As teacher and as artist, I am committed to sharing thoughts, questions, tips, and accumulated experiences that inspire and encourage others - hopefully enhancing a collective, intellectual curiosity. Through my years of teaching, I have learned to seek out a balance between goals relating to technical mastery and abilities of individual students to make their own choices, reflect deeply, discover anew, develop personae, and encounter imaginary universes. In the meantime, I neither forget nor underestimate the power of collaboration: The magic in group work and the internal dynamics of individuals working together in space constantly reminds me of how important it is to communicate clearly and keep an open mind.

Teaching requires a dynamic interplay between what is happening inside the teacher and what happens with them in the room. The act of teaching and my professional artistic practice have long been interconnected: They are in constant relation and evolving together. I often borrow ideas from my artistic work according to how relevant they are at a pedagogical level. I then invent work sessions and exercises that support the mechanisms and technical needs of the scenic idea. I select concepts that can be taken out of context and appropriated by other bodies, other minds - keeping the essence but also becoming filters for new, freshly arising materials. By being a teacher and at times being a physical example or inspiration to other bodies, I’ve discovered clarity in my movement and improved upon my analytic capacity to look for solutions, comments, tips, and guidelines for problems and surprises. During my pedagogical encounters, I perform more than demonstrate when the time comes. Teaching has undeniably become an important part of my professional life. Now, I strongly believe that the relationships between the act of teaching and one’s artistic practice is often undervalued.

I have led groups of participants with very diverse profiles - from university students to circus professionals and amateurs to all kinds of people interested in performing arts. Though I am most often working with professional dancers of all ages, skills, interests, and backgrounds, in every workshop I lead, I learn something new because my way of teaching depends on my experience inasmuch as it requires my intuition and adaptability to the group. When I see and respond to individuals in the room, I realize the person engaged in the act of teaching is a real master.