Federica De Francesco is a dancer, performer, choreographer and teacher.

Her ballet and modern dance training took place mainly between Rome and Florence integrating later the study of contemporary dance throughout Italy and abroad by following classes and workshops with renowned teachers and choreographers.

Since 2005 she has worked as a dancer and performer in numerous projects, both as a soloist and in companies.

In 2014 she founded her contemporary dance company KANNON Performing Dance, thus beginning her personal path of choreographic research. With the company she created three productions presented in theatre seasons, festivals and shows all over Italy. In 2018 she closes her activity with the company and dedicates herself to research projects as a soloist and her works were subsequently selected for festivals and exhibitions.

In the field of didactics, she has held and still holds ballet, modern and contemporary dance classes, research and movement workshops, both on her own and in collaboration with other artists (actors, musicians, singers, painters).

Currently she is artistic director of the dance school Danzainsieme, modern and contemporary department.

My artistic research is always presented as a ‘path’, physical and intellectual, to enjoy and enrich the experience of the audience through a ‘journey of movement’, understood as an act of greater awareness and reflection on contemporary languages and investigation of current topics and society.

The artistic expression derived from gesture and movement is intended as a tool through which each person can find yourself represented, generate a reflection or stimulate a thought.

I love working on concrete issues, my most recent projects have ranged from astronomy and the latest scientific discoveries, to the pandemic and the related change of life for people, to philosophical and spiritual topics, exploration of natural environments with on-site practice and returning the ‘experienced’ landscape.

I would like my proposals to be considered as an active exchange: involvement and expression of human potential are my keywords and creation’s guidelines. Behind precise inputs, I love also having the complete freedom to experiment through the improvisation.

This phase is also important as it provide the necessary tools for acquiring a greater awareness of my own body and understanding the various sources of information for generating movement, an authentic exchange between the stimulus and the response, between the thought of a gesture and its implementation.

The inputs from which I start to develop the physical work are many: verbal and sound suggestions (both recorded and live, when possible), readings, photographic proposals, exploring and contact with nature.