top of page

biotic manifesto


project + concept outline

I will delve into exploratory social and movement research aiming to analyse and then represent the emotional, mental, physical and other observable effects of the forced isolation on humans as a result of COVID-19. Primary considerations during movement investigation will be the obvious limitation of space, in conjunction with the effects of the constant interaction with those we share our homes with (or lack thereof for those who live alone), the added stress from uncertainty, and the forced confrontation with the self. 


We have been mentally and emotionally isolating ourselves since long before being forced into physical and social isolation. Now, we are being forced to see ourselves. It will be a turning point for all creative outlets, and a perfect moment for us to use the power of art, of making people feel, to encourage widespread empathy as a tool for planting seeds of proactive thought and propagating the change that we have been needing, and more specifically the change that we are now wanting. 


This is the ideal opportunity to reassess and redesign the human norm. I want to propose a new paradigm for life – through detailed, deliberate movement – exemplifying that incremental, consistent, and conscious changes do lead to constructive transformation, on both individual and community levels.


What I want to emphasise is that we can choose how to nurture our minds, and that when we do, important deductions, curiosities, goals, and feelings can grow beyond our mental noise and bloom –– If we all do our share of intellectual, spiritual, and empathetic self-cultivation, we can bring ourselves closer and closer to being surrounded by fulfilled and connected beings, instead of isolated in cages of varied artificial composition.


Energy everywhere is shifting; it has brought a new wave of inspiration; there is already so much to express…


process, plan, + concept development


I will devise a list of carefully curated questions to conduct a series of at least 100 (virtual) interviews with anyone willing to participate from around the world, and diffuse a similar anonymous online survey as widely as possible. The goal being to gain insight into the minds of an arbitrary, yet somehow representative group of people to observe the way humans are generally perceiving, receiving, and being affected by the current situation. Based on analysis of the response, I will select 5-10 of the most recurrent opinions, feelings, and/or unconscious actions to use as core concepts from which to develop a series of movement sequences, so as to create the bones to the skeleton of the work. 


Through the investigation I want to generate empathy and questioning in myself, similar to what I hope to provoke in an eventual audience, in order to better translate that into a concrete, eloquent, vigorous concept and movement that is equally so. I will keep detailed records – audio and video recordings, still photography, and written memorandum – of the entire process as it unfolds to frequently reference throughout the entirety of my anthropological research and choreographic exploration/creation.


I visualise the voices of these 100+ people as a spherical tangle of overlapping emotions, thoughts, and instincts hanging over a progressive series of movement phases. So, I want to utilise the audio recordings from the interviews and choreographic exploration sessions as material from which to create original aural accompaniment that almost tangibly pieces the movement and the concept together while evolving alongside the work; illustrating the metaphorical nucleus of roots in our [sub]consciousness that we hesitantly wonder into from time to time, hoping to makes sense of the mess, in an ever-morphing search within ourselves to find something we need.


Maybe peace?

As far as the actual movement research and creation go, I will work independently.


But in a sense, collaboration is what I am after. 


In terms of interviews, with as many subjects as possible, and one constant interviewer. I reckon the best strategy will be via Zoom or a similar platform, with someone helping me conduct the interviews. I want to partially observe, so as to take true notice of the emotions, opinions, demands, and mannerisms manifesting with frequency throughout the whole of the anthropological research portion.

In terms of performers, with my students and potentially other fellow Geelong based professional dance artists who may volunteer to collaborate with the project.

In terms of conceptual development, with the digital artist, of course.


Additionally, I will consult fellow creatives, artists, or mentors for opinions, for technical assistance with audio production, and on a casual basis to help me organise my thoughts out loud. As I will be trying to aurally and kinetically represent the limbic manifestation that some humans are experiencing in the midst of this crisis, the more insight I can receive and process, the closer I may be able to get to delivering a just rendition of such a massive undertaking.


I cannot imagine an opportunity that I crave more than receiving financial support to undergo a creative process in a transitional creative landscape that will inevitably echo the situation that has given way to it.


What I find most enticing about this mammoth opportunity for long-term growth is recognising that the idea is merely at the dawn of its emergence.

brief artist summary

My name is Sofia Reinking. I was born in Mexico City. I am a professional dancer with a preference for contemporary dance. My favourite kind of magic resides within the pursuit of a profound understanding of human movement and being able to express a concept, thought, or feeling via limbic projection. I also enjoy capturing moments of light, playing with colours, and visual composition and have made a secondary passion and profession out of photography.

I believe curiosity is a vital trait to nurture in the mind, so as to never lose the sense of wonder nor the interest in continuing to learn.


I have spent the last 5 years focusing on jazz and contemporary dance. From 2016 onward I trained primarily at La Cantera and World Beat Studio in Mexico City. During that time I had the honour of performing in works such as Macho Man XXI  by Tania Perez-Salas, Abrazos by Yeyo Maldonado, and undertaking a short apprenticeship with Apoc Apoc Dance Company, as well as working with master teachers and choreographers such as: Sarah Matry-Guerre, Jaime Camarena, Isela Quintana, Carlo Huerta, Cuca Pon, Panchito Garcia, Silvia Fernandez, Daniel Muñoz, Mario Cuesta, Eduardo Ledesma, Ana Karen Huerta and others. 

I moved to Australia, mid-June of 2019 in order to become a certified dance and yoga teacher, to continue my training, to advance my professional trajectory, and to gain insight and exposure to a contemporary dance world on the other side of the planet. Since then, I have been working as a dance teacher, dedicating time to my studies, and searching for creative opportunities that will allow me to incorporate myself into the contemporary dance movement that exists here.


Long term, I hope to contribute to the continued progress of dance as an art form by developing a new method/technique of training the body in preparation for dance movement and performance work.

I feel most alive when indulged in the creative process.

The following are links to my most recent work:

bottom of page