Since 2000 I have been working on my own language which I call New Emotionality Dance (NE), consisting in a series of movements, an aesthetics focused on “broken articulations”, asymmetry, and inward rotation. The temporality of the NE stems from breathing and its tone captures the fragility of the bones.
    The core concept of this language, which emerges as an epiphany when surviving the 2005 London terrorist attack, is to unveil motion as the only emotionality channel.

    Series of Movements

    NE Dance unfolds in different series: 1.The ones related as being opposed to the western classical ballet dance by the inward rotation the pelvic and scapular girdles. 2. Those performed within the “micro-space” — defined as the space occupied by a body— standing up, without translation, and at different heights (wings, waves, strings); lying down (paused existence) and falling (collapsing); 3) series of micro-movements —repetition of the same movement — with translation (walk, minotaur).
    These series constitute “core ideas”, gestures that stand as choreographies on their own. There is no will to make use of these “core ideas” and display them in a process within their multiple possibilities. They just are, without the need of exploiting them. The principle of capitalist development goes hand in hand with concepts such as progress, evolution and conquest. NE values these core ideas as emotional and technical density, not by showing them off but by using them to light up a moment of depth.
    Each series is named with its year of creation.

    Body Concept

    The body of the NE is the actual body, the body that has angst, failure, fault and incompleteness (AFFI). This idea of AFFI body is translated into an inward rotation of the pelvic and scapular girdles, opposite to the western classical ballet dance “en dehors” outward hip rotation. This rotation is noted with a “minus” and translates into feet and arms positions (minus first, minus second, etc.) and into related movements (minus rond de jambe, minus cou de pied, minus grand ecart, minus deboule, etc.).
    In brief, minus is one of the core concepts of this language; it represents the body projected in this dance, it points out the emptiness not the completeness, is more a lack than an abundance. This minus also refers to the new foot, in direct dialogue with the classical ballet dance principle of “en pointe”. This is a search for more unstable footholds - when regarding balance- and more broken -when regarding the line-; it rests on the outer edges of the instep and the ridge of the foot, on its back and anterior sides.
    The new foot is inclusive, it takes all the possibilities of foot rotation and accordingly of the hip and the extension and bending of its muscles.

    Multiple Axes, the X

    The axes organize body posture and therefore they are the alma mater for the construction of the movements the bodies execute.
    In classical ballet dance, the axis is the vertical line that crosses the centers of the pelvic and scapular girdle. It goes along the midline of the body at the coccyx level, through the navel, the center of the chest and the center of the head, rising to the sky and beyond - the famous invisible thread. This results in those apparently light movements and a stable equilibrium in constant struggle against gravity.
    The contemporary techniques, developed from the mid-twentieth century on, are based on two parallel axes that we can call pathways. These link the points of the heels, ischium and shoulders. So the movement goes along the edges of the joints of the body, deriving in fluid, organic and soft movements, due to the body weight working with and not against gravity.
    The NE builds multiple axes; they obliquely counterpose chin, shoulder, hip, knee and feet. Body weight relation to gravity poses a double bond: it uses it when overturning, while there is a force restrain, which in turn results in unstable balance movements and a sense of fragility.

    Emotional Temporality

    Time in NE, understood as movement duration, is set by breathing and its sound. There is no numerical measure here, temporality will always be subjective because it is set by the performer's breathing, and since everyone has a unique pulmonary capacity hence a unique breathing time. Breathing and its sound are paramount conditions of the movement in the NE; they are part of the notation in the choreographic score. Breathing, sound and emotion are always intimately linked, so much so that we can say that emotionality is the temporal measure of NE.

    Dancing from the Bones

    The bone structure of the body is marked by asymmetries that the NE movement makes evident, articulated in broken and discontinuous ways. The perfume of the movement records that bone fragility and seeks to reveal another beauty; a beauty that inhabits the real body with its sensory and symbolic gaps (anguish), giving account of its incompleteness, failures and faults.

    La r̶e̶p̶r̶e̶sentación

    The “r̶e̶p̶r̶e̶-sentation” is the "egoless" movement that is offered to the audience. NE dance is created with the desire to empathize with the real body of the observer. When the performer/dancer empties himself or herself of subjectivity and the movement of the NE goes through his or her body, he or she becomes a channel, transmitting the movement and directing it to the spectator. NE dance intent is to show the existence of a real body, a body that fails (AFFI).

    The performer/dancer does not perform a character, does not build an "other self", nor does she present her own self, does not express her individuality, but passes on the NE movement. The performer “r̶e̶p̶r̶e̶-sents” the movement for the other, that is what remains when the performer is emptied of his or her own self.
    The body moves, thus, it is possible to share that emotionality with the body of the other, the spectator, because the emotionality is generated by an existential emptiness. This dance does not express nor represents existential pain but movement happens because of that emotionality.

    Other Emotional Levels: Perfume and Dance

    Trans-emotion is the process by which emotions are transferred from one sense to another. Since the performer r̶e̶p̶r̶e̶-sents the egoless movement, so he or she can concentrate on other senses apart from the kinetic, such as flavors and perfumes, that, in turn, will respectively influence shape and speed of movement. We can say that a sweet flavor relates to rounded forms, salty to staccato, bitter to depressive/inward/backward and the acid to sharp forms. The speed of the perfume (volatility and duration), in turn will affect the tempo in a way that the more narcotic the perfume, the slower the movement and the cooler the smell, the faster the movement. Emotions of the senses are shared by all, hence they are intersubjective, and so when we fill up the experience of dance with trans-emotions is another attempt to reach the other/spectator in their shared emotionality.

  • Performances

    Videos, Photos, Poemovs, Perfumes, Writings.

    Emotional Weather States -what weather tells usPerfumes


    Aistikattila, experimental restaurant. Turku University

    Video/sound/smell/temperature piece that depicts the relationship between weather states and human emotional states, and how we are affected by the atmospheres that surround us.

    The video shows, in pictures taken this fall in Volda (Norway) by the landscape photographer Antje Meier, the same dance performed by María Zegna in different weather conditions, and is centered in the interrelation of exterior atmospheres and inner emotions expressed in the body. Climates and environments affect emotions and perceptions, in this case in the domain of movement and the image; the dancer’s performance and the photographer's regard are transformed by the various weather states.

    Photo: Antje Meier

    Dance: Maria Zegna

    Music: Bruno Mesz

    Fragrances: IFF

    Rite Of Fall


    Performatic installation - Dance, smells, sound, objects.
    Bruno Mesz, Sami Silén, María Zegna.

    7.12.2021, Lauttasaari Kartano, Garden House

    What do we have to give to the earth?
    An offering, a dance
    The earth responds, it can be heard, felt its scents
    The dance touches the earth; the dance sounds, vibrates and moves The earth responds
    The earth is the place to fall


    Photo credit: Antje Meier

    HEL 8D Walk


    Lauttasaari Metro Station

    An act of memory that I have been performing since surviving the 7J attack on the London Underground in 2005. With this action, in which I walk forward with my head towards the ground, I embody the concept of keeping ongoing even with a fragilized body. I put myself literally in the shoes of other women who have walked in Helsinki, with flowers in my hands and absolute rose scent, as an offering to those who, even with our sorrows and afflictions, keep moving.
    I have performed Caminata/Walk in several cities such as Buenos Aires, Stockholm, Düsseldorf, Miami, Volda, Choele-Choel, Turku.


    Special thanks to: Jean-Christophe Sakdavong; Javier de Verda; IFF; Julio Vallejos; Nicolás Villamil; Maija Karasvaara; Kone Foundation; Katja Pesonen; Lauttasaari newspaper; Mia Stenroos and HSL.

    "Minotauro, decolonizar lo salvaje"


    Dedicated to my ranquele ancestors.

    (Commission for the Tempus Fugit Festival, Fundación Antiqua Nova).
    It is a video filmed in an interior atmosphere of our house during the lock down. I present a microsequence of movements in which I found, from my ancestral biography, an underlying sydetic configuration body concept (not as a synthesis but as a conjunction), which admits the duality of senses, an awareness of the fragility and fractures of the incarnation not as contradictions but as typical of the human.

    Music by Adam de la Halle, performed by Bruno Mesz.

    Danza para Mares


    Presented on @arselectronica 2020 within The Garden of Curiosity from @muntref Art & Science 
    https://ars.electronica.art/keplersgardens/en/garden-of-curiosity/ Inside project "Undocumented Emotions: Aestheticized capitalism"

    FI. 3D Walk


    FI. 3D Walk is a performatic intervention in the public space of Miami, Florida. It is a memory itinerary related to the 7J London attack, of which I am a survivor. From the emotional marks that the experience of surviving 7J left me, I began to problematize my role as an artist and my relationship with the viewer, inquiring about the idea of body and beauty that underlies contemporary societies. During my escape from the explosions in the underground of the Aldgate station, while running with all my strength, I understood that all we really are is a body, and that this body equalizes us. I saw women's shoes, lost in the streets. Years later, I began to make several "walks" with high heels in different performances in public spaces. The shoes are other women’s shoes, who have walked the cities I intervene. In "Fl. 3D Walk " the movement is intended for all beings who, inhabiting a suffering and distressed body, still keep walking.

    Dance of the Sea


    "Dance for sea" is a performatic intervention in the landscape of the Atlantic

    Ocean of the Florida Bay, through ̶r̶e̶p̶r̶e̶sentation, operation by

    which I get rid of my self and create an entanglement with

    other types of non-human "consciences", such as the sea. The spaces breathe, there is an inexorable mutual influence between our

    human system and the spaces we inhabit. I have found in the

    observation of the maritime atmospheres, especially the

    movements and sounds of the ocean, the trajectories of the birds

    and the morphology and color of the sea pebbles, an

    experience of extimacy that I seek to translate into the aromatic

    composition by IFF that will accompany the screening of this

    performance for Pinta Miami.

    Emotional Atmospheres


    "Emotional atmospheres" are performances for site specific. Sensitive spaces are activated with the intervention of movements that touch them and "load" them thickly. The body as a sensitive territory implies permeability with these living spaces, which ignite when the body immerses itself in them. The body breathes and spaces too. Production: Soledad Depresbitero for AEROSOL Futurecontent.



    "Duermevela" performance about the transvisible - what is already and is not yet but appears.

    Commission for the Distat Terra Festival, Choele Choel, Patagonia Argentina, December 2018.



    This walk I started to do it as a result of surviving a terrorist attack in London 2005. It is a gesture of "keep on going". So when I put my feet in a new land I offer these walk, using shoes that have been used by one of its inhabitants. Aura River, Turku, Finland 2018

    Alas 18 (Catálogo de movimientos de Danza Nueva Emocionalidad)


    R̶e̶p̶r̶e̶sentation to the North sea.
    is the act / state by which we empty ourselves of our self and become a channel of NE movement directed towards the corporeal / existential void of the other (spectator) or the other, in this case the sea.

    Sponsored by "Crossmodalist session"
    Hildre, Noruega, 2018.

    Alas 18 II


    R̶e̶p̶r̶e̶sentation to the North sea.
    is the act / state by which we empty ourselves of our self and become a channel of NE movement directed towards the corporeal / existential void of the other (spectator) or the other, in this case the sea.

    Sponsored by "Crossmodalist session"
    Hildre, Noruega, 2018.



    Dance and choreography "TRANSEMOTIONS - Dance with a colour, it's temperature and perfume" for Jessica Kessel´s AW18 video & photography campaign, is General San Martín Theater, Argentina.



    Performatic intervention in Kungsträdgården metro ("King´s garden") of Stockholm, Sweden with Per Samuelson, Iréne Sahlin and Bruno Mesz (video presented during “Museum Nights 2017”)

    Dance for Spices


    Kunsthalle Düsseldorf, Dane for Spices by Gerhard Staebler with Crush Ensemble 2016

    15 Finals


    Performance based over a selection of 15 finales of Jorge Luis Borges poems - Photo: Katja Illner — in Kunsthalle Düsseldorf.

    12 Things


    By Kunsu Shim, dancing with Andrei Simion (cello) in Earport, Duisburg.



    Contemporary dance intervention New Emotionality in Río Negro. With Griselda Giannini (clarinete) Music Festival Distat Terra II in Choele Choel, 2016.

    MoS Performance Multisensorial


    MoS tries to investigate the synesthetic mode in which the smell, taste and hearing inflen que el olfato, el sabor y el oído influence the aesthetic and gustatory appreciation.

    It is a multisensory performance where music, dance, cooking, video,

    visual performance and aroma design are thought in space-temporal, semantic and emotional correspondence with the sensory axis.

    Emotional Dinner


    This sensory experience explores through 4 gastronomic-performatic stations possible trans-modal relations between flavour, music, aroma and images.

    Museo de Arte y Ciencia de Muntref, Tecnópolis, 2015.

    Landscape Interventions


    "Ofelia" video edited in Isla de Archivo Vivo, with Ana Ligia Mastruzzo (flute), Delta del Tigre, Buenos Aires, 2014.

    The Fellinis


    Centro Experimental del Teatro Colón, Museum Nights Festival 2012.

    In this performance spectators are transformed into main characters, taking a picture of them with a black camera, and also with another characters from XX century.



    By John Cage for Escenario Cage de Marcelo Delgado, Fundación Osde.

    Sweet Mudras


    Semantic interpretation of "Sweet" mudras language (Indian classic dance signs system)

    Video realization with Valentin Pelisch for trans-modal performance MoT by Bruno Mesz, CheLa, 2012.

    Split the Bones


    Buenos Aires. Part of "Avances sobre nada" video together with Bruno Mesz, Valentin Pelisch and Florencia Sgandurra.



    Interactive performatic installation by: Diego Alberti and Fabián Nonino

    Dance: Maria Zegna

    Festival @elfuturo, CheLA 2008 and Festival Cultura y Medial Centro Cultural San Martín, 2009.

    The White Room


    The White Room propone experimentar un viaje desde afuera. Partir en busca del paraíso. Entender el ser extranjero en una tierra lejana e interna a la vez, y lejos de casa. Una despedida de la vida consciente implicará la vuelta de un cuerpo transparente, que contará sus furtivos secretos, en otra lengua a develar. The White Room invita a entrar, donde el deseo será arrancado por una danza, como una turbulenta marea. El deseo de encontrar la verdadera morada. Una delgada línea cristalina, entre dos, dos mundos.
    Presentada en el ICA, Institute of Contemporary Arts, a propósito de la II Edición del Festival Discovering Latin-America- Rhythms of Latin America Music and Dance- DLA, en la ciudad de Londres, exponiendo una obra de danza teatro multimedia en representación de la Argentina, en 2006.

    Ur gente Mar


    Intervención urbana en el Obelisco y en las escalinatas Facultad de Derecho UBA
    ur…gente Mar, en tránsito ella misma hacia el pasado y hacia el porvenir, se ofrecerá de manera libre a la mirada de los espectadores-transeúntes, en un espacio que no puede ser sino público, esencialmente urbano. Rindiendo homenaje a la ciudad que vibra en su interior y forma su textura, y con la convicción de que el arte es un privilegio de todos, ur…gente Mar procurará imprimir sobre los sujetos huellas sensoriales intensas, convocándolos de algún modo a tomar la escena viva de la danza.

    ur…gente Mar buscará así acompañar y transformar por un momento el paisaje urbano, darle un intervalo en su cotidianeidad, devolviéndole a los habitantes de la ciudad la posibilidad de reconocerse y verse transfigurados en el goce de la experiencia estética.


    Her perfumes had been used on the following performances

    Festival Sensibus de Finlandia, 2014; en Odorósferas I en MUNTREF, Tecnópolis, 2014; MoS, Casa del Bicentenario, 2015; Cena Emocional, MUNTREF, Tecnópolis 2015; "La nuit de sense croises", París 2016; "El perfume de la danza", Galería Arcimboldo, 2016; "Compañeros de vida" en el Museo MAR de Mar del Plata, en 2016/2017; "Videos perfumados" en la Noche de los Museos, 2017; "Scriabin TransEmocional", en los Nuevos Jardines Servente, La Plata, 2018.

    Y en la conferencia de Bruno Mesz y Sebastián Tedesco sobre Traducciones transmodales en torno a la exposición “Salida de los obreros del museo Malba” de Alexander Apóstol, Malba 2017.

    En marzo de 2018, presenta en Barcelona la intervención transmodal interactiva “Huelo huelo, que ves?”, junto a Sebastián Tedesco en el marco del encuentro internacional “Brain and wine” organizado por la Fundación elBulli.

  • Future Performances

    Work in progress

  • BIO

    Maria Zegna was born in Buenos Aires, where she lives and works as a choreographer, dancer, contemporary dance educator, designer of natural perfumes. While in Buenos Aires she writes Poemovs (visual, sound and motion poems). Since the year 2000 she elaborates her own language, she calls New Emotionality Dance-a system of movements structured in series (wings, waves, minotaur, walks, landslides, interrupted existence, turn-ed, crossovers, etc.), an aesthetic focused on Disarticulation, Asymmetry and Internal Rotation and Temporality derived from breathing and bone topology. The core concept of this language emerges as an epiphany after surviving the London’s terrorist attack in 2005, and it is the r̶e̶p̶r̶e̶-sentation: to annul the performer's ego structure to reveal the emotionality of the movement.

    Her performances as soloist were held in important venues such as: CETC (Centro Experimental del Teatro Colón), ICA (Institute of Contemporary Arts) from London, Kunsthalle Museum (Düsseldorf), EarPort in Duisburg (Germany), Reid Hall (Paris), Casa del Bicentenario, Centro Cultural Recoleta, CheLA, Tecnópolis, St Cecilia's Hall in Scotland, Rythmikorjaamo in Finland, Centro Cultural San Martín, Fundación OSDE, MAR (Museo de Arte Contemporáneo de Mar del Plata), Espacio Multiarte SIGEN (Sindicatura General de la Nación), Casa de la Cultura de la Ciudad de Buenos Aires, Galería Arte x Arte, Wussmann Art Gallery (Buenos Aires), The Exhibition Hall of the Universidad Torcuato Di Tella-Arts; Espacio Cultural Nuestros Hijos (ECuNHi); Museo José Hernández; MUNTREF (@MUNTREF) Museo de la Universidad Nacional de Tres de Febrero; ARCIMBOLDO Gallery, Alianza Francesa’s Golden Hall (2017), CASo- Centro de arte sonoro (2017) and in urban interventions in: the staircases of the Law College of the UBA, in the Obelisco Porteño, the terrace of the historical Cassará building, the Patio de los Naranjos of the Recoleta Cultural Center, La Isla del Archivo Vivo, the gardens of Dirección General de Museos and by the Río Negro of Choele Choel and in the Kungsträdgården Metro of the city of Stockholm (2017).

  • Teaching

    Conferences - Seminars - Workshops

    Since 2000 she has been working as a teacher for the UN and for the cultural extensions of Psychology School, Humanities and Law, all of them depending on the Universidad de Buenos Aires. She has taught seminars at the Instituto Cervantes based in London. She was coordinator of “Corporal Area” of Recreo Foundation and has taught workshops on performance in Mar del Plata, London, Majorca and Madrid. Finally, she has recently given a seminar on "Small object of Desire (the body as object and objects for the body as a device in the performance)" in the postgraduate course of Conceptual Design of the UNTREF.