Movement Archery

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Movement Archery Expressing and communicating philosophy, nature and arts through dance and movement practice

by Tom Weksler and Roser Tutusaus

05/10/2026

Improvisation doesn't have to mean starting from nothing.

A few clear principles can give us direction without deciding where the movement has to go. It is like setting the frame of the playground, and then exploring all the possibilities inside it. And if the principles are well chosen, that territory can feel almost endless.

Here Roser is playing with weight shift, extension and craniosacral connection, moving between them and combining them. A small but powerful set of principles that opens a vast territory for development and refinement.

Want to practice this with us?

🇪🇸 Barcelona Intensive - SOLD OUT
🇬🇧 London - 14-15 Nov
🇳🇴 Oslo - 21-22 Nov

Events in the comments 🏹

01/10/2026

Complex coordination is often just simple actions learning how to play together.

The Au de Frente is a very good example of this.

Hip rotation, arm rotation, extension, squat, wave, inversion.
We can explore each part separately, then slowly connect them back into one movement. And once the structure becomes familiar, we can start playing with it.

You can think of it as if each movement is an instrument in an orchestra. It has a beauty by itself and by synchronising and playing with the rest, the meaning changes and reveals something totally different.

Want to go deeper?
Comment CARTWHEEL and we’ll send you a free Weight Shifting lesson from our Cartwheels course.

Want to explore it in practice?
Join us live:
🇪🇸 Barcelona - 26-31 October - SOLD OUT

🇬🇧 London - 14-15 November


🇳🇴 Oslo - 21-22 November

22/09/2026

Do you feel your skills are part of you?
Or just things that you can do?

There is a fine line between developing a skill and slowly becoming its prisoner.

At first we need to learn the form. Trying to learn something new always begins with some external input.

But as the skill becomes clearer in our bodies, we have to vary it and individuate it.

Timing, preference, your history, your imagination.
All of these need to be practiced by integrating the skill further and further. Using it not for the sake of itself but within a context it serves for something else.

And the more you express, the more you deform what you’ve learnt.

For me this is where technique becomes fascinating. The skill stays clear, but it starts feeling personal rather than borrowed.

And I don’t think this belongs only to advanced practitioners. Even in the beginning there is already room to notice how you organise something, what you choose and what starts to feel like yourself.

We explore this idea and how to bring it into your own practice in our live workshops.

🇮🇸 Reykjavík - 26-27 September
🇪🇸 Barcelona - 26-31 October - SOLD OUT
🇬🇧 London - 14-15 November
🇳🇴 Oslo - 21-22 November

Link in the first comment 🏹

15/09/2026

One insight from a short lifetime in movement and art I can give you is this: Keep things meaningful.

Skill development is important but when the whole point is simply to become stronger, more flexible, more impressive, or more visible something important gets lost.

Pursuing something that’s meaningful for you is much more important than the fear of missing out. Movement practice, dance, acrobatics and fitness carry much more personal impact when they are done with the goal of self learning. That means to keep changing what you think is the self. To constantly rediscover.

Doing things for look and appreciation might work for the algorithm but certainly wouldn’t help you with the bigger picture.

And the bigger picture is the only picture.

Keep it real my friends.

Indirizzo

Via Ezio Andolfato, 10
Milan
20126

Sito Web

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