Explore every episode of the podcast Towards Vivencia in Conversation with
Dive into the complete episode list for Towards Vivencia in Conversation with. Each episode is cataloged with detailed descriptions, making it easy to find and explore specific topics. Keep track of all episodes from your favorite podcast and never miss a moment of insightful content.
Rows per page:
50
1–23 of 23
Title
Pub. Date
Duration
Leticia Silva. The Cuban beast
25 Apr 2021
00:47:43
Leticia Silva was born Born in Havana, Cuba.
She began her studies at the Fernando Alonso National Ballet School in Cuba, graduating as a dancer-teacher, and later completing a degree in Dancing Art Studies at the University of the Arts in 2019.
Leticia has been a professional performer working for international companies such as the National Ballet of Cuba and Acosta Danza over the last thirteen years. She has developed her practice in classical ballet, modern, contemporary, and Afro-Cuban techniques. During her career, she performed works by choreographers such as Alicia Alonso, Carlos Acosta, Christopher Bruce, Sidi Larbi Cherkaoui, Pontus Lidberg, Justin Peck, Goyo Montero, Juanjo Arques, August Bournonville, George Balanchine, Jorge Crecis and Miguel Altunaga.
Throughout 2021 she is preparing to be one of the ten international artists certified to teach Towards Vivencia methodology.
As an artist, she is intrigued by the artist's experience during the performance, the ability to be present and fully live in real time. Silva is passionate about the idea of awakening and transforming minds, freeing them through movement and full awareness of their actions.
Throughout this term, all of our guest teachers have talked about the importance of training performance presence. This is at the core of TWV, so for the last week of term, Jorge will be teaching class, sharing practical and concrete tools to train performance presence...
And as a special treat, for the final episode of Season 2 of the podcast, we are going live with Jorge and 3 special guests:
-Bridget Lappin: TWV’s Assistant Director, co-author of Designing Presence, and veteran of TWV1 -Nathan Johnston: Long time collaborator with Jorge and rehearsal assistant for 36 -Molly Danter: Veteran of TWV2 and dancer in Jorge’s piece Agonal
Join us as we chat about our experience with Designing Presence Training, the core of everything TWV does. Learn about how all these artists utilise the training across different areas of their lives, how its impacted them creatively, and how they can continue to develop their presence through TWV.
Plus, we’ll chat about a few opportunities where you can experience TWV’s signature training method firsthand. Stay tuned for how you can join in.
Jos Baker. Doing ordinary things in extraordinary ways
10 Mar 2021
00:51:22
In this 10th episode of the 2nd season, we talk with Jos Baker (UK/BE). Jos is a choreographer dancer, actor, and teacher. He started his dance training at the age of 7 with Oxford Youth Dance and then continued his formal education first at The Laban Center London and then at PARTS [Performing Arts Research and Training Studios] in Brussels.
From 2008 to 2014, Jos worked for Peeping Tom as a dancer, actor and collaborator, principally with the productions 32 Rue Vandenbranden [2009], and A Louer [2011]. Since then he worked briefly for DV8 Physical Theatre on the production of John [2014].
Jos’ has choreographed a number of works and also directed and performed in Paris Fashion Week to promote Petit Bateau’s Cedric Charlier collection [2014] . On film, Jos made several music videos and short films, most recently as a dancer and choreographic assistant to Damien Jalet for Anima [2019], a Thom Yorke project directed by Paul Thomas Andersson.
“I think is the ideal is that what happens next in dance is unforeseen and unforeseeable… I hope it is that way”
“It is not about presenting someone or something on stage as being perfect, or being above or better than the audience. The virtuosity of what they are doing actually exposes something about the humanity in all of us, so there is something relatable at the same time”
“Performance presence is not something different than dance technique”
Rob Hayden. Experiencing endings as gifts, and making a practice of that.
04 Mar 2021
00:52:03
I was re-listening the conversation while editing and cleaning the audio for this podcast and immediately it brought back the warmth, vulnerability, and shared empathy that I felt while talking to Rob. I am still deeply touched by the profound humanity he displayed throughout this conversation, by the amazing performing artists that by how, someone that I barely knew personally, I now consider a dear friend who I hope to have the chance to share a tea and a chessboard in not so distant future…
In this 9th episode of the 2nd season, we talk with Rob Hayden (USA/BE). Rob was a competitive gymnast for 13 years and in 1989 enrolled in the BFA curriculum for theatre and dance at the University of New Mexico. He joined Ultima Vez in 2002, performing in the creations Blush, Sonic Boom, PUUR, Spiegel and the revivals of What the Body Does Not Remember and In Spite of Wishing and Wanting. Since 2009, he has collaborated as director, choreographer, performer, and composer with various artists from both Belgium and abroad. His own work combines over 20 years of practical and theoretical research and experience into performance, dance, theatre, sound/music, voice and movement.
From 10' 09" you can hear what his class will be like in detail. Do not miss the other themes we talked about in this very insightful conversation, mainly towards the end of the conversation where we dig deeper into how endings can be considered gifts.
A few quotes from our conversation: “Through online interactions and conversations with different people, it reinforced, for me personally, the need to really stay connected to myself and what is important to me, and to be able to clearly communicated that and articulate it in a way that was reaching the other somehow”
“by simply opening the door to myself and to the other to come it, it creates already a complicit between people involved in the conversation…. it gets very simple, very real, very fast”
“by failing or making a mistake that’s where the trigger for the solution appears”
“by nature of the fact that I started as a gymnast… and did that for 13 years, I began to understand there is a certain aspect of discipline and rigor that is necessary for any creative endeavor or in life in general”
“Who are we serving in this practice? is it self-serving? or is it self-gratifying? or there is something more that we can be available for or open to in order to serve. We enter into a relationship with the work where we are serving the work rather than ourselves or somebody else"
“I experienced a lot of endings last year, and instead of being swallowed by the weight of it, I started to learn how, very slowly and still working on it, those things as gifts as opportunities for transformation, to recognise the natural order of things and try not to resist it”
I am sure many of you can connect and identify, as I did, with what Vicky describes in this podcast about how she was struggling with her lack of confidence, how that got in the way of many opportunities that were presented to her and how she managed to overcome those obstacles in very concrete ways with very specific tools.
In this 8th episode of the 2nd season, we talk with Victoria Hoyland (UK) . Vicky has collaborated and worked with numerous companies including Hofesh Shechter Company, Barebones, James Wilton Dance Company, Robert Clark and Riccardo Buscarini. Since 2013 she has been working in Switzerland with Cie 7273 and as assistant and dancer with Cie Alias.
From 22' 40" you can hear what her class will be like in detail. But before that, do not miss the other themes we talked about in this very insightful conversation:
how to serve the work you are performing by not forgetting who you are but by choosing what it needs each time
how a professional dance career and studying for a degree in Ostepathy, can complement each other.
Why dancers can continue dancing for longer
And what the role of dance and dance artists will be in the future
A few quotes from our conversation:
"Although I did well in the work and I love the work, and they really appreciated me as a performer… I think my lack of confidence in the studio was probably one of the reasons why I wasn’t able to continue with the company"
"I couldn’t hide behind my dancing , I had to be really exposed in a completely different way that I was used to"
"You allow the piece to work through you and you have some control over or in it. Your own live experience and emotions will arise but it is allowing them to filter through in a way that serves the piece"
"Dance serves the osteopathy as a very useful way to embody your patience… you are so used to your body and sensations that when people describe things or how things happen, it is so easy to put yourself in their position. That really helps with the empathy and the understanding and already that kind of connection can help with the treatment approach."
Join her classes the w/c 1st of March 2021 as part of the TWV Academy https://twvonline.academy/
Victoria graduated with a BA Hons degree in 2008 from NSCD. Upon graduation she joined the Hofesh Shechter Company as an apprentice touring “ In Your Rooms” and went on to join the company for the creation of “The Art of Not Looking Back” in 2009. She has since collaborated with choreographers and company’s balletLORENT, VanHuyhn Company, Barebones, James Wilton Dance Company, Jorge Crecis, James Finnemore and Robert Clark. In 2012 she was a creative dancer in The Place Prize winning piece “Athletes” by Riccardo Buscarini. Since 2013 she has worked in Geneva Switzerland with Cie 7273 and as assistant and dancer for Cie Alias. Alongside her dance career Victoria trained as an Osteopath at the British School of Osteopathy graduating in 2017.
Bridging the Gap with Ian Garside. Rigorous, not Rigid
17 Feb 2021
00:46:09
In this 7th episode of the 2nd season we have talked with Ian Garside (UK/ES) . Ian has performed with the likes of Punchdrunk (Shanghai), Liquid Loft/ Chris Haring (Vienna) & the seminal DV8 Physical Theatre (London). Ian's passion for pedagogy is fed by the variety of experiences and approaches that people bring to the encounter.
From 26' 00" onwards you can hear in detail what his class look like, but before that do not miss the other themes we talked about mainly the very insightful conversation about:
- Resilience, determination to carry on despite hardship - Dancing as a way to provide a great sense or achievement to the people - Where and how we can use our skills as dancers for the greater good
A few quotes from our conversation:
"How do we reflect upon the value of our dancing, when there are people in large parts of the world who the biggest concern is if they are going to have fresh water to drink in five years time?"
"Maybe is not about instantly solving the problem, but considering where we can put our skills to use that will bring some kind of greatest consciousness about the problems that faces us all, rather than just what is the best way to get more power for myself individually and put myself in a better situation"
[Dance] "encourages that kind of creative consciousness around the problems we are facing more than just focusing on myself"
"The difficulty of working at a very very high level the pressure is that you can easily break… emotionally, psychologically and physically. So the rigorous practice allows us to persevere through all those difficulties and come out they other side saying: 'you know what, I am still ok and I even have a little bit of energy to put into the next thing' "
Join her classes the w/c 22th of February 2021 as part of the TWV Academy https://twvonline.academy/
Ian Garside (UK/ES) discovered contemporary dance through classical theatre. He completed his vocational training at Laban (UK) & P.A.R.T.S. (BE). Since 2010 he has performed with the likes of Punchdrunk (Shanghai), Liquid Loft/ Chris Haring (Vienna) & the seminal DV8 Physical Theatre (London). Alongside performing Ian teaches extensively. His passion for pedagogy is fed by the variety of experiences and approaches that people bring to the encounter. His passion for performing comes from a desire to engage people in an experienced process of reception and reflection.
Bridging the Gap with Joy Alpuerto Ritter. Presence & Rhythmical Strength
10 Feb 2021
00:36:07
In this 6th episode of the 2nd season we have talked with Joy Alpuerto Ritter. Former performer and associate choreographer with Akram Khan (UK) and many others (see below for full biog)
From 19' 20" onwards you can hear in detail what her class look like, but before that do not miss the other themes we talked about mainly the very insightful conversation about:
What is the difference between a dancer and a good performer
How spiritual practices can help to train performance presence
How Joy describes those rare moments on stage.
A few quotes from our conversation:
“[When I perform] it is almost like an outer force that is leading me, but I am also open to it”
“When I dance, when i move, I like to connect to nature. To element of fire, water, wind, animals… Animals, their intuition is so pure… I use that quality in my body”
“We all crave for those moments… after time, when you look back it is a strong memory, and it feels very extreme. Your body is so exhausted and tired that your mind just accepts what is happening to you… so you kind of transcend”
“You get into a state of TRUTH. You cannot pretend… you are just there. Even though it is really tough and you think, I am going to faint on stage, and your life has been poured time… those are the moments you think: this is quite a spiritual moment”
Join her classes the w/c 15th of February 2021 as part of the TWV Academy https://twvonline.academy/
Joy Alpuerto Ritter was born in Los Angeles and grew up in Freiburg im Breisgau, Germany. In her youth she was trained at the balletschool Armin Krain and learned Philippine Folk Dance in the cultural dance group led by her mother. In 2004 Joy graduated at the Palucca School in Dresden, Germany with a dance diploma. She started working as a freelance dancer with choreographers like Christoph Winkler, Heike Hennig, Wangramirez and Yui Kawaguchi. After expanding her repertory in urban dance styles, she became part of the Hip Hop and Voguing Ballroom culture scene in Berlin. In 2011 she joined Cirque du Soleil as a dancer and aerial artist for the Michael Jackson Immortal World Tour. Since 2013 she has been a dancer and rehearsal director of the Akram Khan Company where she continues her touring life all around the world. In 2016 she has been nominated as "outstanding female dancer" (modern) in the Performance "Until the Lions" by the UK National Dance Awards. With her own solo work „Babae“, she has found international response as a Choreographer and is one of the Aerowaves artists 2020. Since then Joy has been creating her own work and has been collaborating as a (an associate) choreographer with Akram Khan (UK), Ballett Black (UK), Chen Shi-Zheng (New York), Riz Ahmed (UK), Viviana Durante (UK), Yang Liping (China), Florence and the machine (UK). As a teacher Joy has been sharing her knowledge and created works at SEAD - Salzburg Experimental Dance Academy, DAF- Dance Arts Faculty in Rome, Motions Berlin, Marameo Berlin and Beijing Dance Academy in China.
Bridging the Gap with Michalis Theophanous. IMMOVABILITY IS PART OF MOVEMENT
03 Feb 2021
00:46:28
In this 5th episode of the 2nd season we have talked with Michalis Theophanous. Current performer with Dimitris Papaioannou and Bob Wilson
Together we talked about:
- What is for Michalis performance presence
- Training in vocational schools
- Stillness in performance
- His own work as a performer, director and workshop teacher
Some quotes from our conversation with Michalis:
"Having a premiere is not the end of the process… it is the begining of it. It is about finding a reason to do it again and again and stepping a bit further each performance than what you did last time"
"Nobody told me on school how to cover 25 metres in 12 minute in a fluent movement without pausing at anytime, or how to sweat without even moving, or how to face the audience, how to take off your jacket… how to be present on stage without overtrying, without over exposing yourself and scream: 'look at me' "
"During the rehearsals of Primal Matter, the duet with Dimitri, there is a moment in the piece, where I am naked and I need to stay there for three minutes. During the rehearsals, I was: this is a good moment for me to rest. But when I was in the theatre and I hundreds of eyes looking at me, that was and endless nightmare (...) I could’t shit my pants because I had no pants"
" After the 5th rehearsal, I was so excited because I was failing (…) so I found a way to make it happen and to be extremely precise"
"I am not here to teach, I don’t like the word teach, I am just here to share, very basic and very boring exercises that you might use or might never use in their career… they will be free to keep [the exercises} or to throw them away… but you never know when will be the moment to use them…
"At the end of the day we train our body, we sharp our knife, it is not necessarily that we are going to use all of them in our career, but it is our choice what we want to keep using"
Bridging the Gap with Scott Jennings. Dancing, devising and playing
25 Jan 2021
00:38:44
In this 4th episode of the 2nd season we have talked with Scott Jennings. Former dancer (but still collaborator) of Pina Bausch Dance Company.
Together we talked about:
- The healthiest way to approach auditions
- Adding the humanity to the act of performing
- What does it mean to exist in the space as a dancer
Some quotes from our conversation with Scott: "in terms of skill or what I learned (from auditions): there is this thing of saying - this is me and this is what I have to offer, can we make that work, do you wanna work with me? "
Reflection about the challenges of working for the Pina Bausch co: "It was pretty intense but fascinating" / "It was a new way for me to face that fear of going on stage with a different sense of uncertainty as it always was this strange thing of the first time of doing a piece (on the general rehearsal) it was facing all the elements for the first time and many times in front of people as well"
"I had to find a way of just being able to exist in those pieces (Pina´s) so I suddenly became fascinated with what it means to exist in a space, on how to connect to these very human things or personal stories and how do they sit in this role of performance, how do I exist there"
The Big Corp and the Dance Industry: Synergies, Differences and Futures
21 Dec 2022
01:29:21
Hello beautiful people! Buckle up because today's episode is a real lesson in business ethics, pricing our services as dance artists, making a difference in the world, and how the performing arts can benefit corporates and vice versa.
Our guest today is Graham Alexander. I had the pleasure to be one of Graham’s teachers at London Contemporary Dance School (The Place) where he studied dance after having graduated in Physics from Oxford University… is a vice president at the De Beers Group, one of the biggest mining diamond companies in the world, with over 20,000 employees working in 28 different nations.
Prior to that, he worked for nine years in various consultancies such as PwC, Javelin Group, OC&C Strategy Consultants, primarily working with clients in the retail and consumer goods industry, such as Superdry, Selfridges, and Heineken, as well as in a number of other industries, like the cabinet office, Brussels Airport, or First Group. After that, he was employed by the Lego Group to implement their marketing plans.
In this episode, we discussed:
The relationship between major corporations and the performing arts.
How one of the largest mining diamond companies in the world's vice president was once a dance student
The benefits and drawbacks of working in the business world
The big corporation's bias as the cause of all evil.
Enhancing physical health and mental performance
Cons of the dance business
A set of principles, a way of life, and deeds to improve the world
The dance industry's model of scarcity and the going rate for working with corporations
In this first episode of the 2nd season we have talked about - individual practice - why it is important to keep training even in the midst of uncertainty - how Lali trains when she is alone - about how vital is to maintain curiosity - how teaching practice informs your dancing and choreographing - wish list for post-covid time
Towards Vivencia in conversation with Julyen Hamilton. The only moment that is really important is the actual moment of doing.
22 Feb 2020
01:14:43
As part of out unique online training Towards Vivencia, once a month we invite dance-artists we admire to talk about Peak Performance Presence, how to sustain a long and successful career in the arts and what are the books and other resources our guests feed from.
In this fifth episode we had a conversation with master Julyen Hamilton. In this episode we talked about:
Daily practice and how to be ready when you want to be ready
What are the perks and responsibilities that comes with being a freelancer
How to gain clarity with one’s decisions
What is a good performance and how it feels
The difference between teaching and performing
Humanness, Baryshnikov and the extraordinariness of ordinariness
As part of out unique online training Towards Vivencia, once a month we invite dance-artists we admire to talk about Peak Performance Presence, how to sustain a long and successful career in the arts and what are the books and other resources our guests feed from.
In this fourth episode we had a conversation with Paolo Mangiola, artistic director of Zfin Malta, the national company of Malta. In this episode we talked about:
Why dancers are the main asset of any dance company
Interdependency
What is the role of a national dance company and why they should exist
A dystopian future where Earth’s rotation slows down and gravity increases exponentially
What does Paolo Mangiola look for on a dancer during an audition process
Presence, humanity and honesty in performance
What Zfin Malta next season looks like
What happens to artists when the work you want to make has been made by Boris Charmatz already
How all the negative answers we receive throughout a lifetime equipped us to go further and further
How do you know whether a piece has changed your life…
TWV in conversations with Navala ‘Niku’ Chaudhari & Nathaniel Parchment
16 Oct 2019
01:11:47
As part of out unique online training Towards Vivencia, once a month we invite dance-artists we admire to talk to Jorge Crecis about Peak Performance Presence, how to sustain a long and successful career in the arts and what are the books and other resources our guests feed from.
In this third episode Jorge had a conversation about contemporary dance in India and the third edition of The Goa Dance Residency, a not-for-profit choreographic research and dance education program. In this episode we have founder Nathaniel Parchment and current director Navala ‘Niku’ Chaudhari talking about:
From world class dancers to founders and curators of Jungle Contemporary Dance
The answer from whenever you need to justify why dance should be available to everyone
Hunger, excitement, commitment and determination
How to fight the disillusionment that often arrives in our dance careers
The power of training presence
How to avoid feeling disspointed for not achieving all our daily chores
As part of out unique online training Towards Vivencia, once a month we invite dance-artists we admire to talk to Jorge Crecis about Peak Performance Presence, how to sustain a long and successful career in the arts and what are the books and other resources our guests feed from.
In this second episode Jorge had a very intense, comprehensive and profound conversation where they talked about:
- How to make a very difficult first question to Ben Duke (my apologies for that Ben…)
- What makes a performer an incredible one and how Ben Duke spots them
- Trusting indirectness and creating space in the creative process
- Tools to do nothing in performance and still be seen. Holding the space is a practice
- Half an hour in, Ben tell us what was the definitive point where he felt: this is enough.
- UK and Europe the invisible barrier that is there
- Keep your energy and your quality by saying no to projects that doesn’t serve your strategic or artistic vision and how to manage the financial uncertainty that comes with it.
TWV in conversation with Maria Campos & Guy Nader.
19 May 2019
01:07:41
As part of our unique online training Towards Vivencia, once a month we invite dance-
artists we admire to talk to Jorge Crecis about Peak Performance Presence, how to sustain a long and successful career in the arts and what are the books and other resources our guests feed from.
Alleyne Dance. The secret is knowing when and how to rest.
02 Dec 2022
01:42:23
It has been a lot of fun to put together this podcast... I had to stop a lot to put aside important bits to create the sound bites because everything they said was so relevant and easily applicable to everyone. There are a lot of wise words in this episode, so get your notebooks ready because you are in for a treat.
Alleyne Dance (AD) is a UK based company with an international reach, founded in 2014 by award winning dancers and twin sisters Kristina and Sadé Alleyne. The choreographic aesthetic reflects the sisters diverse background in athleticism and dance training. Within their abstract contemporary construct, Alleyne Dance blend West African, Caribbean, Hip Hop, Kathak and Circus Skills, delivered as fast paced and dynamic movement. They infuse lyrical and fluid motion, layered with rhythm and textures in physically powerful, yet graceful performances.
Alleyne Dance strives for high quality and excellence as the Company delivers its three main objectives: performance, participation and development.
In this conversation we also talk about:
Emotional states right after two big premieres
What are the coaching and the mindset support that the Alleyne twins count with
How mindset is connected to the body
Studying psychotherapy to protect others and lead safe practice
How sometimes is important NOT to have a non-negotiable practice
Our guest today doesn't need much of a presentation. He is mainly known as the Artistic Director of the UK-based Hofesh Shechter Company, formed in 2008. His dance company tours the world constantly and is a reference for many people!! Shechter has also staged and choreographed works for leading international dance companies including the Alvin Ailey American Dance Theater, Batsheva Ensemble, Candoco Dance Company, Cedar Lake Contemporary Ballet, Nederlands Dans Theater 1, Paris Opera Ballet, Royal Ballet and Royal Ballet Flanders. He has also choreographed for theatre, television and opera.
In 2016 he received a Tony Award nomination for his choreography for the Broadway revival of Fiddler on the Roof. Grand Finale was nominated for an Olivier Award for Best New Dance Production. In 2020, Hofesh Shechter Company was named the winner of the Fedora – VAN CLEEF & ARPELS Prize for Ballet for LIGHT: Bach Dances, in collaboration with Royal Danish Opera and co-directed by Hofesh Shechter and John Fulljames. In 2018 Hofesh Shechter was awarded an honorary OBE (Most Excellent Order of the British Empire) for Services to Dance. In 2020, Hofesh Shechter Company was named the winner of the Fedora – VAN CLEEF & ARPELS Prize for Ballet for LIGHT: Bach Dances, in collaboration with Royal Danish Opera and co-directed by Hofesh Shechter and John Fulljames.
We just talked to him a few days after he finished his surfing holidays in the north of Spain… so that’s where we started, from there we went on talking about:
Surfing
What is Hofesh’s mission
How dance gives us the opportunity to experience life for what it is
The whole point of dance in a fucked up world
Transference of consciousness
How the dancers that work with Hofesh achieve a state of flow through the sense of togetherness
Does Hofesh's experience flow? What challenges does he encounter?
Maturity and healthy approaches to difficult jobs
And so much more. A very complex, down-to-earth and pragmatic conversation.
Remember that at the end of each episode, Bridget will also offer a brief summary of this conversation as well as a simple exercise designed to help you take away the best bits of the episode and try them out for yourself.
Intro to the 3rd season. In a time when dance might seem unimportant or unnecessary...
06 Oct 2022
00:15:31
In a world where governmental support to art, public health and education is being reduced every day. In a moment in time where environmental policies are barely scratching the surface, where dance consumers are in decline, a moment in human history where another conflict of potential nuclear proportions is closer than it has been in decades.
In a time where dance might seem unimportant or unnecessary, I am going to make every possible effort to spotlight dance as a key contributor to the evolution of human consciousness.
And given the circumstances… that’s a big task, therefore, I'm not going to try to do it alone… I am inviting world-class dance-makers, performers, scientists, scholars and philosophers in order to deconstruct and speculate if and how dance can be a vehicle to develop human consciousness.
What do I mean by that?
...
Also
Also, coming in at the end of each episode, Bridget will also offer a brief summary of each conversation as well as a simple exercise designed to help you take away the best bits of the episode and try them out for yourself.
Check the 2nd part of this episode to know more about it
Gabi is a Chilean dance artist. She moved to London in 2011 for a BA (Hons) degree at Trinity Laban Conservatoire of Music and Dance and then went on to gain a MA (Hons) degree from London Contemporary Dance School as part of an apprenticeship scheme with Ballet Lorent.
She trained in Flying Low and Passing Trough with Leila McMillan and then with David Zambrano in Madrid, Brussels, Athens, Ecuador and Thailand. She moved back to Chile in 2017, working in companies such as Jose Vidal y Cia and teaching in dance, theatre and circus venues across the country.
Her classes are a chance to explore some of the principles of Flying Low and Passing Through, within the conditions of a confined space. Warming up with a Chi Gong practice, focusing on a different element each day (Earth, Metal, Water, Wood, Fire), we then use our voice to guide our energy, looking for pathways with and within our bodies. We try, play and rave with the possibilities of virtually interconnecting with one another, on a physical, emotional and energetic level.