This training is divided in two parts, the first one on the floor for the warm up, and then the second tri-dimensional, developping relation between movement, music, energy, space, etc.

1. 1^st part: the floor

   It is carefully thought to bring each dancer to a full consciousness of his/her body, of space and of time. I guide the dancers with my voice all through the warm up exercises, with as less stops as possible, to create a good dynamic.

   More in details:

   • We start on the floor.
   • I bring the dancers to focus on their breathing and their internal rhythm
   • And then to let circulate the echo of the breathing in each part of the body by naming them one after the other.
   • Then I ask them to get conscious of the body weight, for the body parts which are in contact with the floor, and oppositely for the body parts which are in contact with the air.
   • The dancers get then to taste the air with the tips of their fingers and of their toes.
   • Then smoothly, each one at his/her own rhythm, they roll their skulls.
   • I go on with a series of small go and return movements which use the body centre, oppositions and weight.
   • Then I mobilize the spine and the joints of the legs.
   • I work then on the weight with go and return movements, increasing the rhythm as one goes along.
   • After that, I use this dynamic and add an element after each go and return, therefore creating a first exercise.
   • Using the same principle, I build a second exercise with changes of levels to finally end in a standing position.
   • I carry on with a walk to comprehend the space and the group. The walk evolves into a plié exercise
   
   
2. 2^nd part: the space

The second part of my class is made of a series of targeted exercises allowing to work deeply one body part, one quality and one musicality: work on the supports, on the body centre, on the evolution axis, on the back, on the feet, on the jumps, …).

I compose these exercises on a music chosen specifically in regard the element which I wish to work on.

I compose these exercises with a special attention to the use of space as well as to the changes of direction in a will to free the body and to enhance the consciousness of movement circulation and of the relays which appear naturally.

For an end, I compose a longer sequence which uses several elements experienced during the training. I create then a choreography which gives the opportunity to fully make the most of the space, the energy of the music and the circulation of the movement.

As the week goes along, I develop this second part by modifying one exercise per day, by lengthening some of them, and by using different pieces of music to change the exercises’ dynamics.