Teaching Philosophy

Teaching Philosophy

I think that creation/improvisation is a very important part of the formation of a professional dancer. In a dance world replete with different styles and concepts, you must be prepared to recognize what the choreographer is looking for and be able to express it on the spot with confidence and knowledge.

I hope to inspire my students to become artists in the most expansive and comprehensive sense of the word. By using my own experience in life and art, I will support them towards the discovery of themselves, I will help raise both the quality and diversity of their delivery. Guiding them through this process and aid them as they strive to achieve their own style and approach to dance.

I believe a formed dancer today must be able to move in any style and deliver a spontaneous statement of movement at any moment. This is what I teach and train dancers for: technical functionality, creative instinct, high performance, transformation. Given this requirement of versatility, I am convinced that the best dancers are those who are able to digest information wisely.

My teaching focus on three fields:

1. Technique

“Functionality and Perspectives of Dance” has been an important investigation in release technique for the last ten years. Focusing on the importance of being grounded, dancers work with initiation and arrival, visceral and organic movement. The training is about understanding the shifting of weight, clarity of movement, attention to detail, precision and dynamics in a multidirectional approach.

The class introduces students to movement material that prepares them for JSR Company repertory, which will be used at end of the class, when they are getting comfortable with the phrase material, offering them a tool for deconstructed improvisation.

2. Improvisation and Composition

Improvisation exposes dancers to a different perspective on performance, where vulnerability is part of the artist’s sense of being. The class presents an opportunity to fully engage in our own creative practices, moving from a casual point of view to a more compositional approach.

Thus exploring the relationship between set material and improvisation in relation to space, time, and others bodies, students learn how to redirect their knowledge and tools to the flow while discovering new ways of practicing and developing scored and structured performance.

3. Contemporary Partnering.

This class, featuring off- and counter-balance and light-dependence weight exercises, will train dancers to understand partnering in a more creative and functional way, specifically working with slides, resistances, and roller coasters.

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