Early on -through breakdance and collaborations with social projects on Canary Islands- the potential of movement awoke his interest. In Madrid he works in “Trasdanza”,a direct collaboration with several outstanding Spanish choreographers and more than 60 educational institutions (public & private schools, professional formation centers and institutions for handicapped people). From this moment the movement exchange with people that don’t have a previous academic dance background consolidates as a strong point of interest. Since then he has shared his propositions on movement in classes, workshops as well as coaching, from amateur to professional, from professional dance companies, to festivals and from dance schools to refugee camps.
A few examples are, the National Youth Dance Company [U.K.], Philadelphia University of the Arts, Royal Ballet School [Antwerp, Belgium], Tallinn University of Arts [Estonia], ARTESIS [B.A for Dance Education, Antwerp], Kunsthumaniora’s Wilrijk & Brussels [Secondary Public Education in Arts], Akram Khan Company [U.K], Ultima Vez Company [Belgium], RICTS Theatre Makers & Actors Department [Brussels], Danscentrumjette [Brussels], Marameo/Tanzfabrik & Berlin Dance Institute (Berlin), Circuit-Est [Montreal, Canada], Tripspace [UK], IDW - International Dance Week Budapest [Hungary], Cultural Center’s as “Ter Dilft” [Bergem, Belgium], International Dance Contest “Out of the Box” [Antwerp, Belgium], Festival ”Marco Zero” [Brasilia, Brazil], 2nd Dance and nature project (Tenerife), Company Jorge García [Sao Paulo,Brazil], National Contemporary Dance Company of Paraguay [Asunción], etc.
Independently organised workshops in Argentina (Buenos Aires, Córdoba & Rosario), Chile [Concepción & Santiago de Chile], Brazil [Sao Paulo], Paraguay [Asunción], Mexico, Georgia,Portugal, Greece, etc.
Early on -through breakdance and collaborations with social projects on Canary Islands- the potential of movement awoke his interest. In Madrid he works in “Trasdanza”,a direct collaboration with several outstanding Spanish choreographers and more than 60 educational institutions (public & private schools, professional formation centers and institutions for handicapped people). From this moment the movement exchange with people that don’t have a previous academic dance background consolidates as a strong point of interest. Since then he has shared his propositions on movement in classes, workshops as well as coaching, from amateur to professional, from professional dance companies, to festivals and from dance schools to refugee camps.
A few examples are, the National Youth Dance Company [U.K.], Philadelphia University of the Arts, Royal Ballet School [Antwerp, Belgium], Tallinn University of Arts [Estonia], ARTESIS [B.A for Dance Education, Antwerp], Kunsthumaniora’s Wilrijk & Brussels [Secondary Public Education in Arts], Akram Khan Company [U.K], Ultima Vez Company [Belgium], RICTS Theatre Makers & Actors Department [Brussels], Danscentrumjette [Brussels], Marameo/Tanzfabrik & Berlin Dance Institute (Berlin), Circuit-Est [Montreal, Canada], Tripspace [UK], IDW - International Dance Week Budapest [Hungary], Cultural Center’s as “Ter Dilft” [Bergem, Belgium], International Dance Contest “Out of the Box” [Antwerp, Belgium], Festival ”Marco Zero” [Brasilia, Brazil], 2nd Dance and nature project (Tenerife), Company Jorge García [Sao Paulo,Brazil], National Contemporary Dance Company of Paraguay [Asunción], etc.
Independently organised workshops in Argentina (Buenos Aires, Córdoba & Rosario), Chile [Concepción & Santiago de Chile], Brazil [Sao Paulo], Paraguay [Asunción], Mexico, Georgia,Portugal, Greece, etc.
"On the educational level, the one where information is being shared through mental attention, physical awareness, movement: The previous pedagogical project (Frauenfeld Technique, named after a swiss-german village), explored more analytically the composition of space (horizontal/vertical), time (musicality, rhythms) and type of energy of a moving individual or group.
This research has later on expanded on other spaces, such as the inner and creative one, discovering how regular practise of this allows to pedagogically go further with less explanation and more inspiration. The work on time has become more about exhaling then about counting. The study of energy has passed on from identifying the nature of moves on the dance-floor, to apply to every quotidian situation, any gesture or movement.
The structure of a class, workshop or creation has become a methodology to observe and react instantly, and in a balanced manner... to the needs of an environment as well as the artist´s sensitivities.
Bastard Techniques helps you allow the bastard in you to collaborate instead of compete, act instead of react, learn instead of prove what you already know. The performative aspect is developed as regular practise, so that we don´t close off to who we are when surrounded by an audience. The practise of being a performer goes hand in hand with being a curious audience to your own stream of perceptions from your senses, including the other humans around you, the space between things, the time that our thoughts take to find direction and meaning through movement and stillness. This requires the capacity of fine-tuning our attention and senses, while being physically totally engaged and open at the same time.
Our understanding of a divided work / pleasure relationship translates into less joy and efficiency, which is as counterproductive to the expansion of skills, as sitting down onto what we think we know is to comfort. Therefore, confusion is necessary to clear the mind when it tries too hard to intellectualise what it is not able to be yet, and let it be.
whisper words of wisdom, let it be... Games. Confusion Smile and sweat."