TEACHING PHILOSOPHY
I hold a deep desire to revive a space for instinct in dance, with a sincere interest in body- space-connection awareness. I see beauty everywhere—in all bodies, emotions and personal histories. Through my choreographies, performances and workshops, I want to get rid of the hierarchies and divisions between body and mind by favoring an open dance that encourages deep consciousness, in a difficult and fragile process towards balance.

As of late, in my artistic practice I draw a space beyond tradition and dance training, deconstructing and deserting academic forms without erasing personal movement histories. Through Deep Movement Consciousness, I desire to create a space for artistic self-discovery, a space beyond ambient noise (self-judgment, representative movement, states and expressions) allowing instead the sensitive and energetic body to generate fully conscious movement.

I go for a run almost everyday. Not for sportsmanship but as an exercise in attuning oneself to the smallest, most imperceptible sensations. I believe that this same awareness can and should be applied to whatever technique in dance. This approach leads to an exploration and a questioning of the structures, the contexts, physical and mental forms that govern choreographic gesture. By moving away from modes of representation, expressions and academic states, I promote a return to a dance of openness and breathing, a search for balance, which leaves space for all forms of interpretation.

Deep Movement Consciousness
The workshop is more of a creativity class than a dance class. Rather than teaching form, the class focuses on expanding one’s artistic self-awareness. The class begins with exploring qualities such as rebound, flow, fractions, and shaking to reach a state beyond self-judgment and self-limitations. Here we will work within the gap between power and fragility. After waking up the body and mind, we will focus on isolations and polyrhythmic exercises to root back our focus. We move with the intention of never going back, developing one’s fearlessness and ability to trust each instant’s potential to lead somewhere. We give ourselves the necessary time to tune into our body’s intuitive intelligence to solve movement paradoxes that emerge during the research process. We will facilitate each other’s exploration by working in pairs and in groups, as well as individually.

These simple open structures are simultaneously technical tools and tools for composition. We encourage the dancer to playfully explore their inner workings and personal language that result both, from everyday lived experience and learned movement patterns. By opening up creative curiosity, we enhance our movement fluency. In turn, we will develop strategies to explore the space between continuity and disruption of movement ideas by naming patterns for those interested in building choreography.