ORDINARY DANCER, IN CONVERSATION WITH LÍVIA DELGADO
In conversation with Livia Delgado
“Perhaps I didn’t become the dancer I dreamed of being, but I did grow into the person I aspired to be.”
By the banks of the Spree river, which cuts the city in two, is Holzmarket 25, where I had the pleasure of sitting down with Berlin-based dancer, Lívia Delgado. She is part of The Studio e.V. that shares the grounds with one of Berlin’s iconic techno clubs. While partygoers next door immerse themselves in electronic music, Lívia prepares for her next performance. Despite navigating the contrast between these worlds, and the extraordinary nature of her art, she humbly describes herself as an “ordinary dancer”.
“An extraordinary dancer has no time for doubts and faces different demands. I, however, enjoy being an ordinary dancer. I enjoy the journey, maintaining my discipline and trying not to compare myself. I can’t say that I don’t want recognition, but when we learn that the path is what matters, its beautiful. The reward is being connected to our bodies and through it to our souls, collaborating with other artists, and growing personally and artistically.”
Lívia has danced all her life. First a ballet dancer of a prestigious conservatory, where she was put under the pressure of rigid preparations during her whole childhood and teenage years. As she grew, her dance grew with her. She makes it clear that the journey isn’t smooth sailing and dancers face inumerous challenges in the dance field.
“Dance shapes who I am, and these challenges shape how I relate to others.”
What are some of these challenges that you face and people might not expect when they think of dance?
“Dance isn’t just about being on stage; it involves invisible work, self-care, and a relentless pursuit of improvement. We train ourselves, clarify goals, research ideas, and face constant instability—auditions, rejections, and financial uncertainty. It sounds tough, and it is. There’s the pressure to always stay in peak physical condition, to innovate, and stand out—this can be emotionally and physically draining. Injuries are common, and recovery is part of the job. “
I had the chance to see Lívia performing before, both in Berlin and in Dresden. Her stage presence and mastery of body movement are captivating. This time, I had the opportunity to glimpse her backstage process. We followed her through Holzmarkt into the studio for a morning of rehearsal. After she warmed-up and went through her routine with the strap, she smiled and invited me to give it a try, which, of course, I couldn’t quite manage. After all, her skills and talent are the result of a lifetime of dedication. However, she reassured me, that my focus should be on taking the time to connect with my body and explore its possibilities.
“I dance my emotions. Dance is not only my profession but my balm, where I find comfort and strength.”
Lívia’s passion for the performing arts is clear and she excitedly shares what not to miss. “The last good one I watched was Clébio Oliveira’s “After the sun” and the next one I’m super excited to see is “Kontakthof” by Pina in Wuppertal in December. A masterpiece!”
How do you feel the dance world is changing?
“I see a blend of theater, voice, and visual arts. I believe everything should be interconnected when done with purpose. Recently, I’ve noticed that many performing artists aim to shock—often just for shock’s sake—which isn’t enough for me. I’ve been focusing on stage presence, exploring how a body that moves a lot can feel absent while a still body can communicate profoundly. The truth on stage comes from within and carries a context that deserves to be shared.”
When we go to the rooftop for a coffee and I see the TV Tower in the distance, I wonder what role Berlin plays in the dance field, how does the techno city influence dancers and performers? “Berlin is very unique, not that poor anymore but still sexy…” Lívia describes the city as a melting pot, a mix of people and colors, and still with lots of affordable and good studios for rehearsal and individual training. “There are performances going on all the time and good dancers all around. Berlin is alive, and there’s nothing better than a living place for an artist.”
Thanks to her dance, Lívia travelled the world and learned from different cultures and people, it’s the human experience that inspires her. She believes in the human ability to influence one another and in the power of connection to resolve conflicts. “While I may seem lighthearted, I recognize the weight of our shared struggles.”
“I see myself working more on artistic projects related to current issues and crises. I like people, conflicts and the way we see them, the willingness to solve them. I believe there is nothing better than looking at these problems up close and bringing questions and relief through art. At the moment, I’m doing a lot of research into Davi Kopenawa and, more recently, I’ve been looking into Antropy, the basis of my research in connection with migratory issues. Karen Barad is also very much in tune with the message I want to convey.”
Currently Lívia focuses on researching for two different projects, “Baderna” and “Lake Machine” with Mari Paula supported by Goethe Institute. While these are cooking, you can see her dance to “Romeo and Juliet” at Staatsoper Berlin and “La Traviata” at Semperoper Dresden from November – January.
As I step out of the studio and wave goodbye to Lívia, I feel the pleasant soreness in my body from the day’s workout. I leave feeling inspired to reconnect with my body, let it move freely and discover how movement can reveal new facets of myself. I pass by the line of people waiting for their turn to get into the club as Livia’s words and lesson sink deep within me. It’s been eye-opening to witness her dedication and artistry up close, which I refuse to see as anything but extraordinary.
*Lívia wears Leo in Peach Quartz.