"I aimed to research how to place somatic practice on stage, to simultaneously stimulate the audience's experience, while simultaneously experiencing the inner, sensual experience of dance," describes Kaja Marion Ribnikar. She continues by taking two perspectives of looking at the body as a starting point: analytical (outside, from a third-person perspective) and sensual (inside, from a first-person perspective).

Sensing the function and properties of selected body systems in somatic practice during movement changes the quality factors of activity: flow, weight, speed, and space. From the first-person perspective, the emotional set changes during the dance. "From a third-person perspective, I analyzed movement according to Laban, where I determined flow, weight, speed, and space. The problem that can arise is related to the fact that we move somatically from the sensations and feelings we experience. We analyze by looking from the outside what the movement looks like. In creating the practical part of the thesis, I paid attention to the first-person perspective for some time and to the third-person perspective for some time. It was important that when I danced, I didn't look from a third-person perspective because I started to move the way I thought I had to, instead of moving honestly, the way I felt," stresses Kaja Marion Ribnikar. She highlights the difficulty of switching between first-person and third-person perspectives and was interested in how something sensual, derived from somatic practice, can influence expressiveness.

"I am interested in a sensual way of dancing, the technical elements of dance. Just as when dancing from the lungs, I realized that feeling them helps me with turns, that dancing from the muscles helps me with speed and explosiveness and dancing from the gut with fluidity, so I am interested in how the technical class could become more sensual," she explains. Graduate and believes that, despite her personal belief in the aesthetics of perfect technical dance, as well as in the aesthetics of somatic dance, the next step is to combine the two. "I have already noticed that technically somatic dance improves when the dancer improves his technique, but I would like to develop a process where both can be developed simultaneously. I am interested in how to dance technically demanding movements during the bodily process and progress in them, as well as how to feel the body more while dancing technically," says Kaja Marion Ribnikar.