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About
Born and raised in Bolivia, she trained as a classical ballet dancer at the Official Ballet School of Bolivia, where she later became a teacher while also performing with the National Ballet Company. Alongside her dance career, she studied Graphic Design and became a certified teacher of both the Cuban Method and the American Ballet Theatre Teacher Training Program.Her path took her to France, where she studied dance at the Université Lille 3 Charles-de-Gaulle and began performing internationally with Ballets de France, including appearances at the Palais des Festivals in Cannes. Later, she moved to Berlin, performing at the Deutsche Oper Berlin as well as with other theaters and independent companies. She has remained committed to classical ballet, choosing not to follow the contemporary trends that dominate much of the European dance scene.
Since 2019, she has expanded her artistic work into film. Her first dance film, A Poem for Giselle, a Poem for a Peasant (2023), was selected by festivals in Europe and the Americas, earning awards for Best Editing and Best Experimental Work.
In 2022, she joined Blobel Film, working across visual identity and film production. Her practice there — from designing logos, websites, and printed matter to shaping pitch decks, set aesthetics, and international festival strategy — sharpened her understanding of image, structure, and visual rhythm. This cinematic and graphic precision directly informs her choreographic language.
In 2021, she received funding from Dachverband Tanz for research into the lost vocabulary of classical ballet. This investigation into forgotten gestures and symbolic codes culminated in her first full-length ballet, Le Printemps du Sacre (2024), performed at the Russisches Haus in Berlin, a work exploring memory, healing, and the spiritual legacy of Vaslav Nijinsky.
Her work bridges classical discipline with visual poetry, indigenous cosmology, sacred symbolism, and erotic intelligence. Through ballet and film, she approaches the body as a site of elegance, power, and controlled sensuality: where restraint and desire coexist within form.
She teaches Heels Technique as part of her artistic practice; this language has become a decisive element in the evolution of her choreographic style and her ongoing research into eroticism, sacredness, and dance.
PORTFOLIO
I
Productions & dramaturgy
This section presents my choreographic and filmic works, which merge historical research, spiritual inquiry, and contemporary critique. Each production emerges from my deep engagement with the classical canon, particularly the history of ballet and academic art, which I recontextualize within current global concerns.
My dramaturgical approach is guided by a philosophy of healing and transcendence. I integrate visual codes drawn from my Indigenous heritage, as well as from graphic design and architectural maximalism. The resulting aesthetic often evokes a neo-Andean, ultra-kitsch visual language that challenges the boundaries between tradition and spectacle.
For me, these works function as both ritual and reflection. They are my way of bridging northern and southern epistemologies, spirit and body, empire and mountain, archive and myth.
II
choreography & research
My choreographic work blends classical ballet with Indigenous music, ritual, and cosmology. I treat the body as an archive, using forgotten ballet vocabularies as living resources to create new movement rooted in memory, resistance, and spirituality.
Over the past years, I have been engaged in decolonial research, drawing from the writings and practices of Silvia Rivera Cusicanqui, feminismo comunitario, Katarismo, Indianismo, and Enrique Dussel. This personal journey has expanded my choreographic language to experimenting with unexpected fusions, such as combining ballet with belly dance in my production Le Printemps du Sacre, and to set new goals, such as choreographing in high heels that merge jazz dynamics with balletic poses, or Ballet/reggaeton.
My broader aim is to use ballet as a tool for dialogue, encounter, and mutual transformation.
III
Stillness
& motion
This section brings together photographs, videos, and elements of my graphic design work. The performances featured here are not my own productions. I appear simply as a dancer, performer or model within someone else’s vision. Alongside these, my design work extends the same concerns of stillness and motion into a visual language, translating movement into form, rhythm, and image.
I consider these materials part of a broader archive: traces of presence that live beyond choreography. Whether through the lens of another artist, the immediacy of performance, or the structures of design, each piece becomes a fragment of dialogue between body and image, ritual and spectacle, stillness and motion.
I. Productions & dramaturgy
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LE PRINTEMPS DU SACRE (2024)
Premiere: October 2024
Autor & direction: Diana Mora
Comissioned Visual Artist: Alejandra Montoya
Choreography: Diana Mora, Giuseppe Salomone, Glauber Silva.
A ballet conceived as a visual poem and offering to the soul of Vaslav Nijinsky. Blending ritual, memory, and movement, the work explores themes of healing, madness, and transcendence, drawing on ballet’s sacred roots while evoking Nijinsky’s legacy as both a visionary and a wounded spirit. Structured in an alchemistic format — Nigredo/Ukupacha/Nav, Albedo/Akapacha/Yav, Rubedo/Alaxpacha/Prav — it parallels Andean and Slavic cosmologies to embody a journey of dissolution, purification, and transfiguration. Envisioning Nijinsky’s final step towards God, the piece transforms dance into prayer, intimacy, and remembrance.
Trailer
Gallery
A poem for Giselle, a poem for a Peasant
dancefilm, 8 minutes 42 seconds, June 20, 2023
Autor: Diana Mora
Music: Luzmila Carpio/Adolphe Adam
Direction: Camilo Correa Costas, Diana Mora
Photography: Tim Adams
Choreography: Diana Mora
Light assistant: Rodolfo Briones
Set Photography: Mauro Arrigada
Through the reconstruction of memory and a reinterpretation of the classical ballet Giselle; originally the story of a German peasant; Diana transforms the role into a remembrance of her grandmother, who passed away more than three decades ago. In this work, Giselle becomes not only her grandmother, but also a mirror of Bolivia’s peasantry and its invisible wounds. It is a poem for those who, through migration and urbanization, have been left in solitude as their children seek acceptance in the cities—often at the cost of rejecting their own identities and indigenous roots. With this video, Diana seeks to recover that broken lineage, to restore her grandmother’s indigenous presence, and to reclaim her own place within it.
Watch video
Gallery
II. choreography & research
Souls for Sale
dancefilm, 7 minutes 20 seconds, May 8, 2023
Autor & Director: Jurijs Saule
Choreography: Diana Mora
A dancer has achieved her childhood dream of performing professionally in Europe, yet finds herself trapped in a paradox: success has come at the cost of joy. Immersed in self-doubt, rivalries, and the relentless pressures of the industry, she confronts the hidden price of ambition—where passion collides with compromise, and dreams can become burdens. Souls for Sale is a meditation on the bittersweet reality of following a dream that no longer feels like one.
Watch video
Gallery
AMOROSA PALOMITA
Commissioned choreography for the Embassy of the Plurinational State of Bolivia, July 2025, on the occasion of the Bicentennial Celebration of Bolivia’s Independence.
CLASSICAL CHOREOGRAPHIC LAB - DIS TANZ SOLO (2021)
This laboratory set out to rediscover the lost vocabulary of Enrico Cecchetti's 19th-century ballet, a movement language very different from the ballet we know today. The research was carried out in dialogue with the Placement Method, a technique based on a bodily algorithm that understands turnout not as a fixed position, but as an active muscular chain. This approach not only prevents injury, but also creates the conditions to revive forgotten steps and gestures. The work aligns with Alexei Ratmansky’s vision of revisiting historical choreography, from a time when expressive nuance and musicality were valued over gymnastic extensions and extreme lines.
Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR,
Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.
AFTER THE FLOWERING CEREMONY
The flowering ceremony in Aymara and Quechua traditions is a communal ritual honoring llamas and the land. Families adorn their herds with flowers and ribbons, offering coca, alcohol, and music to Pachamama and the mountain spirits. It asks for fertility, health, and abundance, celebrating the deep bond between people, animals, and nature in the Andean world.
I created this solo with the idea of embodying sacred animals of the Andes like a Swan in Swan Lake. This concept reflects my vision of how ballet should evolve towards inclusivity.
III. Stillness & motion
MODELING & GRAPHIC DESIGN
IN MOTION