Contemporary dance teacher graduated with D.E.
Teaching dance to any levels and any ages from children to adults, from beginners to professionnals.
With the will to break gender-related prejudice in dance, my lessons are equally given to everybody.
I propose contemporary dance class workshops, a specific floorwork workshop called "From and back to the floor" and individual lesson. Don't hesitate to ask for further informations. Contact
Teaching dance to any levels and any ages from children to adults, from beginners to professionnals.
With the will to break gender-related prejudice in dance, my lessons are equally given to everybody.
I propose contemporary dance class workshops, a specific floorwork workshop called "From and back to the floor" and individual lesson. Don't hesitate to ask for further informations. Contact
Pedagogy
|
Credits : C.Keip, S.Sauvage et A.Lamine
|
Dance is a passion and it must stay so for my students, no matter their age or level. This is the way I see dance teaching : take care that students have pleasure dancing and give them tools to improve and discover new abilities and sensation in their bodies.
Any level or age interest me. I love giving class as much to beginner adults as to children as to professionnal dancers. Pedagogy is for me a dialogue and exchange. My aim is to transmit a conscious, physical and embodied dance to my students so that they can become interpreter with great awarness of their body. |
Conscious dance
Too often dancers are formalized (emprisonned in shapes) and don't think about movement's semantic. Dance is a language and must have meaning. The more the vocalurary is rich the more the language is subtil and the answer to a choreographic demand will be precise. Students learn calligraphy, drawing of gesture in space but also which emotion is triggered by this drawing. Syntax of movement is importante too, dance must have rythm to make sens. Rythm of movement is what give shades and color to the dance. It must be combine with the use of different energies variations.
|
|
Credit : K.Dimaya
Physical and technical work
The tool of this language is the body. A dancer must have a body fully prepared and available. I take great care to dancer's body in the sense that I want to give them maximum tools to widen their physical possibilities. Power, tonicity and fludity are reachable thanks to a daily deep training on muscles and joints. All my classes or workshops start with a complete warm up, a variety of exercises mixing stretching, muscles and joints reinforcement. My will is that students never confort themselves in a habit or technical regidity.
This is what I call the body globalization. I want dancers to acquire a global vision of their body so that movements become organic and natural.
This is what I call the body globalization. I want dancers to acquire a global vision of their body so that movements become organic and natural.
|
|
|
Parallele to contemporary dance classes I also propose a specific workshop on floorwork technic called "From and back to the floor". I love contact with the floor and I wish dancer to use it as an essential ally on which we can push ourself and lie our weight on. It means learning how to extract from the floor and to melt into with minimum energy and playing with gravity.
Credits : C.Keip et S.Sauvage
From student to interpreter
Interpretation is certainly the most important thing for a dancer. I will always ask students to interprete and dance every moments, exercises during the class. A dancer is an artist at the same level than a choreographer.
During my regular classes I love to exchange with students, have talks about lastest creations, last performance seen... I think that choreographic culture is as essential as the technical training for a young dancer. Because it is what forms intellectually his vision of dance and helps him to develop his own artistic sensibility and widen his vocabulary.
During my regular classes I love to exchange with students, have talks about lastest creations, last performance seen... I think that choreographic culture is as essential as the technical training for a young dancer. Because it is what forms intellectually his vision of dance and helps him to develop his own artistic sensibility and widen his vocabulary.
Credit : P.Delcey
Many complementary workshops help to develop this interpretation capacity. The first one is improvisation, it is often in this exercise that we can meet the original personnality of each dancer and help him find new paths in his body. The second one is the work on dance repertories from different styles which allows to widen choreographic culture, to discover accomplished choreographies and to appropriate the interpretation asked for this repertory. Finally I think it is equally very important that students can discover their own creator talent via personnal composition guided sessions in solo or group.
Credit : C Keip