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Led by Sarah Lisette Chiesa, Somatic Practitioner, and Assistant Professor of Dance


Monday, Sept 21 > Wednesday, Sept 23


9-10:30 somatic practices


10:30-11:30 break


11:30-1:30 movement generation building


Cost $111 per day OR $313 for 3 days


Text (808) 430 -7877 to sign up


Maria's Experience...


I had the beautiful opportunity to experience Sarah Lizette Kiasa’s work in Washington last year, when I first met Sarah and participated in her workshop. The experience stayed with me.


What I remember most is discovering a new center within myself—a different way of being present. Through Sarah’s gentle movement, awareness practices, and deeply attentive facilitation, I began to experience trust in a very embodied way: trust in my own body, trust in my energy, trust in another human being, and trust in the container we were creating together.


One exercise was especially profound for me. We practiced physically leaning into another person and allowing ourselves to trust that they would support us—that we could soften, surrender some of our holding, and still be safe.


My partner for this practice was a man over ninety years old, who was wonderfully alive, joyful, and happy to move. There was something incredibly touching about the two of us, from such different generations, learning through our bodies to lean toward one another, to listen without words, and to discover: I can support you, and I can allow myself to be supported by you.


That simple experience became something much larger for me.


Sarah’s work reminds me in some ways of what Eckhart Tolle describes in The Power of Now: a presence underneath all the thinking and explaining. There is a place where we do not necessarily need words. Presence moves through the physical body. We feel it. We recognize it in ourselves, and sometimes we recognize it in one another.


For those of us who explore the energetic dimensions of being human, there are so many languages through which we can contemplate this mystery—chakras and meridians, the seven primary chakras or expanded chakra systems, Human Design gates, Gene Keys, the electromagnetic field of the body, and the subtle ways our individual fields meet and interact with one another and with the space around us.


Whatever language we choose, the beautiful thing about Sarah’s work is that we do not have to intellectually understand any of it first.


We can simply experience ourselves through movement and presence.


That is why I am especially excited to see this work coming to Hawaiʻi and to our Pāhoa community. There is something extraordinary about exploring embodied presence here, on an island continuously shaped by volcanic creation. Living close to lava and witnessing the continual processes of destruction, creation, transformation, and renewal can invite its own powerful awareness of relationship—to our bodies, to the Earth, to ʻāina, and to one another.


To experience this movement research here, upon volcanic ground, feels very special to me. It feels pioneering, curious, and alive.


Sarah herself is kind, gentle, patient, and deeply tuned in to the people she is working with. My experience was that she created space without forcing the experience. She invited awareness and allowed each person to discover something through their own body.


Our Washington workshop also included a six-year-old girl alongside participants spanning generations, and witnessing that diversity brought another beautiful dimension to the experience. Movement can become a language that crosses age, background, and so many of the boundaries we normally place between one another.


For me, Sarah’s workshop ultimately came back to one simple and profound word:


Trust.


Trust the body.

Trust the movement.

Trust the person beside you.

Trust yourself enough to lean.

Trust yourself enough to receive support.

Trust the moment enough to truly be here.


I am deeply grateful that this work found me in Washington, and I am excited to witness its next expression here on Hawaiʻi Island.


Mahalo, Sarah, for your gentleness, patience, curiosity, and devotion to this exploration.


And mahalo for bringing this offering to the Pāhoa and Big Island community.


May we move together with presence, curiosity, aloha, and trust.


With aloha and gratitude,

Maria

About Sarah and her Work...

About Sarah Lisette Chiesa...

Sarah Lisette Chiesa is an interdisciplinary performance artist who has lived and worked in the United States, Europe, Mexico, and Venezuela.  She attended the North Carolina School of the Arts for High School, received her BFA from SUNY Purchase College in 2004, a Postgraduate in Choreography from Salzburg Experimental Academy of Dance, Austria in 2014, and received her MFA from the University of Washington in 2020.  


She studied sculpture at the Canossa Scuola di Scultura in Reggio Emilia, Italy 2016.  Sarah has been dancing professionally with Shen Wei Dance Arts since 2008 and performed nationally in venues such as Lincoln Center, Kennedy Center, LA Performing Arts Center, Metropolitan Museum of Art, Guggenheim Museum, and the Park Avenue Armory. Internationally, the company has performed in Europe, Asia, Brazil, and the Middle East. As a guest performer, Sarah finished a seven-week tour in China with Shen Wei Dance Arts 25th Anniversary in 2024.  She has also performed works by Kazuko Hirabyashi, Sidra Bell, Kathryn Alter, Kevin Wynn, Jose Limon, Danny Grossman, Noemie Lafrance, Tania-Perez Salas, Stefan Dreher, Hubert Lepka, Yang Liang, Franca Ferarri, Brian Brooks, Daniel Charon, Celia Rowlson Hall, and Susan Marshall.  


As an interdisciplinary artist, she explores concepts surrounding psychology, feminism, human rights, and the environment. She has presented her work in theaters, museums, and art galleries in New York, San Francisco, Seattle, Montreal, Italy, Austria, Venezuela, Chile, Spain, and India. She has created interdisciplinary works with Dom Bouffard, John Mattuizzi, Jacopo Foggini, Yuval Avital, Pier Giorgio Casotti, Mario Vighi, Frabrizio Orsi, Kitka Ensemble, Dorien Silec with Robert Wilson, Karmina Silec, Ana Baigorri, Aaron Bugaj (Biosphere 2), and Elena Chernova (School of Music UofA).  Recently, in February, Sarah’s choreography, in collaboration with Karmina Silec and Sidra Bell, toured at the LA Opera of the production of “Old Man and the Sea”. 


Currently, Sarah is collaborating with the School of Art and the School of Architecture, on a the Buffelgrass Housing Project for the homeless community of Tucson.  As an educator, Sarah has taught in institutions such as Aterballetto, Balletto Toscana, and CIMD Milano (Italy), and School of Performing Arts Bangalore (India), The University of Washington, The Dominican University at LINES Ballet, the University of California Santa Barbara, and is an Assistant Professor of Dance at the University of Arizona. 

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