplines it inherently relates to.

 

 

’Ever on the threshold of discipline and freedom, tracing an imprint inherent in our organism …

 

 it’s a vast perpetually regenerated mystery upon which we can learn to reliably depend, allowing its continuous stream of underlying patterns to unfold and enfold us as the cells of body, mind and spirit explode through expression into the formless in order to transform matter, time and space through our original being.’