Notes on the Development of a Dance Methodology

Residency Notes – Chapter One: Exploration of the planes of movement:

• Coronal plane – what I call the two-dimensional world, as if moving between two walls. This focused mainly on spinal lateral movement.

• Sagittal plane – from here I expanded into spirals and 3D movement, using the full space.

• Transversal plane – exploring flexion and extension of the spine, elbows, and knees, which also led naturally into floorwork (for example, walking into downward dog).

After exploring the planes, I combined them with a division of the body into three sections:

1. Upper body – from the shoulders up, often with the arms raised.

2. Trunk – shoulders to hips.

3. Lower body – hips down, including deeper pliés and using the hands closer to the floor.

From this framework, I created an exercise structure:

• First, finding musicality within each plane. The idea is to stay strict and concrete in the chosen plane, even if the whole body inevitably participates.

• Then, working in pairs: one person gives the instruction (e.g. “work in the coronal plane,” or “combine the coronal plane with the upper body”), while the other responds physically.

Examples:

• Only move the upper body in the coronal plane.

• Only move the lower body in the transversal plane.

• Combine planes and sections in different ways.

This became the basis of what I call Chapter One of the residency: a dialogue between planes of movement and body sections, guided by musicality and partner exchange.

Residency Notes – Chapter Two: Integrity - Inspired on Passing Through by David Zambrano and Assymetrical Motion by Lucas Condro.

This chapter focuses on the integrity of the whole body in movement. Instead of isolating sections, the idea is to send the body fully through space — for example, feeling the entire body in between the hands- continuing going though a pathway without hesitation, without cutting the flow of movement. Open question; what happens when the whole body moves as one, constantly passing through, constantly shifting direction, never fixed in one place? how to come in an our of certain states with lot of clarity; example; fractions to movement flow?

CHAPTERS TO BE EXPLORE;

Residency Notes – Chapter Three: Musicality

Here the focus is on the relationship with sound. Movement can either play with the music, add layers to it, or respond to it as if in conversation. It is like painting in time: sometimes mirroring the input, sometimes replying, sometimes creating contrast. The chapter becomes a study of when and how to engage with music — as partner, as counterpoint, or as atmosphere.

Residency Notes – Chapter Four: Speed

This chapter explores tempo and energetic states. Movement shifts between extremes:

• Slow and meditative – holding presence in stillness or extended transitions.

• Fast and dynamic – sharp bursts, quick shifts, constant motion.

Open question; what is the difference in moving fast through relaxation, or through tension? what does both qualities allow and hinder in speed?

Residency Notes – Chapter Five: Qualities

This section investigates qualities of movement, beginning from a rooted base:

• First, the feet remain well planted while different qualities are explored.

• Later, the qualities extend into traveling and shifting through space.

The aim is to notice how changing the quality (fluid, sharp, heavy, light, etc.) transforms the same physical structure into a different experience.

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Residency Notes – Chapter Six: Storytelling & performance

Here movement becomes a carrier of narrative. The focus is on letting movement transport both the mover and the audience into a particular place or state. Storytelling is less about literal actions and more about how physical intention, quality, and energy create an atmosphere where meaning is felt.

OPEN QUESTION;
How to warm up? 

How to open their imagination before going into the meticulous study??

NOTES ON THIS:

Body 60%, imagination 120%.

Guided warm up with different body parts guiding the movement. .

Example- fit is guiding the movement- knees are guiding the movement- hip is guiding the movement.chest and shoulder blates- elbows and hands-head- 

“There are infinite invisible beings in the space.

You are never alone—

not even when you think you are” -DZ