FELIPE FIZKAL
Facilitating
Acrobatic-Floorwork
Cumbia
Improvisation
Catwalk
Release technique
Funtional dance training
I see pedagogy as a choreographic act that allows me to facilitate encounters with ideas and perspective related to my embodying practices for other professionals, dance practitioners, amateurs and students. To open up a space where they can find ways to connect and disconnect the body in movement, relating it to the imaginary, to the room or studios and with technical elements that reference a way of observing the different ideas of body.
I seek to offer a space where there is not only challenge, but also a use of language that invites tenderness and laughter. In this way, I find ways for information to be accessed in a way that is not only about producing an idea of the body, appealing to this or that idea, but rather an encounter in the sensitive memory of the practitioners that can be made available to trigger their own artistic potential.
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The Practice
Volumen Nuklear is a practice based on strengthening the recognition of our biomechanical, technical, and muscular possibilities through movement exercises that stimulate our proprioception, taking the floor as a partner and collaborator in developing the connection between body and space.
It invites us to enhance both our stamina and our ability to embody movement sequences, moving through an intense flow practice.
The practice begins by reinforcing the simultaneous, consecutive, and sequential coordination of our skeleton through physical training that, at the same time, seeks to connect us with our energy center through push, reach, and breath. We exercise our musculoskeletal proprioception and, consequently, our dynamic alignment, through improvisations in which we cross the space while relating to our weight, the space, and the floor—understood as our main dance partner.
Subsequently, we move into a section of exercises that integrate principles of using weight on the hands and head, expanding our possibilities of and access to acrobatic floorwork.
Finally, we engage with movement phrases that strengthen our ability to embody another’s choreographic material, thus exercising our understanding of interpretation, memory, and the psychomotor intelligence of the dance professional.