My pedagogy manifests itself in the next three units.

Contemporary training for dancers

The dancers can participate in coordinative skill development with active-passive stretching forms based on the release-technique, using basic elements of the contemporary dance. It is important that the artists prepare for the challenges with using not only static movements but dance all around in the space. We start with basic moves and then redraft the ecumenical movement, the "moment of the move". In every motion we pay attention to the contact of the ground and the human body, where the most important thing is to control our weight from millimeter to millimeter. The body does not lie. The rhythm of the moves always searches for the rhythm of gravity like the Newton balls. The elementary skill developing movements produce complex continuity as we use isolated limb- and spine coordination exercises and also pay attention to controlled breathing and living the plastic body conscience. My choreographies are mixture of continuous and dynamic moves. The philosophy of my dance teaching is that the relaxed body can be not only unbelievably fast but also easily handles the situations caused by gravity, recycles the nascent energies and also uses those energies which are independent from the body. After we have found the weight control on the ground, we can also position ourselves on our partners as we are free to experiment organic contact forms, where we can create new spaces, rhythms and changing formations with the help of the wandering common points of the two body. I teach the performer skill, developing the talent, the emotional background of willing and unwillingness and so the paths of controlling emotions and feelings, the forming conditions of letting go and empathy.

At the end of the classes the goal is always to practice, understand and deepen the regularities we have learnt.

The normality is particularly important to me. I don't want the dance to be only a mannered formation or an identifiable movement but conversation in the forming environment where all part of the body surface have a direction and the importance of that is not questionable.

Improvisation both for dancers and amateurs

In Willany Leó Improvisation Dance theater I’ve been watching the improvisation which have been growing absolutely freely without obligations for five years. I’ve never directed it from outside in a direct way, just smoothed its way from inside. During this time, I’ve never felt that if we play improvisations taught by others – in which we don’t connect but we learn them - could make our performances more interesting. During the years, I've created the improvisation sequence that guides both the amateur and the pro to use the choreographer tools as reflex. The practice is multiform but infinitely easy. The first phase deals with the locomotion’s and the actions’ (for simplicity, I call action when we do or don't do something during improvisation) purity and attitude. The second phase deals with the rhythm, the third with the focus and the fourth one contains the easiest compositional elements, with the repetition and the contra-repetition. Acquiring the easiest compositional exercises will build up the compositions countless recognition, side by side with the practicing of the choreographer tools. I always give numbers to the subjects so I can immediately remind the improvisators to their attentions’ blind spots. Because of the composition, we necessarily deal with the using of space and its marks. Then we work with the relationship of the solo and the arms, then with the body as a scenographic detail. After that, we deal with leaving freely the actions and the definition of manipulation. The communal attention continuously connects to these exercises and it is a very important part of them. After that, it’s inevitable to negotiate the optional possibilities of the contact and the compositional "dancing-together". This framework is easy and primitive but it’s hard to pay attention to all these when the dancer can finally do freely anything that they want. And at last, we look for the quality, when I try to enrich the movement qualities of the dancers. The aim is to teach more colours to the dancers which can make them more interesting performers.

https://www.youtube.com/watch?v=8SkJlt870Ao 

Basic contemporary dance for beginners and dance artists

Infant Developmental Movement Education

The first year is the most important part of the children's life because this is the time when their movement culture starts to grow, which impacts their physical and spiritual progression. The babies spend many time lying on the floor and their moves affects the growing of their brain. If the infants fall behind with move development (for example, they don't turn to their back in time), than later it affects the progressiveness of their brain and also the connecting with their environment. This time interval is the root of many learning difficulties. Nowadays, still not so many people work on that field to properly develop the children's movement and most of the adults have some kind of mental difficulty which can refer back to deficiency of childhood movement coordination.

My exercises set on learning to walk help to acquire the basics of contemporary dance. The amateur dancers and the artists can relearn the possibly forgotten most elementary movement coordination, the inductive elements of learning to walk, which are not only important to acquire the style but because they are defend the body from the damages it suffers during using it.

The goal is to turn these movement qualities and the knowledge of defending the body into reflexes, to automatically use these during dance or any other movement form.

The babies simultaneously develops their physical, mental and emotional world during learning different movement formulations. Such capabilities like capability to be patient, the growing of intuition and the creating of balance are all originates from childhood movement forms. Relearning these moves can help us to develop these capabilities and we can balance the body-soul-spirit three-unit.

https://www.youtube.com/watch?v=MGtWos6zfBg