Daniela Zambrano Unpacks the Themes of FORM & FLOW

Migration is a deeply personal journey that resonates across countless borders and identities. In this interview, we speak with Colombian-born, Australia-based choreographer, Daniela Zambrano, whose new work, FORM & FLOW, artfully captures the complexities of displacement, cultural convergence, and resilience. Through the fusion of popping’s sharp precision and contemporary dance’s fluid expressiveness, FORM & FLOW explores the barriers—both visible and invisible—that migrants encounter, while shedding light on the universal emotions driving us all.

Guided by Zambrano’s own experience arriving in a foreign country, navigating language barriers, and forging connections, this innovative performance centres on a movable wooden structure that stands as both physical and symbolic testimony to the constraints migrants face. Within the piece, dancers from diverse backgrounds collaborate to push boundaries, adapt to confined spaces, and ultimately discover moments of unity. By embracing each other’s distinct dance styles and personal histories, they forge a living example of cultural empathy in action.

Below, Zambrano discusses the emotional impetus behind FORM & FLOW, the dynamic blend of popping and contemporary movement, and the transformative power of dance to express what words often cannot. Join us as we delve into a world where human connection profoundly transcends borders.

What personal or observed migratory experiences influenced you most deeply when developing FORM & FLOW, and how did those stories shape the final choreography?

My own experience as a Colombian living in Australia had a big impact on creating FORM & FLOW. Despite having migrated by choice and not under duress, when I first arrived, I experienced various barriers including the language. I couldn’t express myself fully, and that was frustrating. One moment I remember clearly was in my first dance class. We did an improvisation exercise, and I ended up moving in a completely different way from what was expected. I felt embarrassed, but now, looking back, it’s kind of funny, it really showed how hard it was to communicate without language.
That feeling of miscommunication stayed with me. I’ve also heard similar stories from my friends and family, which inspired me to create Form & Flow. The choreography became my way of exploring those feelings of frustration, limitation, and longing. It also became a way to speak for all the migrants who can’t find the words to express themselves, many of whose experiences would have been far more difficult than my own.

You blend popping and contemporary dance—two seemingly contrasting styles. Can you share how you approach merging these forms in a way that symbolises cultural convergence rather than conflict?

For me, blending these forms is about respecting each style and finding common ground. Popping has these sharp, isolated movements, while contemporary dance is more fluid and emotional. In FORM & FLOW, I use this contrast to explore tension and release. The mechanical nature of popping represents the rigidity or challenges migrants face, while the fluidity of contemporary dance reflects the freedom, adaptability, and emotional expression that come when we move through different cultures.

These two styles complement each other. They’re a metaphor for the idea that no matter where we come from, we’re all human. We may have different backgrounds, but we share common emotions and struggles. FORM & FLOW shows how, despite our differences, we can create something together, connect, and embrace what makes us unique instead of allowing it to divide us.

The movable wooden structure symbolises social and cultural barriers. How does its presence on stage affect the dancers’ performance and, in turn, the audience’s perception of boundaries?

I think about how dancers usually rehearse in open spaces, with no distractions, so they can move freely. As dancers, we don’t need words to express ourselves, our bodies and the music say everything. So, the movable wooden structure on stage really changes the way we can move. It limits the space and creates an obstacle that feels out of place compared to how we normally practice. The added weight also becomes a physical challenge, just like the burdens that migrants carry, both literally and metaphorically.

This structure represents the barriers migrants face, pushing them away from their homes. It’s not just a prop for the dancers, but a reminder of the struggles migrants go through. For the audience, watching us interact with this structure can give them a deeper understanding of how social and cultural barriers confine us. It asks the audience to reflect on what boundaries are, how we see them, and how migrants navigate a world that often limits their freedom.

Migration is often deeply emotional. What techniques or choreographic choices do you use to channel universal feelings—like hope, fear, resilience—so that they resonate with audiences from different backgrounds?

I begin with improvisation exercises where the dancers react to personal stories, tapping into the emotions connected to migration. By connecting with our roots and remembering childhood memories, we can unlock universal feelings of longing, displacement, and hope. These exercises help the dancers access deep emotional states and express those emotions through their movements.

In FORM & FLOW, I also explore how we adapt to confined spaces, both physically and emotionally. The structure limits our movement, which becomes a metaphor for the boundaries that migrants often face. As dancers, we ask ourselves questions like: Can there be hope within this confinement? What does it feel like to be restricted in your movement, or in how you express yourself? At times, we physically push the structure, how does it feel to carry that weight? What does it mean to be hidden behind it, unable to show parts of yourself?

These reflections help us communicate universal emotions, fear, resilience, hope, through our movement. I use sharp, rigid movements to express frustration and tension, and fluid, expansive movements to represent freedom and adaptability. This duality reflects both the struggles and the strength of the migrant journey, and by sharing these feelings through dance, I hope to connect with anyone who has experienced change, loss, or the desire for a better life.

Your dancers come from diverse backgrounds. How did you foster an environment of collaboration where each person’s culture and dance style felt celebrated and integrated?

Respect is key. Despite coming from different backgrounds, we were all open to listening and supporting each other. I didn’t necessarily foster this environment, it just grew naturally among us. The spirit of collaboration developed peacefully and organically, with everyone respecting and celebrating each other’s cultures and dance styles. I also planned for each dancer to lead the warm-up during some sessions, which allowed us to understand how each person moves and connect better with one another.

Dance can speak where words fail. In what ways does the physicality of FORM & FLOW help convey the complexity of the migrant experience—particularly those moments of tension and transition?

The music, composed by the amazing Jairo Bonilla from Colombia, plays a big role in conveying the emotions in FORM & FLOW. There’s one part of the music where it becomes like a ticking clock, this moment reflects how time can feel eternal for migrants, especially when facing uncertainty or hardship.

The physicality of the dance reflects this as well. When we dance in a confined space, pushing and manipulating the structure in ways we try to make work for us, or even when performing repetitive movements, it symbolises the exhaustion and constant struggles migrants face. It represents the internal conflict and the hard work involved in trying to adapt to a difficult situation.

Some movements in the choreography were created to express how emotions can shift under pressure. From feeling anxious to finding moments of happiness, the physicality captures that emotional rollercoaster migrants experience, how they fight through hardships, but sometimes feel weighed down by them. These movements show the resilience and emotional transitions that are part of the migrant journey.

One of the core ideas behind FORM & FLOW is the power of human connection. How do you orchestrate moments in the choreography that spotlight individual journeys, yet unite the dancers in a collective narrative?

That’s a very interesting question. Everything in FORM & FLOW is connected to the structure, which acts as both a physical and metaphorical anchor. While each dancer has individual moments to share their personal journey, it’s important to recognise that, despite our differences, many of us come from backgrounds where we’ve all faced similar struggles. These personal moments connect us, not only through the physical space we share, but through the universal emotions we all experience—whether we’re migrants or not.

Even in these individual moments, there’s a constant sense of connection. Each of us expresses our story through our own movement, but we’re all ultimately moving toward the same goal: to communicate and connect. The transitions between solos and group sections unite us, showing how different experiences and backgrounds can come together to form a collective narrative. This reflects the broader theme of Form & Flow, where we celebrate the power of human connection.

You mention that the piece is a reflection on a world where respect and values seem to be fading. How did current global events or societal shifts impact your creative direction and message?

Seeing the injustices that people in other countries are facing, and how much of the world acts like nothing is happening, has really broken my heart. These global events affected my creative direction and the message behind FORM & FLOW. The pain and struggles of marginalised communities and the lack of empathy and action from those in power have become a driving force in the piece. It made me reflect on how respect and understanding seem to be fading in so many parts of the world.

This awareness even influenced how we interact in our sessions, how we treat each other with respect in the space. It’s a reminder that if we can create a respectful and inclusive environment in our own work, we can carry that out into the world. I wanted Form & Flow to reflect a world where, despite all the challenges, we can still come together, respect each other’s journeys, and celebrate our shared humanity.

What discussions or reflections do you hope FORM & FLOW will spark in audiences about migration, cultural empathy, and the urgent need to preserve our shared humanity?

Simply put, I hope FORM & FLOW will inspire the audience to accept the person sitting next to them for who they are, and to respect their opinion. I want the piece to encourage conversations about migration, cultural empathy, and the importance of preserving our shared humanity. I hope it reminds people that despite our differences, we are all connected and that understanding and respect are essential to building a more inclusive world.

As FORM & FLOW continues to be performed, it might evolve with the dancers’ experiences and changing world contexts. What aspects of the piece do you see shifting or growing over time, and how do you remain open to that evolution?

As FORM & FLOW continues, I see it evolving as the dancers grow in their personal journeys and the world around us changes. Over time, the emotional depth of the piece will grow as the dancers connect even more with the themes of migration and cultural empathy. Their individual perspectives and life experiences will naturally influence the way they approach the piece.

The choreography may also shift to reflect new global events or societal issues. I’m open to making subtle adjustments or even changing moments that no longer align with the core message. I actively encourage feedback from both the dancers and the audience, what they share can give me fresh perspectives and help the piece stay connected to what’s happening in the world.

By staying open to feedback and the evolution of the dancers’ experiences, I can continue refining FORM & FLOW to make sure it remains relevant, evolving with the world and our shared humanity.