These classes are based on more than 15 years of investigation by Judith Sánchez Ruíz on the release techniques. Functionality & Perspective give dancers many ways to understand movement’s initiation in the body, allowing them to understand the functionality from a creative approach, leading to specific organic movement qualities while working with the imagination. Participants will focus on the importance of being grounded, creating an understanding of the shifting of weight, clarity of movement, attention to detail, precision, and dynamics in a multi-directional approach.

These sessions will encourage the body to question and practice task-oriented exercises, equations, and scores.

A note from our founder: “As a performer of over 30 years, I believe Release is one of the most formative techniques for performers. Why? Release is healthier, fostering a deeper connection to our humanness. It strips away unnecessary tension, creating a more open and organic mind-body connection. Release, along with improvisation, becomes the perfect doorway for performance artists in the contemporary world to discover their unique voice and path.” - Judith Sánchez Ruíz

Your Own God's research is based on JSR's choreographic process and experience as a performer of diverse techniques and styles throughout her long international career. This class triggers the uncomfortable zone, breaking habits effectively.

Your Own God's tools, sourced methodologies and practical exercises aim to unlock the mind from imitative academic dogma (that imposes a mainstream style and decorative content). It focuses on each participant's individual awakening and exploration of our functional and artistic potential. The dancers practice how to reset the mind through radio exercises, ramifications, and associations of vocabularies that will guide a much deeper connection.

Improvisation exposes dancers to a different perspective on performance, where vulnerability is part of the artist's sense of being. The class presents an opportunity to fully engage in our own creative practices, moving from a casual point of view to a more compositional approach. Thus exploring the relationship between set material and Improvisation in relation to space, time, and other bodies, students learn how to redirect their knowledge and tools to the flow while discovering new ways of practicing and developing scored and structured performance.

This class focuses on partnering development and improvisational composition. Through exercises that explore off-balance, counter-balance, light-dependent weight, slides, resistances, and roller coasters, dancers will gain a deeper understanding of partnering mechanics.

The class aims to hone skills in giving, taking, and shifting weight, while using resistance, slides, manipulation, and off-balance as creative tools to build dynamic structures in improvisation.

By supporting and guiding students in their exploration of being both makers and performers, this class helps elevate the quality and diversity of their artistic expression.

Our teaching methods are crafted in response to the diverse requests of students from around the globe. The program facilitates collaborative learning—you will discover techniques for creating structured exercises and lesson plans. We engage in a collective exploration of class formats and teaching methods, co-create innovative exercises within a workshop environment, and engage in meaningful discussions about teaching strategies, educational theories, and the creation of optimal learning environments.

You will delve into our repertoire and engage in artistic mentoring within intimate peer groups, uncovering the latent potential of movement from a functional lens.

All human relations are fictions and must be constructed. The piece Como las olas is a practical inquiry into how these constructions arise. Two dancers, very different in type and attitude, move around the improbable event of a real relationship, endlessly moving toward a future that remains unpredictable—until it becomes the present. Again and again, in approaching each other, they test the impossible: the very forces that let them relate - their affects, emotions, and individualities - are also what keep them apart.

Choreographically, Sánchez Ruíz is interested in resistance, tension, and instinct - the obscure variations of deep physical being that shape people and their relationships. Dancers are never, despite what many might assume, dolls. The emotional reality beneath their physical and personal presence constantly challenges the intellectual logic of choreography. How can we treat this challenge, this multi-layered duality, as creative potential instead of seeing it as an obstacle? How can the unconscious emotions of dancers come into play? How do we make these hidden dynamics visible? How do we choreograph by undoing choreography itself?