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     In my contemporary dance technique classes, which are based in my many years of studies of somatic techniques, I look to give space for each of the dancers to observe and 

     experience their own particularity and range of mobility. With this approach, I intend to educate dance artists who are aware of their own body potential and limitations. This

     awareness, I believe, helps them to understand how to approach more technical challenges. Moreover, this deep investigation of the body can be used as a source for movement


     My improvisation and compositional classes are based in a series of workshops that I have been developing over the years and which are directly connected to my own 

     creative approaches. One of them, entitled Resistance, Delay, Accumulation and Mobilization involves learning to recognize primaries impulses that result from our initial

     responses to thoughts and images to be able to manipulate and organize them. Our most primary reaction, particularly in the context of dance, is to get carry away from these

     impulses and move. The time spent in the studio would allow us to find ways to develop awareness and understanding of when and how these impulses happens, to be able to

     recognize how we take the first step to move and when we decide that these steps should end. It is important for us as dance makers and movers to know how, why, when, for

     whom, where, etc. we move. 

     Another workshop Multiple threads, Simple structures, involves the search for the multiple options that we have available to embark in creative process; they result from an

     accumulation of internal and external stimulus and can act as triggers for images, thoughts, questions, process, contexts, etc.  We will develop our awareness, attention and

     active participation to take maximum advantage of these stimuli. In each process we will spend a great deal of time exploring as many available options as possible before

     narrowing them down. This will give us a richer experience and will also help everyone to avoid coming to conclusions too early in the process.

     A third workshop, Everyday events: the practice of making, the practice of showing, attempts to awaken the participants’ awareness of the intrinsic relationship existing 

     between artistic creation and our observations of, and reactions to, everyday events and our surroundings. We will work inside and outside the studio, including sections of

     walking to collect material. To emphasize the importance of everyday practice the result of this process is shown daily to anybody willing to see these events in the raw.


     Other workshops include A Thinking Acting Object-Unconscious Agent , What is the brain doing? What is the body thinking?  and Framed and Re-framed


Teaching Philosophy

My classes aim to restore our awareness of the organic relationship that exists between art and everyday life, and that of 

performance as a final step resulting from these experiences. I am interested in dancers as artists and individuals with a

thorough knowledge of their own physical capabilities and their creative potentials. I look to achieve this through the information

that I share in my contemporary dance technique, the improvisation and composition classes and of my knowledge in

interdisciplinary/collaborative projects.

For me it is of paramount importance that a dance artist is a sensitive receptor of information, who can access and trust his/her

own intuition. Through the use of simple tools and exercises in my class we learn how to collect information from our own body

and the surroundings – which are then translated into specific ideas: physically and compositionally. At the end is about the

relationship between the body thinking, the body making, the body processing and the body performing.


. February 1 to 26. Movement Research. NY.

. April 4 to 8. Tanzlabor 21. Frankfurt.

. April 11 to 14. K3 Hamburg.

. June 27 to July 1. OT301 Amsterdam

. July 4 to 8. Sasha Waltz & Guests. Berlin

. September 12 to 23. Grenoble. France.