Georgia Xenaki

Dance, Movement, Breath & Expression Educator

Georgia Xenaki is a dance, movement and Breathwork educator whose professional journey began during her adolescence and continues to evolve through the ongoing study of the relationship between the body, breath, movement, expression and the human being.

She has been teaching dance since the age of 16 and has worked with children, teenagers and adults, both professionals and non-professionals, across different dance styles and educational settings. Her main focus is Latin Ballroom and Hip Hop, while she has also trained in Ballet and Contemporary Dance in order to develop a deeper understanding of the techniques and movement needs of the people with whom she works.

In 2016, she founded her own dance school, creating a space where dance was approached not only as technical training but also as a means of expression, communication, body awareness and personal development.

During the school’s first years of operation, her work with her students had a significant competitive trained presence, with participation in Panhellenic Championships and distinctions that included first, second and third place. These distinctions were another result of the systematic training and work carried out within the school, combining technical development with the cultivation of the students’ self-confidence and personal expression.

Since 2019, she has collaborated with LOAD Dance Company while continuing to develop her own educational and experiential approach.

The Evolution of Her Work

Her many years of involvement in dance gradually led her beyond movement technique.

Through her personal experience of an injury, as well as through working with the people who supported her rehabilitation, she discovered in practice the importance of breathing and connecting with the body. This experience became the starting point for a deeper exploration of how breathing and body awareness can support the process of recovery and rehabilitation.

At the same time, through her own journey, she recognised how profoundly emotional confinement can affect movement, expression, work, relationships and a person’s ability to connect with others.

Her training therefore expanded from dance and movement into Breathwork, somatic practices, breathing, somatic psychotherapy, emotional awareness and different approaches to personal development.

This journey was not a collection of different training programmes. Each new field emerged from a question born through practice and from the need to understand more deeply the person with whom she works.

Breathwork

She has completed Level 1 and Level 2 Breathwork training, totalling 600 hours, at Inner Resources Breathwork, under the guidance of Paul Jones and Stathia Zouganeli.

Inner Resources Breathwork is a school certified by the Global Professional Breathwork Alliance (GPBA) and is connected to the international network of the International Breathwork Foundation (IBF).

Her Breathwork education includes the study and practice of different approaches to breathing, somatic and emotional awareness and experiential work.

She is recognised as a Breathwork facilitator by the relevant international organisations and has completed the required educational path for the professional practice of Breathwork.

She is also a founding member of the Greek Breathwork Association, actively participating in the development and evolution of the Breathwork community in Greece.

For her, breathing is not an isolated technique. It is a way for a person to return to their body, observe what is happening within them and gain greater awareness and freedom in their expression.

Breath Acting

Breath Acting is another area of her work, particularly with actors and dancers who are called upon to express themselves on stage.

The approach begins with breath and the body and leads towards personal expression.

The aim is not for a person to learn how they “should” portray anger, joy, sadness or any other emotion. It is to discover how they personally experience that emotion and how it can be translated into voice, speech and movement.

In this way, stage presence becomes more personal and authentic, without relying exclusively on the representation of an emotion.

Strengthening & Body Awareness

At the school, she is responsible for strengthening, approaching it as a holistic process of body awareness and care.

The work begins by connecting with the body and breath and may include strengthening, mobility and release exercises, as well as practices that help people become more familiar with their bodies.

Among other methods, she uses fascial release practices and tools such as small balls, with the aim of improving mobility and body awareness.

The priority is the health and proper functioning of the body, rather than simply its external appearance.

Her aim is for people to learn to recognise their posture, needs, limits and the way they move, enabling them to continue caring for their bodies outside the school.

Educator

Her relationship with teaching began at the age of 16 and remains one of the central pillars of her work.

In the younger classes, the aim is not only for children to learn their first steps.

She first wants to create a relationship of joy and safety with dance. She wants children to activate their senses, recognise their emotions, discover their bodies and feel free through movement.

She wants every child to leave each lesson feeling happy, having moved, tried, sweated, achieved something new and taken a new experience with them.

Technique comes as a tool. A love of movement and the child’s relationship with themselves form the foundation.

Dance, Self-Confidence & Connection

Her work is not limited to professional dancers.

She works with people of different ages and professional backgrounds—from dancers and actors to people with no previous dance experience who want to develop greater self-confidence, overcome their fear of being exposed or connect more deeply with their bodies.

Even when preparing couples for their wedding dance, her teaching is not limited to learning the steps.

Many people feel awkward or embarrassed when asked to move in front of others. Her work is to help them feel comfortable in their bodies, gain self-confidence and create a meaningful connection with one another through movement.

Complementary Training & Influences

Alongside her training in dance, movement and Breathwork, she has explored different approaches concerning the human being, the body, trauma, the mind, emotional awareness and personal development.

As part of this journey, she has attended educational programmes and experiential training with prominent representatives from different fields, including:

Dr Joe Dispenza — study of the relationship between thought, beliefs, emotions and personal change.

Gregg Braden — approaches concerning consciousness, human potential and the connection between science, personal development and inner exploration.

Dr Gabor Maté — study of trauma, authenticity and the relationship between emotional experience and physical and psychological well-being.

Louise Hay — approaches concerning self-acceptance, self-love and beliefs.

Matías De Stefano — experiential engagement with approaches to consciousness and inner exploration.

Throughout her journey, she has also trained in and experienced practices such as Reiki and Kriya Yoga, having received her first initiation into Kriya Yoga from Swami Karunananda Giri.

The training described above does not constitute separate methods that she applies in their entirety. It forms part of a broader personal and professional exploration, which she selectively integrates into her own practice.

Continuing Education

Her education continues to this day.

She attends criminology classes at the Evdokimos Educational Group, focusing on the study of human behaviour and different profiles.

At the same time, she continues to seek new knowledge and practices that can enrich the way she understands and supports people.

Continuing education is a natural part of her work: whenever a new question emerges through practice, she searches for the tools and knowledge needed to understand it more deeply.

Her Philosophy

For Georgia Xenaki, the greatest problem is not that people do not listen to their bodies. It is that they have never learned how to listen to them.

Modern people often live more in their minds than in their bodies. They may find it difficult to sense what is truly happening within them, fear exposure, struggle to let go or fail to recognise their own limits and needs.

Her work begins with the effort to re-establish this connection.

Through dance, movement, strengthening, breath and expression, the aim is for people to gain greater self-awareness and develop their own tools.

She does not seek to create dependence on the educator.

On the contrary, she believes that the best education is the kind that eventually allows a person to leave.

To be able to continue on their own.

To know their body well enough to understand when it needs strengthening, when it needs rest, how to move safely, how to breathe, how to express themselves and how to recognise what is happening within them.

Whether it is a dancer, an actor, a child, a couple or someone who simply wants to grow, the aim remains the same:

to gain greater freedom within their body and greater trust in themselves.