1st lesson free
Paloma
- Rate ₦54456
- Response 1h
₦54456/h
Contact
1st lesson free
- Dance
- Choreography
- Contemporary Dance
- Ballet
- Jazz Dancing
Dance teaching artist with specialty in contemporary, ballet, and jazz. Graduate with BFA in Dance from New World School of the Arts.
- Dance
- Choreography
- Contemporary Dance
- Ballet
- Jazz Dancing
Lesson location
About Paloma
Paloma Tosta is a Miami-based interdisciplinary artist with a focus on movement research and performance. Being placed in movement classes at a young age, Paloma’s love for ballet grew, while also cultivating a proficiency in contemporary, modern, and commercial techniques. Paloma’s gravitation towards movement is directly impacted by their gravitation towards the discovery of human nature and the sensations the body evokes through motion. Their work explores how the basis of personal connection can translate to the combating of social hierarchies and seeking of radical love through human contact and intentional individual movements that reflect how the human body processes love, anger, fear, and grief. As a dancer, choreographer, and filmmaker, their movements serve as a form of communication, constantly searching for methods to release and/or elicit emotion while still being grounded in a classical foundational training, leading to a deeper sense of connectivity. Paloma is currently in their senior year pursuing a Bachelor of Fine Arts in Dance at New World School of the Arts (NWSA). Throughout their years at NWSA, Paloma has created and presented several choreographic works, as well as dance films. They are also a member with Syncopate Collective. Paloma has performed works by Michelle Manzanales, Jamar Roberts, Paul Taylor, Donna Murray, Martha Graham, Jeffrey Lloyd Smith, Valeria Gonzalez, Jacob Jonas, and more. With a passion for choreography and movement study, Paloma describes their role in movement practice as bridging the gap between classical techniques and somatic research.
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About the lesson
- All Levels
- English
All languages in which the lesson is available :
English
My approach to dance education centers around the importance of movement as a catalyst for community building. At its core, the sharing of movement research is a vulnerable task. Creating a space where dancers feel comfortable enough to move where they do not feel they are being criticized by others is a priority in my classes. Fostering a safe environment entails ensuring dancers that their individual voices and bodies all have something to offer and receive. This allows dancers not only to cultivate relationships with each other and their environment, but it opens avenues of deep somatic research which inherently calls for a deeper relationship with the self. There is no better way to share a piece of yourself than to learn about yourself through experience—self-discovery leads to community discovery leads to self-discovery, and the cycle continues.
Through communication, exchanging words, motion, and physical touch are tools that invoke growth in artistic and humanistic development. Upon entering a room I am facilitating, my goal is for dancers to be aware that everyone in the room is a student including myself. All humans are collages of pieces of information their body has learned through experience, whether that may be years of ballet classes or years of walking to and from their place of work each day. Sharing the sensations through this mode of communication offers everyone a unique experience, creating collages of information learned through the experience of my classes with the ultimate goal to be carried with them.
Discoveries occur through play. I want dancers to leave my class feeling that they have made a discovery, whether that may be somatic, relational, internal, external—the goal is to having found something. My role in this comes in facilitation. When I am at the front of any room, I find the purpose of my presence is to share the extent of whatever my current level of knowledge in movement research is. Play implies an intrinsic need to be active. It also implies the idea that there may be no means to an end. Introducing this to students means introducing ideas that are comfortable, which ties back to the curation of a safe space. From there, we develop into areas that may not feel as familiar, implementing prompts to think about in combinations, guided improvisation, meditative practices, collaborative creative processes, and the use of physical touch.
Having studied dance for several years, I find the responsibility of facilitating a room in contemporary movement to be crucial to the development in a dancer. My own training has taught me that standards that promote individual growth instead of uniformity have fostered classrooms that celebrate diversity and create dancers who have the autonomy to make their own artistic choices. In my previous teaching experience, I have had students with diverse levels of training and experience in movement. In order to formulate a class that fulfilled all their needs, the biggest need was getting to know them, not only as movers, but as humans. The ways in which they learned most efficiently, what stimulated and interested them, their strengths and weaknesses, likes and dislikes—these are all factors that I prioritized learning about students throughout our time together to maximize growth and stimulate their individual intrinsic desire to move and play.
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Rates
Rate
- ₦54456
Pack prices
- 5h: ₦272280
- 10h: ₦544560
webcam
- ₦54456/h
free lessons
This first lesson offered with Paloma will allow you to get to know each other and clearly specify your needs for your next lessons.
- 1hr
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