Training

Zaida Ballesteros Parejo

Creative Body Intelligence

1. HOW. DESCRIPTION. DYNAMICS
We start the class upright testing body structure and joints stability. bringing blood into a juicy and warm state, where we’ll play with muscles and joints conections. Every exercise happens in motion, increasing intensity gradually.

One by One, gathering and collecting energy from the floor, standing and moving through space. Exercises are based on marcial arts preparation, testing mechanical principles, liberating main conecting joints; ankle, knee, hip, elbow, wrist and cervical spine. Second layer of exercises contains isolation work of smaller and softer joints, searching for conections between body parts. Training exercises include a specific approach to kinesiology and meridians, is my particular link to somatic work in motion. Questions are wellcome anytime, but doing and going through mechanical method proposed is much important. Anylitical work belongs, in my opinion, to an “after practice” and not before.

In couples we’ll help each other to test structures and coordination in the limbs. Craneo-Sacral moving oriented exercises are included in this part.

2. SET MOVEMENTS. CHOREOGRAPHY

Middle part is based on short phrases moving through space, combining release, flying low and yoga elements in groups. Elasticity is always exercise together with strength, movement is the consecuence of impulses and momentum.

Final part is a phrase where we apply all principals we have been training. In smaller groups, using full room’s range on the music I offer.

Regarding MUSIC I teach some parts without, in order to keep attention to our breath. Some of them are accompained by specific music, helping dynamics. Choreographies we dance are, as I said, adapted to the music I offer.

3. INTUITIVE PROCENTAGES

20% Playfull sweat and Joy

  5% Energetics, Light and Lightness

15% Floor Work

15% Finding creative solutions

20% Awareness. Use of the space

25% Dancing. Playing with the tension of the body and directing it

4. WHY

We are going to be working on fine coordination skills in a very intuitive way. As a practicioner, as a performer, dancer or mover we need technical challenges that bring our bodies in new situations, new “sets” in order to adapt better.

5. WHAT KIND OF ELEMENTS MAKE UP YOUR CLASS. PHISICALITY

I propose a training structure. I observe how movers react on it in order to tune exercises or make vocabulary accesible. We start from a non formal state of passing information and moving body, researching in our motoric abilities, awaking innate behavior and animal in us. We move to choreographies and a set vocabulary, keeping the sense of all first part of the class, being able to dance given material from deep inside our structures and still make it our own.

6. GOALS OF THE TRAINING. CONCLUSION

I do beleave we need to bring new imput in our moving vocabulary and repertoire. Learning dance is for me a very similar process as learning lenguages. The more lenguages we learn, the less specific in “philologyc” terms we’ll be, but we’ll have great comunication skills and it will be easier to learn new ones. I approach the mechanical coordination “moving-field” same way. Art is an act of comunication, it is our will and necessity to show others our ways of percieving universe, world, society, a city, building, body or any kind of room.

7. EXPECTATIONS TOWARDS PEOPLE TAKING PART

Openness, will of moving and joy. But also critical thinking and the ability to connect information.

8. WHAT. TECHNICAL BACKGROUND. TRAINING COMPONENTS

My teaching and technical back ground is based Limon-Humphrey tradition, release and flying low, transformed and actualised by several choreographer and practicioners I have been learning with.

9. INFLUENCES

My first dance training influence was flamenco, with a great variaty of rythmical patterns during 5 years. I have been training intensively ballet for ten years, with repertoire and point work. I start training contemporary parctices in 2001, and I got to understand this is the dance frame where I feel home and I want to be busy during my professional life and practice. Since 12 years I’m working as a profesional in this field. My main contemporary teachers and influences come from the Rui Horta’s S.O.A.P. dance company, Ballett Frankfurt and Ultima Vez/ Wym Vandekeibus. In 2012 I have my first contact with teachers researching on marcial art practices and the conection to contemporary dance. I start to develop a love towards this approach and way of analysing moving patterns.

I take part on Fighting Monkey research (Rootslessroot) and Systema® training.

Thanks to K3-Hamburg researching plan for contemporay practices, for the reflection input parameters. http://www.idocde.net/idocs/1677