Composed and Produced by Behnam Arzaghi, February 2025, in collaboration with Alyssa Johnson and Paracosm Dance for Zach Young’s world premiere: An Exploration of Movement, Structure, and Integrated Design.

Levitations I takes its inspiration—perhaps uncharacteristically for me—directly from its title. In this case, levitations alludes to a violin lesson I once had with Arnold Steinhardt. He was already in his 70s at the time, and at one point, we took a break from the particulars of playing. (This was at the very end of my time pursuing violin professionally, so beyond the Bach Allemande I played for him, I hadn’t prepared much.)

I remember him talking about how the greatest violinists had such command and mastery of the instrument that, when you watched them play, it could appear as if they were levitating. But this was merely an illusion. He said that even the greatest players—"even Heifetz!" I remember him saying—must eventually come back down to Earth. Humbled by age, injury, or simply the impossibility of attaining perfection, it was bound to happen. And yet, he said, this was the ultimate work of any performer: to devote oneself to perpetuating the illusion of levitation for as long as possible.

So that became the theme of the piece: capturing the pursuit of craft, the ephemeral moment of levitation.

The piece opens with an inchoate soundscape. The elements of what’s to come—fragments of the primary bass line, sampled and distorted violin sounds—swim together in a disorganized, chaotic churn.

The main violin part represents the craftsman, entering with a bare three-note motif: a leap up, then a step down. The fragment repeats, much like a beginner trying to get it right. In the background, a chorus of strings responds in a layered, stochastic texture, demonstrating what the violin’s simple melody could become—much like a teacher might demonstrate for a student. Finally, the violin embarks on a full statement of the melody, stepping carefully through each note. As it gains footing, it begins to explore variations, floating over a slow-growing swell as the background strings permute and evolve.

The piece rises and falls at multiple levels of hierarchy: within the motif itself, within the main four-bar phrase (a stack of three motifs rising, then one falling), and within the larger structure—the first peak collapses into stillness before a second emergence. Cycles within cycles, waves within waves, yet never quite returning to the same place.

This becomes especially clear in the contrast between the two halves of the piece, split by a moment of silence at the six-minute mark. The second iteration lacks the tentativeness of the first. Like a seasoned craftsman recalling their once-beginner’s mind, the violin restates the motif—this time needing no invitation before launching into the main theme, moving through it with ease and freedom. Once again, the lines build, but just as the violin soars higher and the trajectory feels inevitably triumphant, the ground beneath it begins to collapse. The bass line begins a chromatic descent, pulling everything with it. The main line resists, climbing higher and holding on to its peak for as long as possible. But slowly, inevitably, it floats back down, eventually returning to the same shrouded soundscape from the very opening of the piece.

I added the "I" in "Levitations I" just because I think it's kind of funny and pretentious. ¯\_(ツ)_/¯

Levitations I



HERAIA est une création 2024 de la Cie Yasaman, dirigée par Sarah Adjou. 
Ce solo s’inspire des anciens jeux olympiques féminins dédiés à la déesse Héra, et explore la puissance féminine à travers une quête de rébellion contre les normes imposées au corps féminin.

La musique que j’ai composée pour cette pièce est née d’une rencontre intense avec des sonorités qui m’ont immédiatement inspiré. L’essoufflement féminin, le bruit blanc des supporters et le rythme d’un footing m’ont fourni une base sonore puissante et narrative. Ces éléments ont permis de créer une palette sonore fluide et dynamique, avec des textures qui soutiennent les enjeux chorégraphiques et plastiques du spectacle.

Chaque son a été soigneusement choisi pour résonner avec les thèmes de transformation et de résilience abordés dans la performance. La musique devient un miroir de l’athlète-danseuse qui se métamorphose, entre la divinité et l’objet, et qui dévoile une gestuelle hypnotique. L’aspect rythmique et le souffle féminin se mêlent dans une composition qui traduit l’effort et la libération, tout en accentuant l’intensité des sculptures en laiton créées par la plasticienne Ambre Cardinal.

Ce travail musical est une réponse intime à la vision chorégraphique et plastique du spectacle, où chaque son s’inscrit dans un dialogue avec la danse, le mouvement et l’espace.

HERAIA - The Running Pulse

Never by Myself is a track written in collaboration with choreographers and dancers Aleisha Brown and Rose Antonia. 

Check out the full performance here:
https://www.youtube.com/watch?v=-_1e0Cu4seY&t=7s

Never by Myself

This live set was created and performed for Complesso, a contemporary dance piece by the Danse en Seine company, choreographed by SAN.TOOR CIE.

Crafted specifically to accompany the physical intensity, emotional tension, and layered movements of the performance, the set blends deep textures, raw rhythms, and evolving structures. Designed for the stage as much as the body, it mirrors the complexity and nuance of the choreography — a dialogue between sound and movement, control and release.

Recorded live during the performance.

Track list : 
BJ Aime  - Intro
BJ Aime - Marina
Charles Mugel - Allegria (Original Performance Soundtrack)
BJ Aime - Dancer 
BJ Aime - La Danse Macabre
BJ Aime - Seraphic

Complesso – Live Set for Danse en Seine

This podcast series is part of the Tanz im August festival, presented by HAU Hebbel am Ufer and this year it takes place from 13.–30.8. in 10 locations in Berlin.

Like last year, various artists from the festival programme have been invited to a discussion format that provides insights into their lives and work. Moderated either by artistic director Ricardo Carmona or by dramaturg and producer Alina Lauer, the artists tell stories and reveal detailed information about the works they are showing at this year's festival. 

Featured guests are Némo Flouret, Ligia Lewis, J Neve Harrington, Moritz Ostruschnjak, and nora chipaumire. The episodes will be available on the TIA Website and on most commonly used audio-streaming platforms.

In this episode, Alina Lauer, dramaturg and producer of the festival, talks with Moritz Ostruschnjak. The artist will present his work: “Trailer Park” in collaboration with Tanz Mainz from August 26. to 28. at Radialsystem.
This podcast is in German. 

For information about “Trailer Park”, visit: https://www.tanzimaugust.de/en/production/detail/tanzmainz-moritz-ostruschnjak-trailer-park 

For information about the Tanz im August festival, visit: www.tanzimaugust.de   
 
Tanz im August is a festival of HAU Hebbel am Ufer and funded by Hauptstadtkulturfonds.
 
In cooperation with Berliner Festspiele, Kultur Büro Elisabeth gGmbH, Alte Münze Berlin, Radialsystem, SOPHIENSÆLE, Tanzfabrik Berlin, Grün Berlin GmbH, Mondiale Berlin, Making a difference, and sasha waltz & guests.
 
Supported by Goethe For information about the Tanz im August festival, visit: www.tanzimaugust.de   
 
Tanz im August is a festival of HAU Hebbel am Ufer and funded by Hauptstadtkulturfonds.
 
In cooperation with Berliner Festspiele, Kultur Büro Elisabeth gGmbH, Alte Münze Berlin, Radialsystem, SOPHIENSÆLE, Tanzfabrik Berlin, Grün Berlin GmbH, Mondiale Berlin, Making a difference, and sasha waltz & guests.
 
Supported by Goethe Institut, Schweizer Kulturstiftung Pro Helvetia, Basel Landschaft, Québec, CalQ,  AC/E,  British Council,  Creative Europe,  Flandern, CAMÕES Berlim and Culture Ireland.

Podcast Production and Jingle: Neda Sanai / Speaker: Mutiara Berthold



Tanz im August #14 – Moritz Ostruschnjak – Trailer Park

Música hecha para la obra "La Cosa En Sí", dirigida por la coreógrafa argentina Lisi Estarás, y montada la Compañía de Danza PUCP (Perú). Habiéndose estrenado el 29 de noviembre del 2024, es grato poder estar compartiendo la música ahora públicamente 🌻

Sinopsis:
Cinco bailarinas vulnerables y apasionadas se lanzan a una búsqueda física y emocional para encontrar un lenguaje propio. Bajo la dirección de la celebrada coreógrafa argentina Lisi Estarás, la obra atraviesa el cuerpo, la palabra y el deseo de comunicar algo irrepetible.

La cosa en sí plasma en materialidad y acción el ejercicio de las intérpretes que, en búsqueda de una experiencia sensual, escarban los distintos tiempos continuos de un lenguaje físico propio, emocional y contundente.

Durante el proceso de creación, las respuestas a estas inquietudes fueron guiando a las bailarinas por rutas insospechadas hasta darle forma a la obra que, si bien tiene el sello de Estarás, contiene muchos referentes reconocibles para el público peruano, por lo que ha sido descrita como accesible y cercana.

Pero dime tú ¿De qué querías conversar? (Soliloquio)

La cosa en la cosa en la cosa en la cosa en la cosa (Danza)

Unísono (Composición)

Bonus Track: Entro a escena... (Ambiente)

Círculo (Entrada)

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Contemporary Dance in London | European College of Dance

At the European College of Dance, we offer a one-of-a-kind experience for anyone passionate about Contemporary Dance in London. Founded by Angelo Ruggieri, who has performed with leading European ballet companies and international productions, our college combines expert technique training with real stage opportunities. Students don’t just learn choreography—they gain confidence, artistry, and practical performance experience in shows across London, Italy, and China. From beginners to advanced dancers, our supportive environment nurtures talent while challenging students to reach their highest potential. With professional instructors, international exposure, and a focus on artistic growth, ECD is the ideal place to pursue Contemporary Dance in London and develop your career in dance.

Hello! I'm Amy, a Sydney based soundtrack composer studying at the Sydney Conservatorium of Music. I'm all about storytelling through film and video games.

Reach out if you're interested in using my compositions in your film or game or you'd like to work together!

Creo soniditos para artes en medios digitales y artes escénicas.

Capricious Kid
French DJ & Producer
contact & booking : capriciouskid.record@gmail.com

Driven by a passion for electronic music, BJ Aime is a Paris-based producer and DJ known for blending deep emotions and storytelling with irresistible danceability. His music draws from a rich background in classical and jazz, weaving together house and techno to create immersive sonic journeys. With each production, BJ Aime delivers a unique narrative that captivates listeners, taking them from one emotion to the next.

In 2024, BJ Aime founded Capricious Kid, an underground techno label inspired by the raw energy of the Berlin scene. Focused on pushing the boundaries of sound, Capricious Kid merges minimalism, melodic elements, and acid to craft immersive musical experiences.

Join the journey and stay tuned for upcoming releases, exclusive tracks, and collaborations.

Sebastian CUIZA GALAN est un artiste qui conjugue musique et mouvement avec sensibilité et curiosité. Il débute le piano au conservatoire dès l’enfance, et explore en parallèle ses origines boliviennes à travers la danse et la musique folkloriques. Au lycée Turgot, il rejoint la première promotion de l’option hip-hop — alors expérimentale — une expérience fondatrice qui éveille en lui un rapport profond au corps et à la scène. Il se passionne également pour la capoeira, l’acrobatie, l’escalade et les percussions corporelles, développant un rapport instinctif, ludique et organique au mouvement.

Après le bac, il poursuit des études de musicologie à la Sorbonne et débute en parallèle sa formation en danse académique à CHOREIA, où il découvre les techniques classique, moderne, contemporaine et jazz.

Inspiré par des compagnies telles qu’Eastman, Ultima Vez ou Hofesh Shechter, il affine sa technique auprès de leurs interprètes et approfondit sa pratique à travers de nombreux stages intensifs. Remarqué pour sa polyvalence, sa sensibilité et son goût pour l’improvisation, il participe à des projets variés allant de la comédie musicale à la danse contemporaine, en passant par le cinéma, la publicité et de grands événements.

En 2021, il fonde la Cie NOSOTR@S, un espace de création où il compose des univers sonores et rythmiques qui prolongent la physicalité métissée de ses chorégraphies. En tant qu’enseignant, il transmet des outils d’improvisation et d’acro-danse, en mettant l’accent sur les appuis, les déséquilibres et la dynamique martiale. À travers une approche sensible et imagée, il invite ses élèves à relâcher la technique pour laisser place au sensible et à l’intuitif. En parallèle, il compose la musique de courts-métrages, films d’animation et pièces chorégraphiques, en puisant son inspiration première dans le mouvement.

New tracks tagged #ContemporaryDance