Cielo rasO


Useful body, mechanics of movement

The useful body and its mechanics are the axis of the physical work that I have been developing over the years in courses, classes, and workshops.

My teaching work has been aimed at two highly differentiated sectors as far as their needs and objectives are concerned: young professional dancers and non-professional groups of elderly people between 60 and 80 years old.

Useful body, workshop for dancers

Since 2007, I have given classes and held workshop both at home and abroad. The different encounters have helped shape formulae to facilitate the transmission of my work to the students.

I try to manage the mechanics that activate the body in a practical way, optimising physical capacities. I apply part of the contents of Vinyasa yoga practice at the beginning of each session.

Through physical work on the floor, I explore length and speed, attention to the projection of the hip from the abdominal axis and mechanical supports to economise effort in elevations and displacements.

Body length and projection in space, by means of choreography phrases on the three planes of height (ground, medium and vertical). The body axis and weight in the three circumstances are the basis of the technical work I put forward.

Set of spirals and practical motricity in arm projection. The spine, the encounter of the backbone and its prolongation as far as the hands to trace movement vectors.

How we inhabit the body in movement and the density with which we play, from where we move and what is our motive.

Pairs work: leverage, support, tension and traction are the tools I use for the elevation of one body above another, building the road which irremediably culminates in lifting the other person’s body off the floor.

Useful body, mechanics beyond the age of 60

Since 2016, I have been giving regular classes for students aged between 60 and 80. The mechanical complexity of their bodies invites the development of specific dance material routines contributing strength to the support muscle groups, quadriceps, buttocks and the abdominal muscles, in a safe way.

The next area of attention is the shoulder joint, generally the most delicate joint. I activate the backbone and back muscles to boost the development of the arms in a safe way.

I use words describing actions representing movements. Thus, the choreographies we carry out have a verbal guide of day-to-day actions, which helps the work of learning in the concatenation of choreographed movements, which are not isolated, but form part of a specific code.

The session closes with some improvisation. With the directing crux being fixed, we find a time in which each student builds and feels their own movement.