Dr Eila Goldhahn is an artist and mentor and a specialist in human movement and psychology.

She provides a warm and welcoming service offering individual consultation and small group work.

Indications for Individual Work

Anxiety; chronic postural tensions and unexplained pain; eco-anxiety; emotional issues; issues about aging; professional stress; questions about body, identity and self; trauma.

Indications for Group Work

Anxiety; creativity and work issues; eco-anxiety; decision making and life path. 

Mentoring in MoverWitness (The Discipline of Authentic Movement)

Training and supervision to movement, dance and therapy practitioners and guidance how the model can be used in participants’ own work. Small group retreats. 


Eila Goldhahn has over thirty years of experience and is highly regarded in her field.
She has researched and taught at Dartington College of Arts, University of Plymouth and The University of Arts, Helsinki, and has internationally presented and published her work.

BA Hons Dance in a Social Context (1985)
Certificate of Client Centred Counselling (1991)
Senior reg. Dance Movement Psychotherapist and Supervisor (1997)
Teacher of the Discipline of Authentic Movement (1999)
PhD in Interdisciplinary Arts: The MoverWitness (2007)

Eila Goldhahn was born and brought up in Germany and works in English and in German.

Make contact and find out availability and costs:

More information?
MoverWitness is a practice of self-directed movement expression in the presence of a compassionate, non-judgmental other, the therapist or teacher. Participants learn to become conscious of their own embodied experiences and able to describe these. In group work participants develop a deep sense of being part of an interconnected, shared habitat where each one is equal and valued.

Please ask for more information.
What people who have worked with Eila say....Testimonials

Slapton beach movers. © Eila Goldhahn 2003

Groups take place in studio settings and out of doors.

“We now understand that we are part of a collective body and habitat. That which supposedly separated us is revised in the face of geopolitical changes.” 

“Wir verstehen jetzt, dass wir Teil eines kollektiven  Lebensraums, ja Körpers sind. Das was uns vermeintlich trennte wird revidiert angesichts geopolitischer Veränderungen.”
“When the own inner observer becomes empathetic, others may be  reflected with less prejudice and judgement too.  Perhaps the MoverWitness can prepare for a new egalitarianism?”

“Wenn der eigene innere Betrachter empathisch wird, können auch andere mit weniger Vorurteil und Urteil gesehen werden. Vielleicht kann der MoverWitness auf einen neuen Egalitarismus vorbereiten.”
“As long as nature remains at least in part available to our contemplation, we can train our esteem in her. We can be still and sense our embodied selves and appreciate the sight of a river, a plant, a bird or a newborn.”

“Solange die Natur uns noch in Aspekten zur Verfügung steht, können wir unsere Wertschätzung durch Kontemplation an ihr trainieren. Noch können wir still sein und unsere Körper empfinden und die Ansicht eines Flusses, einer Pflanze, eines Vogels oder eines Neugeborenen geniessen.”

All ideas, images and texts are the copyright of Eila Goldhahn 2020


“ You and your work have finally addressed an issue that, although already present, I was not at all conscious of.” 

“Somehow my work gains potency through the work with you.”

“Many thanks for your undivided attention. I always learn so much from you.”

“I appreciate your sensitivity and respectfulness”.

“I feel you have witnessed me very beautifully, sensitively and respectfully. I thank you very much for that. And I very much hope to see and work with you again.”


“Your seminar has impressed and touched me. Since I attended I am so much more aware of the connection between body, movement and mind.”

“What made me choose to study under your supervision is because I have had the opportunity of reading about your work.”


Eila Goldhahn
Art & Science: Sculpture

Eila Goldhahn’s art practice reflects aspects from biological, ecological and social sciences. It is inspired by embodiment and meditation. Using found objects she creates surprising metaphors offering new perspectives on familiar objects. 

Chromosome boards, friezes

Genetics und genomics mirror individual and collective experiences and inscriptions across life spans and  evolutionary times. In these art works chromosomes are visualised as an analogy to the moving body itself. As friezes they form generational, metaphoric pathways into an archeological past, an anthropocene present and a yet unknown human future.
Material: handmade iron nails, wax and pigment on floor boards
Works shown at: Anatomical Museum  University Erlangen
Kunstraum Weissenhohe Nürnberg
Embassy Rhineland-Palatinate Bruxelles
Haus am Dom Frankfurt

Genetik und Genomik spiegeln individuelle und kollektive Erfahrungen und Einschreibungen über eine Lebensspanne sowie über evolutionäre Zeiträume. In der künstlerischen Formensprache bilden Chromosomen eine Analogie zum sich bewegenden, menschlichen Körper. Die Friese bilden generationsübergreifende, metaphorische Wegspuren für eine archeologische Vergangenheit, eine anthropozäne Gegenwart und eine noch unbekannte menschliche Zukunft.


The haptic contact with materials leaves imprints  of physical movements in the emerging sculptures. These visible forms are like an echo of the movement: they mirror the fleeting performance with the  material. They also touch upon the beginnings of embryonic movement: form and folding of early developmental stages like blastula and gastrula.
Material: steel wire and gauze
Works shown at: Dartington College of Arts UK
Kunsthalle Halle
Kunstverein Basis Frankfurt
Open Studios South Devon UK

Development grant for the upcycling of pocket springs with support from the  University Plymouth UK

Durch den körperlichen Kontakt mit Materialien enstehen Abdrücke von Bewegungen in Skulpturen. Diese Formen ähneln einem Echo: sie spiegeln die Begegnung von flüchtigen Ereignissen mit Materialien. Sie deuten auch auf den Anfang von embryonalen Bewegungen an, nämlich die Formung und Faltung in frühen Entwicklungsstadien wie Blastula und Gastrula.              
Material: Stahldraht und Gaze
Dartington College of Arts UK
Kunsthalle Halle
Kunstverein Basis Frankfurt
Open Studios South Devon UK

Entwicklungszuschuss für die Wiederverwertung von Federkern in Designkontexten und Produkten mit freundlicher Unterstützung der University Plymouth UK

Eine Publikation über MATRICYCLE kann hier als PDF heruntergeladen werden. Realisiert mit Unterstützung des Landes Rheinland-Pfalz. 




(Un)marked Boxes

Obliteration and the fear of death have always been important aspects of collective narratives, as the survival of the human species is a deeply inscribed, instinctual concern. Societies and their collective experiences contain an energy, whether mystical or scientific, to try to determine the course of the human and planetary history. Experiences of collective movement and dance and an imagined collective body inspired these installations with packing crates. In the face of the current pandemic and geopolitical tensions this work seems all too real.
Material: wooden crates
Works shown at: Dartington Trust, UK
Delamore Arts, UK

Auslöschung und die Angst vor dem Tod waren stets wichtige Aspekte kollektiven Erzählens, da das Überleben der Menschheit als Spezies von tief eingeschriebener, instinktiver Besorgnis ist. Gesellschaften und ihre kollektive Erfahrungen beinhalten unter anderem die Energie den Verlauf der menschlichen und planetaren Geschichte zu versuchen zu determinieren. Erfahrungen mit kollektiver Bewegung und Tanz und einem imaginären kollektivem Körper inspirierten diese Installationen mit Verpackungskisten. Die gegenwärtige Pandemie und geopolitische Krise verleihen den Installationen eine allzu realistische Relevanz.