“We act in accordance with our self image”

Moshe Feldenkrais

Moshe Feldenkrais’ words resonate for every body, but even more so for those of us who rely on our creativity and expressive abilities to make our living. 

Artists, singers, dancers, actors and musicians rely heavily on our experiences of life and how we interpret and represent these experiences in our lives to feed our artistic expression. Our bodies and our minds are our expressive tools, and we can only be as nuanced and varied as our self-image is nuanced and varied, backed up with the physical skills we have developed.

Performing artists train extensively to build the skills required to succeed in their chosen field. Practicing the Feldenkrais Method can become an incredibly powerful adjunct to other training methodologies because it can support artists so beautifully on so many different levels. It can provide physical skills training, expand body awareness, increase expressive capabilities and teach us how to work with our own bodies and with another body. As well as this, it can support our physical and mental wellbeing by teaching us how to really own our own experience and not rely on external validation.

The Feldenkrais Method can do this because it is processed based. With surprising simplicity using movement exploration, it provides both the learning framework as well as the physical skills development to support play and problem solving, two fundamental components of creativity. As we explore our movement on a sensory-based level, we tap into the impulse driven, spontaneously reactive, curiosity driven and improvisational playfulness of a child. With our mature and adult minds, we can then craft and direct this learning and experience into any direction we desire. In this way we can expand our expressive capabilities while building the physical tools to support it.

Using ATM, F.I and improvisational tasks and games, students learn and explore Feldenkrais movement coordinations and patterns. As a teaching resource, Ingrid draws predominantly on Feldenkrais lessons based on developmental movements. All of Ingrid’s students learn how to reach, roll, breath, transition to sitting, to crawling, to kneeling, and walking with greater ease and skill within their own expanding capabilities and potential. Students engage with these movements within a sensory driven learning environment based on play, exploration, experimentation and self directed problem solving. To Ingrid, this is the unique brilliance of the Feldenkrais Method and what makes it such a powerful learning tool for any application.

Discover The Dancers Series:

12 Beautiful Feldenkrais Awareness Through Movement Lessons that lay the foundation for Ingrid’s work with performing artists.

Ingrid Weisfelt

Ingrid was a company member of Meryl Tankards Australian Dance Theatre and TanzTheatre Basel, Switzerland, as well as having an extensive career as a freelance artist both in Australia and overseas. It was a potentially career ending back injury that led her to discover the Feldenkrais Method. Following the completion of her Feldenkrais practitioner training in 2002, Ingrid returned to the stage for another ten years, injury and pain free.

Ingrid’s movement teaching skills have evolved from a study of contemporary and classical dance training, yoga, contact improvisation and physical theatre. Ingrid has taught at several performing arts institutions including the National Theatre Drama School, Monash University, the Melbourne Conservatorium of Music, and the Victorian College of the Arts, Melbourne University.

Utilising all of her movement and creative skills, Ingrid integrates a strong sense of play, spontaneity and creative exploration into her work. Ingrid works with all people who are interested in improving their ability to move, and who understand that when you improve the way that you move, you also improve the way you feel, sense and think.

For information on her more recent theatre projects visit:


To read “An insight into the adoption of the Feldenkrais Method’s principal of constraint to create the new Australian Dance Theatre work: Intimacy” by Ingrid Weisfelt published in The Feldenkrais Journal (Page 73):




Kialea-Nadine Williams and Chris Scherer in “Madam” by Torque Show