About Me

Juliana Werner is graduated in Physical Education and Master in Sciences of Human Movement. A contemporary dancer who has been researching about theoretical and practical aspects of social dances since 2010. The Art of Embrace, it’s a conceptual workshop where she approaches partner dance as a dialog, not so focused in the "vocabulary" itself, but seeking to develop self-awareness by exploring connection in partner dances. At the same time bringing the attention to questions of gender determination in the roles of leader / follower and proposing partner dance as a way to discuss gender equality.

Dancing

Languages Spoken

Experience & Qualifications

General Experience

I’m graduated in Physical Education and Master in Sciences of Human Movement. A contemporary dancer who has been researching about theoretical and practical aspects of social dances since 2010. I’ve started to dance with the Grupo Experimental de Danca da cidade de Porto Alegre, in 2009 and ever since there I’ve been “experimented” a few different dance styles (such as contemporary dance, sacred circular dances, african dance, jazz, ballet, street dance, contact improvisation, somatic movement, acro yoga, tango, bachata, salsa, forró and samba) but since 2010 my passion has been to dance and research the human movement through the lenses of Axis Syllabus, ”a constantly evolving reference system, or lexicon for the organization and cross-correlation of empirical and scientific findings from the study of human movement. This includes anatomical details, physics, practical applications, research, analysis and transmission” (Frey Faust ).
Because of my involvement with the Axis Syllabus Research Community I gave my first steps as a producer and soon after that I was invited to be part of the production team in the secretary of culture of Porto Alegre. And when one works with culture In Brazil, soon one learns how to produce, and build scenery and costumes, and how to operate the lights or the sound system, in addition to teach and perform. Sometimes for more than a sincere interest, but for necessity. In my case, I think it was more the passion for the adrenaline on the backstage which have driven me to it, in the first place. And because of that I’ve connected with other artists in a collective of independent artist (NECITRA ). This collaborative and transversal artistic group gave me the opportunity to try a dialog with some artistic languages related to circus (juggling, acrobatic tissue, aerials), plus a better sense of autonomy but co-creation with my future projects.
The feeling of collaboration became even stronger after I had my first contact with forró, a Brazilian partner dance from northeast of Brazil. As every partner dance, we need two people collaborating to create something together. One leader and one follower. But from my perspective that doesn’t mean that anyone is less active or submissive to the other when in the dance floor. As in any partnership, both are equally important. That why I like to use the idea of a dialog, where both of have something important to say, but we’ll always need someone to start the conversation. Approaching partner dance from this perspective I’ve been able to discuss social aspects of forró through dance.
Forró comes from the word forrobodó which means party. The same word is used to refer to the musical genre and dance style. Nowadays forró embraces on its vocabulary steps from other partner dances but on its origins, forró was no more than a walk while hugging each other. The famous two steps to one side and two steps to the other side.
From the traditional “dois pra la e dois pra ca” to every know forró style in Brazil or abroad, there is one thing which is “unchangeable”, forró is a dance of embrace. The basic step in forró is no more than a little walk (usually starting with the leader stepping forward with the left leg) followed by change of direction, stepping backwards. Forro is a very democratic dance, with simple steps. And I believe that’s one of the reasons why so many people feel attracted to it. But at the same time it can be considered a very “intimate” dance, because of the level of physical contact and this can be the first barrier to learn how to dance forró. Empathizing with cultural differences that I could note during my classes when I first start to teach forró in Europe, I’ve created my own way to teach forró. Taking into consideration those barriers, I’ve started a project called The Art of Embrace.
The Art of Embrace it’s a conceptual workshop where I’ve been approaching partner dance as a dialog, not so focused in the "vocabulary" itself, but trying to develop self-awareness by exploring connection in partner dances. At the same time bringing the attention to questions of gender determination in the roles of leader/follower and proposing partner dance as a way to discuss gender equality.

Qualifications & Training

2002 - 2006: Degree in Physical Education
2007 - 2008: Master in Pharmacology
2009 - 2012: Dance Formation (Experimental dance group of Porto Alegre - Brazil)
2009 - 2009: Pilates Teacher Program
2010 - 2012: Master in Sciences of Human Movement
2011 - 2015: Axis Syllabus Teacher training Program
2013 - (interrupted): PhD in Education and Art
2013 - 2013: Performer at Cia Sorriso com Arte
2014 - 2015: Performer at NECITRA (POA)
2017 Nov: Blues Baby Blues Festival (London)

Other Information

Relevant Skills

Body availability
Good communication skills
patience
ability to control groups of pupils
business skills (if self-employed)

Interests & Hobbies

Forro - dancing
running
park
acro yoga