Flexibilidad danzada como método de entrenamiento para bailarines

Abstract

Bibiana Chaparro and Cristian Gómez synthesize their professional trajectories in dance to design—through movement laboratories and the systematization of experiences—a creation that proposes a rupture with conventional static and sports stretching methods. This project offers a physical conditioning system for flexibility deeply rooted in the praxis and artistic creativity of the dancer. The central innovation is the term “Flex-Mov,” which replaces the traditional concept of “exercise” with movements designed to flexibilize the body during the act of dancing by incorporating rhythm, sensation, expression, and fluid transitions. This proposal emerges as a response to specific corporal training inquiries and is informed by the theoretical and practical frameworks of figures such as William Forsythe and Alfredo Gurquel, as well as Rudolf Von Laban’s spatial directions, principles of biomechanics, and contemporary and classical dance techniques. Flexibilidad Danzada (Danced Flexibility) establishes a descriptive methodology comprising choreo-photographic records and performer logs. It utilizes visual aids, including vectors and lines of force, to illustrate complex bodily mechanics, facilitating technical comprehension through a clean, professional, and visually striking aesthetic. The results demonstrate that “danced flexibility” not only optimizes technical performance and aids in injury prevention but also enriches the artist’s interpretative vocabulary by integrating flexibility as a dynamic element rather than a merely positional one. Furthermore, the document integrates reflections, daily habits for reconfiguring corporeality, and observations on the vital role of breathing. Ultimately, the project culminates in a scenic proposal that translates the method's principles into an artistic experience for the audience.