Vladimir Rodríguez (Colombia)
Training System and Improvised Movement Writing
(Theory and Practice for the Floor-Body-Air Trajectory)
The Piso Movil Training System makes the floor the first material to get in contact with the performer’s body. There, it’s where the support relationship, movement, gear, mobility’ impulse, gliding, creation of movement trajectories, and new coordination mechanisms can be developed from a flat and horizontal surface to get into a vertical surface. Thanks to the sense of touch, the floor prepares the performer to come into contact with a second material of less density, more fragile, mobile and vertical: The body of another. As it was in the floor’s work, somebody else’s body prepares the Performer to get in contact with a much more breakable material which in turns becomes it in the last destination of the journey: the air. Throughout this stage, perceptions about continuity, simultaneity and flowing movement are enhanced; thereby, the body is taken as a surgical instrument of the air and space (cutting, penetrating, extracting, drawing, squeezing, handling).
Diego Alvarez Sanou (Costa Rica)
Body consciousness in space and time
The work has 2 main objectives. Be aware of our own body, recognize the muscularefforts to be able to execute phrases, sequences, exercises within a proper andexternal space, cover and move through low, medium and high levels. Recognize thatmuscular effort necessary for a good execution inside spirals, entries and exits of thefloor, speed, outside of axis and even to be able to adapt ourselves in the possibleaccident or that which comes unexpectedly.The second point is about appropriation, the individuality reflected within a sequence,phrase of movement that only the being in execution can feel. Appropriating all thetools and experiences acquired throughout their training and body history to providethat unique personality in the movement.
Alfonso Aguilar (México)
Stave-Cement/Body Laboratory &
Cement-Stave / Specific Site
Stave-Cement / Body Laboratory
The methodology consists in conjugating basic principles of the art of traveling in a dance context. The movement is defined by a physical reaction more than a body shape. Moving from clear mechanics to register the places that you go through in relationship to your corporeity. There is a study on improvisation and the creative impulse. Unveiling internal, external, physical and invisible spaces which give way and meaning to the action. This format of training aims for a resistant body in optimal conditions. It is a priority to reach a physical high performance level and the precision of movement mechanics to lead into acrobatics of reflection and thought.
Paola Madrid (México)
During the practice of Movement Research we will focus on the creative movement. I will propose using, transforming and recognizing our imagination towards the conscience and renovation of our dance abilities. We will use improvisation and perception to reinforce the way of our own individual behavior. The principles of Aikido as a martial art are part of the physical training of Movement Research; through the practical experience we will develop strength, flexibility and coordination.
The practice of Movement Research is open to all interested in movement: amateurs and professionals.
Luis Vallejo (México)
Inertia / Médium
Contemporary playful game, space of thraining the senses through playwork, improvisation and movement phrases. Based on the dynamic exploration of body geography, the starting point is a study of human and animal anatomy to detonate an individual body dramaturgy. We will tap into exercises capable of detonating atmospheres, ambiances and natural ambits from where each person can identify with more confidence. We will break down each moment to provoke each participant to generate emotional, alert and permanent memory.
Marko Fonseca (Costa Rica)
Identificación del otro)
Taller inPRACTICAL (Identificación del Otro)
This workshop focuses mainly on the dancer's relationship with the ground and the air. The class uses simple movement patterns that involve breathing, speed and the release of energy throughout the body in order to activate the relationship between the center and the joints, which enter and leave the earth more efficiently. The focus is to develop a movement at different levels - up and down, different supports and look for the balance of different parts of the body. We will also identify work in pairs and relationship aspects such as: confidence, weight, instinct, conscience, leaders and followers. The flow in physical communication depends on the awareness of a shared equilibrium. We will work with predefined situations, which will be based on the trust of others. Then we can assume more risks playing with power and speed. Participants are invited to bring their own ideas, explore and rediscover their own qualities.
Estefania Dondi (Costa Rica)
Construction and Deconstruction of movement
MIXSHIFT / Construction and Deconstruction of Movement
We will start with a warm-up based on guided improvisation exercises, this will be a process in which we will go deeper into the personal movement of each dance, through specific exercises, playing with musicality, textures, sensations and emotions and with great emphasis on Strength and increased the stamina.
Following this, we would begin to learn movement phrases with floor dynamics, falls, acrobatics, use of the arms and emphasis on directions and where my body is in space, using the maximum of physicality. Once this sentence is created, we will end up decomposing this phrase whether in directions, speeds and others. The student will be guided to de-construct the phrase already learned.
This is an exploration of how to use language learned in the classroom and take ownership of it. The use of foreign body language and how to integrate it into my interpretive and creative self.
Karen de Luna (México)
Karen de Luna (movement) + Diego Martínez Lanz (music)
Life … contradictions in movementAt the moment when there is no contradiction or movement, we die. How can we start a process and not just start it? How can we be willing to respond and not react? How can we expand our capacity to be preset and listen? How can we be one with the other and not one against the other?, how to avoid falling prisoners in the manner of a teacher?
These are some of the questions that have led us to the search for exercises that raise an active practice, where the student is responsible for their processes and not just imitate forms. We invite you to a space where body and mind work together transforming one another, where you become aware of the importance of a personal practice that makes visible the invisible and clarifies the impulses of a body that can be moved by space and others . Live music will be an essential and constant companion in this laboratory.
Adrián Arriaga (Costa Rica)
Acrobatic Movement Exploration
Acrolúdico / Acrobatic Movement Exploration
This is a training proposal developed to challenge the participant through exploration, leading him or her through play dynamics and conscious mobility work. It suggests an open-structure class, composed of the progressive interaction of several work axes. Firstly, it seeks to use play as a search tool for the imagination, as well as for the physical dynamics of interpersonal interaction. The next stage is to create awareness about all the different pathways that reinforce energy yield, and the alignment that is specifically focused on acrobatic research. Finally, the adoption of movement dynamics in order to rethink approaches and starting points of creative processes. In-depth acrobatic mobility principles are approached based on Contemporary Dance fundamentals; Thus, incorporating martial arts methodologies and exercises, as well as gymnastics and calisthenics, among other disciplines.
Luis Rubio (México)
The Conjugated Body
The Conjugate Body
Laboratory of contact and corporal rediscovery. "The body can only belong to the community, when it makes sense by itself." Jean - Luc Nancy
To conjugate: To enunciate the different forms of an action, denoting its modes, times, numbers and people. Synonym -associate-combine-articulate-link-gather-coordinate- Understanding the body as a sensitive action that mutates, insists, resists, cooperates, resonates and spreads, this laboratory is constantly designed in order to study the capacities of movement, transformation and communication that are inherent in the nature of our species, therefore, in the matter that constitutes us. Deepening the physical, chemical and contextual reactions that arise from the encounter of the bodies (matters) in space, there are propose, problems, obstacles or riddles that require the diversification and enhancement of our skills to enunciate us whenever we need to solve situations. Increasing our disposition to mutate in favor of the liberation of our corporeities and the collective construction of hypersensitive spaces, through eroticism, instinct, abstraction and otherness. Claim the ritual of becoming packs.
Raúl Martínez (El Salvador)
Awakening Of / Through Movement & Identification of the other
Awakening Of / Through Movement & Identification of the other
We work on set movement phrases, using the spiral as a basic principal of organic movement; to achieve comprehension of the physical movement on various levels (especially on the floor) and the spacial connections, as well as the motor of the movement, nuances or textures of movement (speed and quality). The movement material can be described as raw, with with acrobatic elements, challenging speed, coordination and spacial orientation. We then dive into principles of locomotion in positions on hands and feet and rolling motion advancing in space, evolving little by little towards a more complex movement (transitions on hands, elbows, head and shoulders, generating suspensions of the body). By doing so we also train the muscular and cardio-respiratory endurance taking the participants out of their physical comfort zone which results in a gain in power and rendition on stage. At the end of this first part we develop movement material that searches for a physical challenge through speed and agility, by consciously using the space, the muscle tonus, and bodily isolations or unusual coordinations to re-evaluate one´s physical material.
Pedro García (México)
Exposed Body / Body Training
Exposed Body / Body Training
Training system that focuses on working the movement of the body from the limits - corporal - mental - visceral, under a method that allows the participant to approach the multiple possibilities of perception, connection and recognition of the body in movement from the concepts and fundamental contents of alignment, weight, breathing, consciousness, body memory, flow and movement dynamics.
This training system provides participants with the possibility of developing corporal abilities through limit and risk, forcing them to potentiate all their baggage and experience with the movement, preserving a degree that allows highlighting qualities and physical qualities that in turn contribute to the scenic work.
Erik Elizondo (México)
In this workshop we will focus on components of physical research through the study of improvisation, floor techniques, and structured material in order to discover the complexities and range of our movement potential. This class is taught alongside with Dimitri Kalaitzidis (co-funder of Los Little Guys), our goal is to develop an understanding of the sources of movement patterns to bring clarity and depth into the way we enact physicality and movement research. This work has been developed through the intensive study of the formation of specific physicalities. Utilizing improvisation as an exploration of various dynamics we seek to unveil new territories of movement possibilities. From this point the student initiates isolated research in order to establish specific fundamentals from which movement and impulses can be communicated and enacted as a form. The structure of the workshop will begin by warming up the body as necessary to dive into the work openly. From this point we will begin to engage with principles of improvisation as sourced from our independent research. We will then continue with a study of movement through the floor, with an emphasis on the dialogue between strength and efficiency. We will conclude with the application of these principles of movement through the study of structured material.
Christian Omar Masabanda (Ecuador)
The objective of this workshop is to provoke exploration, reflection and analysis of the body, through sharing time with others and favoring imaginaries as well as individual and collective creative needs. This workshop proposes bodily states which lead us to identify communication needs, which is to say finding that impulse movement sustained by its physical, intellectual and spiritual needs. The workshop is divided in two phases: Training and choreographic creation/composition.
Jesús Giraldi (Argentina)
Movimiento Constante is an intensive work seminar open to all audiences, it takes place in interdisciplinary groups (dancers, acrobats, trasseurs, parkour, street dacers). The possibilities of movement are endless. Find a body available, allow to be, find their own places and put into practice the mixing and crossing, in order to build their own language that identifies us.
Individual and group improvisation, recognition and management of body parts will be worked on, we will build the general space but also the own and particular space of each body (gravity, soil, medium, air, spiral), the common measure and are for experimentation. We will work from different branches of the movement (contemporary dance, break, parkour, acrobatics, hip hop, etc.).
Omar Carrum (México)
Based on continuous mechanics and kinematic principles, CONTINUUM is a training system that aims for the continuity of the kinetic chains of movement, its path, and a very specific and uncommon way to use momentum, impulse, space, motion script and physical principles. The class pursue the knowledge of our relationship with the floor and gravity and uses the body as a whole continuous mass instead of segmented parts where movement takes place from the study of weight placement, speed control, space density, planes, continuous movement and circular trajectories. The use of hands, feet, elbows and head will be strengthened as substantial points for pivot, leverage, support and anchorage. We will aim for continuity and a sustained muscular and skeletal consciousness in order to learn how we can transfer, gather and spread our weight anywhere in our body, how the mechanics of each muscle and bone work, and how all our body parts can cooperate to move more efficiently, safely and smoothly. Dancers will develop a new understanding of their bodies by exploring the principles of physics: inertia, centrifugal and centripetal energy, expansion, suspension, strength and resistance, all of which will sustain and generate new skills and abilities for moving, sliding, turning, jumping and falling.
Edward Tamayo (Colombia)
Flying Low is a Contemporary Dance technique created by David Zambrano, based on the ability to go and return from the ground efficiently and spontaneously.
Speed is used as a vehicle to generate a state of alertness, where the interpreter interacts with people and the environment, taking advantage of the body's natural spirals and the infinite curves that are drawn in space.
To this extent, the class poses an aerobic game with short movement phrases, which include basic acrobatics paths. The intention or "excuse" of this game, is that each participant finds the right path that transforms their limitations in skills, without forgetting their environment and the people who inhabit it.
Carlos Zamora (México)
Orgánico y Urbano
Orgánico y Urbano
Psychophysical experience aimed at encounter with mechanics of our own anatomy and motor history, stimulating proprioception, and the sense of security in our body structures, recognizing mechanical potentials of the forces physical around us affect naturally. Biomechanics used by parkour, applied to contemporary dance in order to reinforce the physical and organic tools of participant, recognizing a corporality apt and competent for the relationship with any space so much Scenic as urban.