More about Goran
As a kid, when I was still in school, I did gymnastics and then ballet.
My father asked me: “What are you going to do in your life?”
I answered: “I’ll dance!”
“Okay, but how will you earn money?” he asked again.
“By dancing!” was clear to me.
And that’s what I did.
I’ve danced professionally for more than seventy different choreographers and directors in the field of performing arts – classical ballet, physical theatre, contemporary dance, film and video. For over 10 years I was dancing for the Slovene National Ballet Company, from corp de ballet to principal roles (Youri Vámos, John Cranko, Milko Šparemblek, Jeremy Leslie-Spinks, Vlasto Dedivič, Pina & Pio Mlakar, Kurt joss, Istvan Hertzog, Julio Lopez, Peter Breuer, Toer Van Shayk, Irina Lukashova, Ib Anderson, Ronald Hynd...) and at the same time parallely enjoyed a rich and versatile career of a freelance artist that brought me to work with many theatre artists and contemporary choreographers from the Slovenian and European arts scene (Matjaž Pograjc & Betontanc, Dragan Živadinov, Milko Šparamblek, Francois Michele Pesenti, Ema Kugler, Janes Janša, Howard Katz Fireheart, Micheal Clark...) among many others. I also took part of research projects with Emio Greco, Josef Nadj, David Zambrano, Andrew L.Harwood ... to mention just some of them.
Eventually, after ten years of a super fast tempo having on average 7 projects per year, I had a major crisis and also problems with injuries… I looked inside… There were too many techniques and roles there and no more space for a new choreography, a new role…
And so I collapsed, I stopped dancing.
I looked for motives to dance and ways to continue.
Eventually, I started going to the studio again. I did this every morning, alone, for a half a year, throwing out everything that was not mine in my body, mind and emotions, until I finally felt the emptiness and peace.
In this space, I realised that I wanted freedom in my dance in the sense that I no longer wanted to learn other steps, moves and choreographies, which mostly have no meaning connected to movement. I promised myself that I would master improvisation; learn the tools, techniques and ways of expressing myself freely through dance, learn to understand how to choreograph through improvisation and develop my performing skills by studying acting and improvisation techniques, learn how to incorporate martial arts and Eastern meditation practices into my daily practice and teach dance without showing the moves, steps and choreographies for participants to copy and learn from.
And in this space, I noticed a sparkle of creation, which I started to ride, and then I realised that I was already improvising, choreographing and teaching other dancers my insights!
But I didn’t know how to continue. I was tied up in the company repertoire and other projects and I was afraid of leaving this financial security to chase my dreams. How will I make a living if I will travel around the world spending money and looking for knowledge to master the improvisation?
In 2000 finalIy I took a leap of faith and I left academic and institutional frames of dance and started to implement improvisation into everything I was doing and learning on the way.
Then came seven years of creating and extensively touring (Slovenia, UK, Russia, USA, Belgium, Denmark, Sweden, Canada, Germany, Hungary, Poland, Czech republic, Italy, Austria, Croatia, Serbia, Macedonia, Montenegro, Bosnia, Bulgaria, Albania ...) with my own Dance company Fičo Balet, in which I was also the manager, producer, touring agent, administrator… Rock’n’Roll! … Sky Diving! … Awards!
In free time I chased workshops and teachers around the world that could teach me more about art of improvisation. I studied martial arts and meditation and was giving my first classes and workshops on dance improvisation where I learned that I learn the most from the teaching.
On the way, I helped others.
I transformed a big old cinema - Kino Šiška into a huge dance studio, rehearsal space & production of contemporary dance and theatre which I ran for six years.
I launched with partners the first Slovene contemporary dance platform and network.
I co-established the Nomad Dance Academy with partners in six countries where I was the co-director of educational and artistic research programmes.
I co-established the CoFestival International Festival of Contemporary Dance which has been emerging through the process of collective curating for many years now.
Then another breakdown…
I realised that I no longer enjoyed travelling around the world, going from the airplane to the hotel room to the theatre and then back to the hotel room and the airplane…
And I realised that I worked on all the big projects – the Studio, the Platform and the Academy – for practically no money because it was in my nature to help others and not think of myself.
And to make things worse, the financial crisis hit the art production in my country hard. The funds for the dance productions I wanted to work on were gone.
There were only small budgets, which means a lot of compromises in creating art and a lot of underpaid collaborators. So I decided to stop and do nothing, artistically.
I became broke overnight and had to work all kind of jobs to brake even. I was driving trucks, was librarian and even took a project in tunnel construction work.
It was a great challenge and learning experience but at the same time it was like a holiday for me, doing simple work and having a boss telling me what to do:)
I got my first child and started searching for a deeper meaning and a purpose… Yeah, right…
A normal process for a man my age :)
I did this through all kinds of dynamic processes: Dynamic & Kundalini meditation, Enlightenment Intensives, Qi Gong, Tai Chi, Dervish, Gurdjieff dances, shamanism, dancing on fire ...
And then I realised that I had to share my gifts and talents in a different way.
I decided to open up and share what I had learned in dance to that point and so I offered a unique style of dance classes and workshops incorporating Eastern and Western knowledge and providing students with a safe dance improvisation practice that is dynamic, meditative, playful and creative and the improvisation tools that can be transferred to daily situations. It was called Fico Training.
In no time, all the training sessions and workshops were full without me spending a single cent for their promotion!
I even had to engage other teachers to take the load off.
Just like an alchemist, I played with different methods, principles, techniques, learning from my mistakes, trying new approaches, purifying the essence of dance to the point,
that now more than 100 modalities, exercises, game tools and principles
function clearly for ANY BODY and can also be transferred to daily situations, relations, work, and can be applied to any kind of teaching or facilitating situations and to any students & clients and their level of understanding dance.
And for the past 13 years my focus mainly shifted towards teaching.
I had the opportunity to pass my knowledge and my understanding of dance improvisation and alchemy in 22 different countries to various groups of people,
- from art students to professional dancers, actors and choreographers
- from dance teachers, therapist, professors, managers, entrepreneurs ... leaders
- from and meditation yoga teachers, to non-professional movement lovers
- people with disabilities;
- from dance festivals and theatres, dance companies, dance studios, academies, universities, high schools, primary schools to corporations
- and individuals who asked for my help.
I did this in the form of trainings, classes, master classes, workshops, events, research projects, coaching, mentoring, retreats and journeys.
And I could observe deep transformations that took place in the people I worked with and also deep transformations within myself.
For people, what I offered were not just dance classes or workshops, but an artistic experience, improvisational dance practice, the training of the Body-Mind-Spirit through dance, therapy, personal growth, spiritual practice, fun.
They could extract the tools and principles that they could use in their dancing, dance teaching, daily lives, relationships and work.
The modalities, tools and principles can be applied to any kind of teaching or facilitating situations and to any students & clients and their level of understanding dance.
During the process, I learned that I love working on the following topics: improvisation, being present, group consciousness, group dynamics, artistic creation, synergy and alchemy.
Now, I’m on a mission again!
I want to share what I have learned and pass it to other Dance teachers and Dance teachers to be, Facilitators, Art and movement therapist, Yoga teachers, entrepreneurs, CEO’s … Leaders,
so they can advance professionally and personally by giving them the knowledge, the know-how and the tools to make a positive impact in each and every life they come into contact with.
I thus created the Ficho Institute
to help you make the transformation you need!
“Before my first inhale and after my last exhale
everything already exists.
I only have to be.
To move from point A to point B