We are so happy and proud to have Rodney Chonia back at Diambra with his very own workshop concept. 3 classes each with a different angle. Come experience, come dance with us, come and evolve.

23 NOV 20.00-21.30
25 NOV 21.30-23.00
27 NOV 19.00-20.30

Diambra, c/o marikas, Döblensgatan 56

150 SEK/class, 400 SEK/ All 3 Classes
Semestercard/10 times card = 100SEK/Class


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”The silver lining of this remarkable Workshop is about breaking down barriers people forge in their minds. Many are insecure on different levels or don’t know how to fully connect to their emotional side, especially when it comes to their own art. Creatives often put immense pressure on their own shoulders because they believe things should look a certain way or because they tell themselves it is not good enough. Perfection has become more of a standard then originality which in my opinion is total bogus. All our thoughts, opinions and views on things start within the mind.

So this is where I introduce you to a different pattern of thinking particularly for dancers and performers, but is certainly relatable to any creatives.

The Mind is a massive universe filled with thoughts, dreams, inspirations, ideas, emotions, goals, visions etc. The Mind itself is way too complex to go into detail and let’s ignore the fact that we are only known to use approx. 10% of our brains; But this is where I decided to break this all down to four (4) bullet points, that I believe are important to understand, to grow in the art of movement. – Experience,Express,Execute,Evolve – it might just make dancers grow differently and start looking at movement a bit more artistically.

Every human being goes through life experiences. Mental, physical and emotional growth are all part of our daily lives. We fight our battles and each one of us, have stories that carved our paths. Often will you find others that have experienced similar if not identical situations to you, or for a matter of fact a situation you can emotionally very well relate to.

Many times, people hide their fears and problems to protect themselves, leading them to suppress their emotions.

Once that happens, happiness becomes a mask because you’re never truly at rest with your emotions. One moment you’re happy, the next you’re thinking about what you are trying to suppress. Exposing one’s fragile side is always difficult unless you have the right people around you at the right time that fully understand your full cerebral universe.

This is where releasing your emotions gives you a certain self balance. For those that use movement as a creative outlet it is important to utilize your craft as self-fulfillment. Fueling your movement from a sincere, honest, and emotional place is what a true performer should seek. Ironically what fuels us, is our experiences and as artists our lifestyle forces us into crazy situations as we all know. So the key is to embrace our experience, even if harsh, and add that emotional experience to our pool that we can take from to perform. This may sound absurd to some but enjoy lingering in your emotional endeavors or heights and fully understand what is emotionally happening to you, since that will be turned into magnificent art.

Expressing your experiences is all on you and your mind.
’Break down the barrier of shame and life will become easy.’

As performers or movers, we are actors. We are telling our stories and sharing our art through movement. If you collect your experiences with emotional connectivity (being able to feel the same as you did with a distant memory), there should be no problem at all to portray that in your movement; because you have become that emotion. Not to forget, being able to relate, understand, and express emotions that are given to you by a third party (being able to place yourself in someone else’s shoes, even if fictional), is deep understanding and realistic self interpretation. Self observation is key for that type of translation.

To break it down to a very simple form. We all know how it is to play around like a kid; we have all been kids before. If that is asked to be expressed, just do it, don’t be ashamed to let everyone witness you being the biggest child they have ever seen. Hopefully they truly believe that you have become a child for those 2 minutes, that’s when your job was done right. Let me add, that exaggeration is not key, but truly knowing how to best express what is asked through connecting the dots in your own mind.

To me expression of one’s self is what I seek. Dancing in unison is a skill of its own, which is our next topic, execution.

Physical execution.
Mind Power.

’The mind controls emotions, emotions control the body, if you control the mind, you are in full control of it all.’

Physical capabilities all depend on how you train, what you train and what your physical build allows you to do. Maintaining a strong body and a good stature is vital for every dancer and performer out there. You body is your tool, take good care of it.

Once you learn how to move your body by controlling it consciously through your mind, movement becomes more of a choice of different variations. Once you master variation, dancing in unison should not be that difficult anymore. It is all about understanding where execution comes from and reflecting that into physical or emotional movement.


Finally we come to evolving. I believe that being conscious of the previous three bullet points and experiencing life in a more mind conscious way, will bring you far.

Once you have understood that in the art of dance consists out of technique, you teach your body and emotion that you can acquire by either experiencing and translating or just absorbing and understanding, you become aware that there is always space to grow. You can become your own teacher to understand and translate through your mind. Learning from well rounded teachers becomes so much more fulfilling, because you get to learn from their experiences that have been translated through their creative minds. All of a sudden dance has no barriers, which it never had, we just might have made that up — in our minds.


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