Meet the Hosting Team
An Unfolding Relationship
It is five years since we embarked on our journey of stewarding Resonant Bodies into being, during which we have offered several residencies in Austria and Georgia. The collective weaving of our practice, of directly engaging in this embodied exploration has continually changed us, revealing depth and understanding; supporting our continuous refinement of the design and the approach of how we hold space—not leading us to final answers but drawing us deeper into what it means to be human in a time of turbulence and transition.
As hosts, we are not here to teach but to hold the edges of the space—making room for discovery, trust and emergence. We come from diverse backgrounds in the arts, design, movement, and contemplative practice, and we share a commitment to creating spaces where we can build community that celebrates difference, learn to compost and relate beyond the terminal paradigm of modernity and find purpose in taking meaningful action and response-ability. For us, Resonant Bodies is a living relationship, an open vessel for our souls and desires to take shape. It is not just a project, but a practice—one that continues to teach us as much as it holds others.
Elisa Sophia Prašelj Braun
“I work at the intersection of spatial practice, political education, and community building. With a background in architecture and scenography, my focus has shifted toward creating spaces for collective learning, relational presence, and embodied transformation.
Movement continues to be a source of curiosity and learning for me, a way of sensing dynamics, softening roles, and listening with the whole body. Martial arts and dance have long been part of my life, a way to return to myself and connect beyond words.
My relational approach is grounded in care work, in listening, especially to those whose voices are often unheard. I pay attention to how power moves through groups, seeking to make it visible, shift it gently, and support those who may need extra holding to step into their voice.
This orientation is shaped by intersectional feminism and the histories of the commons, guided by the work of Silvia Federici, Kimberlé Crenshaw, Audre Lorde, and Clarissa Pinkola Estés.
At Resonant Bodies, I’m continually moved by how connection unfolds in its own rhythm and time, and how, through being present, we weave a web strong enough to hold complexity, the kind of energy that turns a gathering into a community.“
“I work at the intersection of spatial practice, political education, and community building. With a background in architecture and scenography, my focus has shifted toward creating spaces for collective learning, relational presence, and embodied transformation.
Movement continues to be a source of curiosity and learning for me, a way of sensing dynamics, softening roles, and listening with the whole body. Martial arts and dance have long been part of my life, a way to return to myself and connect beyond words.
My relational approach is grounded in care work, in listening, especially to those whose voices are often unheard. I pay attention to how power moves through groups, seeking to make it visible, shift it gently, and support those who may need extra holding to step into their voice.
This orientation is shaped by intersectional feminism and the histories of the commons, guided by the work of Silvia Federici, Kimberlé Crenshaw, Audre Lorde, and Clarissa Pinkola Estés.
At Resonant Bodies, I’m continually moved by how connection unfolds in its own rhythm and time, and how, through being present, we weave a web strong enough to hold complexity, the kind of energy that turns a gathering into a community.“
Leon Lapa Pereira
“What began with mediation classes grew into a passion for leading workshops that connect different fields and cultures. These workshops mainly explore topics like the self, masculinity, and caring for the environment. Through these themes, I’ve found space to enjoy and grow my interest in (collective) movement, my yoga practice, and artistic expression.
I work across different areas, but my main focus is the well-being of the people around me. I’m especially interested in how ecological thinking, environmental activism, and art come together, and how they help build stronger communities.
Besides taking on organisational roles, I explore how art can be made together with others. I dive deep into Artistic Research, where thinking deeply about ideas is always connected to how I create art.
As part of Resonant Bodies, I want to create honest and meaningful connections. I also want to explore the environmental conditions that allow us, as humans, to fully show up and connect with those around us.”
“What began with mediation classes grew into a passion for leading workshops that connect different fields and cultures. These workshops mainly explore topics like the self, masculinity, and caring for the environment. Through these themes, I’ve found space to enjoy and grow my interest in (collective) movement, my yoga practice, and artistic expression.
I work across different areas, but my main focus is the well-being of the people around me. I’m especially interested in how ecological thinking, environmental activism, and art come together, and how they help build stronger communities.
Besides taking on organisational roles, I explore how art can be made together with others. I dive deep into Artistic Research, where thinking deeply about ideas is always connected to how I create art.
As part of Resonant Bodies, I want to create honest and meaningful connections. I also want to explore the environmental conditions that allow us, as humans, to fully show up and connect with those around us.”
Credits: Sopho Kobidze
Jakob Köchert
“I believe that we shape the world in the way we show up—and that in turn, this world shapes us back. My work is about creating spaces where people are empowered to step into this reciprocity with clarity, purpose and deep listening.
With a background in spatial and sonic practice, movement, and contemplative inquiry, I have spent the past years designing and facilitating spaces for connection, learning, and unlearning—across festivals, residencies, seminars and intimate workshops. My approach is deeply informed by the embodied traditions I study, which encompass meditation, movement and relational practice. Teachers I regard strongly influential to my current understanding are Rob Burbea, Michael Taft and A.H.Almaas with the Diamond Approach, which I am studying under Gisela Bast, as well as Bonnitta Roy whose student I was in her Pop-Up-School. I am currently training as an Aletheia Unfoldment Coach (ACP Level 2) with Steve March.
In Resonant Bodies, I bring a commitment to holding an open and allowing space where unfolding is possible—where people can meet themselves, each other, and the unknown with curiosity and care.“
“I believe that we shape the world in the way we show up—and that in turn, this world shapes us back. My work is about creating spaces where people are empowered to step into this reciprocity with clarity, purpose and deep listening.
With a background in spatial and sonic practice, movement, and contemplative inquiry, I have spent the past years designing and facilitating spaces for connection, learning, and unlearning—across festivals, residencies, seminars and intimate workshops. My approach is deeply informed by the embodied traditions I study, which encompass meditation, movement and relational practice. Teachers I regard strongly influential to my current understanding are Rob Burbea, Michael Taft and A.H.Almaas with the Diamond Approach, which I am studying under Gisela Bast, as well as Bonnitta Roy whose student I was in her Pop-Up-School. I am currently training as an Aletheia Unfoldment Coach (ACP Level 2) with Steve March.
In Resonant Bodies, I bring a commitment to holding an open and allowing space where unfolding is possible—where people can meet themselves, each other, and the unknown with curiosity and care.“
Testimonials
Elias Brown,
Conductor
"My time at the Resonant Bodies Residency in Georgia was completely unlike other residencies I'd taken part in — one in which rich intentional community practices served as the fertile bed for individual and collective art practice.
It was a space in which relational aesthetics was actually enacted and embodied, through the gentle guidance of the co-facilitators and their attunement to supporting engaged, connected group dynamics and collective world-building."
Aitan Ebrahimoff,
Artist-Filmmaker
“I found a sense of home amongst the Resonant Bodies residents. I want to re-create (a slither) of this group dynamic. My perception became a field of possibilities rather than channeled towards a point. Drawings became broad and fisheye; film shots became mere crops of a wide soundscape; feasts were scattered with berries, nuts, seeds, and oils, making a sensorium of every bite. A de-centered approach to living, where I was no longer autonomous but relational. Process had more importance than output.”
Conductor
"My time at the Resonant Bodies Residency in Georgia was completely unlike other residencies I'd taken part in — one in which rich intentional community practices served as the fertile bed for individual and collective art practice.
It was a space in which relational aesthetics was actually enacted and embodied, through the gentle guidance of the co-facilitators and their attunement to supporting engaged, connected group dynamics and collective world-building."
Aitan Ebrahimoff,
Artist-Filmmaker
“I found a sense of home amongst the Resonant Bodies residents. I want to re-create (a slither) of this group dynamic. My perception became a field of possibilities rather than channeled towards a point. Drawings became broad and fisheye; film shots became mere crops of a wide soundscape; feasts were scattered with berries, nuts, seeds, and oils, making a sensorium of every bite. A de-centered approach to living, where I was no longer autonomous but relational. Process had more importance than output.”
Robbi Meertens,
Sound Artist & Educator
The resonant bodies residency helped me to become aware of how much my cultural background plays a role in how I approach processes.
I noticed that in comparison to some others I was very aware of the efficiency of the way we spent our days. I wanted to see result, get to the core of others expertise so I could use it, get up early, work all day, communicate clearly and precisely.
The group however, was consisting of some people with a similar mindset, but also some with a very different, less succes oriented, mindset. This difference turned into an inescapable balancing game between 'controlled efficiency' and 'individual needs in the moment'.
For me the result was learning to let go and finding 'succes' in the flow of the day. I found that to really be with others, you need to let go of your perceived self a bit and allow the collective body to find itself.
Sound Artist & Educator
The resonant bodies residency helped me to become aware of how much my cultural background plays a role in how I approach processes.
I noticed that in comparison to some others I was very aware of the efficiency of the way we spent our days. I wanted to see result, get to the core of others expertise so I could use it, get up early, work all day, communicate clearly and precisely.
The group however, was consisting of some people with a similar mindset, but also some with a very different, less succes oriented, mindset. This difference turned into an inescapable balancing game between 'controlled efficiency' and 'individual needs in the moment'.
For me the result was learning to let go and finding 'succes' in the flow of the day. I found that to really be with others, you need to let go of your perceived self a bit and allow the collective body to find itself.
Nina van Hartskamp,
Artist & Community Weaver
Artist & Community Weaver
I have such sweet memories of the residency in Georgia. One of the most beautiful aspects was how the organizers created a truly ‘free’ and open space — where decisions were made collectively and experimentation was genuinely welcomed. The focus was on togetherness and exploration, rather than being result-oriented. To create such a space, you need to be genuinely interested in the process rather than the outcome — and the organizers brought that spirit in with a personal, horizontal, and inclusive approach.
That openness also brought challenges, especially for those hoping to create something aligned with the expectations of the “art world” or a white-cube setting. But for me, it was refreshing and deeply welcome. That kind of dedication to process and community over product is rare — and something I believe the Western world could use more of. The structure — with half Georgian and half international artists — offered a great opportunity to engage with Georgian culture: the food, the songs, the landscapes.
The shared rhythms of daily life, like cooking and cleaning together, helped us grow into a little family. Looking back, it was not only a joyful artistic journey, but also and perhaps more a meaningful practice in artistic community-building — one I continue to carry with me.
That openness also brought challenges, especially for those hoping to create something aligned with the expectations of the “art world” or a white-cube setting. But for me, it was refreshing and deeply welcome. That kind of dedication to process and community over product is rare — and something I believe the Western world could use more of. The structure — with half Georgian and half international artists — offered a great opportunity to engage with Georgian culture: the food, the songs, the landscapes.
The shared rhythms of daily life, like cooking and cleaning together, helped us grow into a little family. Looking back, it was not only a joyful artistic journey, but also and perhaps more a meaningful practice in artistic community-building — one I continue to carry with me.