Born in Ukraine, Olga Dukhovna received her training at the P.A.R.T.S school in Brussels, under the direction of Anne Teresa De Keersmaeker, and later at the National Center for Contemporary Dance in Angers under the direction of Emmanuelle Huynh. She moved to France and embarked on an intensive collaboration with Boris Charmatz while pursuing her own research.

As a choreographer, she navigates the intersection of incompatible artistic approaches while exploring creative clashes and unexpected collisions. On one hand, she draws inspiration from a lost Ukrainian folklore erased by the Soviet regime, reinterpreting its movements ; on the other hand, she incorporates elements from the contemporary dance legacy that she kept from her studies in Belgium and France. Out of this confrontation, three pieces emerged: Korowod (2012), based on traditional Slavic dances, and the diptych Hopak (2024) and Crawl (2025), inspired by the military training of the Cossacks. Removing these ancestral gestures to question their meaning, she reenacts them with a political resonance.

Her collaboration with Boris Charmatz's Museum of Dance has influenced her perspective on what she terms "recycling", a key element in her work. She explores how gestures from the collective memory of world wild dance are appropriated and transformed. A show the law will consider as mine (2025) addresses this aspect in the form of a danced lecture with a copyright law researcher on stage. Looking ahead to 2027, she is preparing a new group piece on these choreographic heritage aspects.

During the pandemic, she created Swan Lake, a solo piece entirely crafted in her room by watching excerpts of many different versions of Swan Lake on YouTube. Since 2022, Swan Lake has enjoyed rapid success and initiated an international tour. The piece originates from a childhood memory: in the ex-Soviet bloc countries, whenever a leader died, programs were interrupted to broadcast Swan Lake. Today, Olga explains that she dances Swan Lake while awaiting news of the fall of the Russian government of Vladimir Putin.

This reversed logic, humorously referred to as "magical thinking," is another driving force in her choreographic research. Infused with audacious vitality, Olga Dukhovna's dance confronts forgotten or mutilated narratives with the challenges of history. She also holds the conviction that if a culture disappears, it falls upon artists to reinvent it.

Olga Dukhovna has been awarded the DanceWeb Sponsorship (Austria); from the Aerowaves platform (Dublin), and won the Danse Élargie competition (Paris). For two years (2023--24), she was an associate artist at Théâtre Louis Aragon in Tremblay-en-France. Passionate about transmission, she also teaches at the University of Rennes. She is supported by DRAC Bretagne as part of a long-term funding agreement. All her projects are produced by the production structure C.A.M.P.