Schedule | tejidoconectivo

SCHEDULE
2025 / 2026

OPEN CALL

PROFESSIONAL EDUCATION PROGRAM CONTEMPORARY DANCE

ACADEMIC YEAR 2025 / 2026 · MADRID

FROM MAY 1 TO 30, 2025

PROFESSIONAL EDUCATION PROGRAM CONTEMPORARY DANCE

From October 1, 2025 to June 18, 2026

Monday to Thursday / 09:30 a 17:00

SCHEDULE

09:30. Arrival time

09:00 - 10:00. Self-preparation time

10:00 - 12:30. Technical class

12:30 - 13:00. Break

13:00 - 14:30. Performing practice

14:30 - 17:00. Self-practice, research and creation time

SELF-PREPARATION TIME

Self-warm up protocols to start class

09:30 - 10:00

This time in the morning is crucial for preparation. It serves as an opportunity to ready both the body and mind for the day ahead. Students are encouraged to develop their own personalized preparation protocol, which should encompass a variety of practices and exercises.

Self-observation plays a key role before starting the day, allowing students to select from their repertoire of practices those that will best create balance and foster a state of openness, physically, mentally, and emotionally, in order to maximize learning

TECHNICAL CLASS

Release based warm up and technical class

10:00 - 12:30

The first part of the morning is dedicated to technical work, and the class is divided into two segments.

The first segment focuses on the "warm-up," providing a thorough and rigorous preparation that includes both general and specific exercises. These exercises are designed to align with the technical content in the second part of the class.

The second segment is devoted to technical training in the core disciplines of the program: Structural / Somatic Work, Partnering, Acrobatics, and Contact Improvisation. These subjects are part of the annual curriculum but are weighted differently throughout the year. In the first trimester, Somatic/Structural Work takes priority, emphasizing pattern changes and balance. In the second trimester, Acrobatics and Partnering are given more focus, with an emphasis on physical conditioning and technique. Lastly, Contact Improvisation becomes central in the third trimester, where the emphasis shifts to play and globality.

RELEASE / FLOORWORK

A deep explo of human movement potential

TEACHER: MIGUEL ÁNGEL PUNZANO

TOTAL HOURS: 144

Release/Floorwork is the subject with the highest workload in the program, taking place in the first class of the day from Monday to Thursday. This class serves as both a warm-up and preparation for the subsequent lessons.

The focus of this subject is to invite students to explore the very foundations of movement, emphasizing the process rather than the outcome. It encourages movement research through the study of the principles of mechanics and movement, supported by an experiential approach to anatomy.

STRUCTURAL BODY WORK / SOMATIC TECHNIQUES

A deep dive into experiential anatomy and biomechanics

TEACHER: MIGUEL ÁNGEL PUNZANO

HOURS TOTAL: 96

Structural Bodywork is a foundational tool for the process of structural deconstruction. This subject combines various manipulation techniques and protocols aimed at opening spaces, loosening tissues, and balancing bone rhythms to experience dynamic alignment.

Through this practice, students will gain a profound understanding of anatomy while learning to work with touch—a key tool in our pedagogical approach.

In parallel, Somatic Techniques foster deep body awareness and connect movement exploration with cognitive skills, particularly observation. These techniques are designed to enhance students' ability to observe and analyze their bodies while integrating movement with mindful thinking

ACROBATICS

Acrobatics methodology related to Contemporary Dance

TEACHER: MIGUEL ÁNGEL PUNZANO

HOURS TOTAL: 96

This subject focuses on integrating acrobatic techniques from sports gymnastics and circus arts into the specific needs of contemporary dance.

Students will learn both general and specialized protocols for physical and mental preparation, tailored to various acrobatic elements. The practice will involve developing acrobatic skills through structured technical progressions, ensuring a safe and gradual learning process.

Special emphasis will be placed on learning aids, which support safety and foster independence during practice.

PARTNERING

Partnering skills through a Martial Arts approach

TEACHER: MIGUEL ÁNGEL PUNZANO

TOTAL HOUS: 96

This subject offers an experiential exploration of movement mechanics through duos, trios, and group work. We will draw from key principles of Martial Arts, including Kuzushi (imbalance) and Tai Sabaki (displacement), as well as techniques such as grips, supports, falls, projections, and flights.

This subject equips students with essential skills for hand-to-hand dance and is closely connected with Acrobatics and Contact Improvisation, fostering a deeper understanding of movement dynamics, trust, and collaboration in dance.

CONTACT IMPROVISATION

Developing technical skills for CI

TEACHER: MIGUEL ÁNGEL PUNZANO

TOTAL HOURS: 96

Developing technical skills for CI through a movement research process based on touch. This subject allows students to explore and develop technical skills for dancing in contact within an improvised context. Contact Improvisation (CI) is a dance form where physical contact serves as the foundation for movement exploration through improvisation. Rooted in the 1970s New York dance scene by pioneers Steve Paxton and Nancy Stark Smith, CI emphasizes spontaneous connection and flow

We will approach this discipline using the "Arquitecturas en el Aire" methodology developed by Miguel Ángel Punzano, focusing on dynamic movement, body awareness, and collaborative exploration in space.

PERFORMING PRACTICES

Improvisation / Composition · Movement Research & Creation

13:00 - 14:30

The second half of the day is dedicated to stage practices, where students will delve into the creative process. Following the warm-up and technical classes, after a short break, the focus shifts to exploring and reflecting on key aspects of creation, including choreography, dramaturgy, composition, and the symbology of movement.

On Mondays and Wednesdays, students will engage with Improvisation, Composition & Dramaturgy, while Tuesdays and Thursdays will be devoted to Movement Research & Creation. This structure allows for a balanced approach to both spontaneous creation and deep, reflective exploration in the context of performance.

IMPROVISATION, COMPOSITION & DRAMATURGY

The art of creating through dance improvisation

TEACHER: LIBERTAD POZO

TOTAL HOURS: 108

In these sessions, we will engage with our daily life and surroundings to develop a unique body vocabulary, embracing the roles of both dancer and creator. Our aim is to nurture the authenticity and essence of each individual, supporting their creative expression.

We will approach the process with a critical yet constructive mindset, encouraging continuous discovery, exploration, play, risk-taking, and enjoyment of our bodies in motion. By delving into the art of questioning, we will create improvisational patterns, using the process as both an inquiry and a reflection of our proposals (Critical Response Process, Liz Lerman).

These sessions serve as a space to stimulate imagination and creativity, taking us to uncharted territories where we activate our individual and collective intuition. We will connect with the dramaturgy of the moment, with our bodies, and with the joy of dancing in the present.

MOVEMENT RESEARCH & CREATION

Physical-sensory training for creative exploration

TEACHER: ANDREA AMOR

TOTAL HOURS: 108

This space invites students to apply the practice of movement mechanics in service of other dimensions of being (and their respective territories). It is a body journey through interconnected spaces—territories of perception and discrimination, imagination and memory.

Here, students tune into their bodies, activating a powerful and versatile physicality, while training the role of the observer. They will explore both individual and collective processes, encouraging a deep sense of sensitivity.

The approach promotes emancipated learning, where students share their revelations and critically examine their understanding. The course is designed from a non-linear perspective, where various concepts will serve as starting points that students revisit and approach from multiple angles, expanding their creative horizon.

SELF RESEARCH

Self-practice, research and creation tine

14:30 - 17:00

This time is the second most important part of the day. It is a moment for reflection, where students can review the day’s work, mentally process the material covered, and take a break to allow the information to integrate. It’s also an opportunity to revisit and practice any concepts that may not have been fully understood or absorbed.

In addition, this time is dedicated to research and creation for the monthly performances, allowing students to experiment and develop their work for public sharing.