The performance

We discovered his work in 2016 when he created the staging of Colibri for the graduating students from l’École Nationale de Cirque. He is a really talented mexicain choreographer who have worked with Les Ballets Jazz de Montréal, among others.

I think that circus uses dance, but dance doesn’t use circus, yet. I believe that the two of them combined create a whole other world altogether.

Edgar Zendejas

Transforming the movement

In the context of his short residency with three artists, Edgar took a new look at parallel bars. With two and a half weeks of preparation (and an injury only a few days before the final presentation that made him completely rethink the choreography) he created a new language of movement from the trapeze to the fixed bars, and found a way to make the movements of the acrobats look harmonious around the acrobatic tool. 

Experiencing the artists’ transformation allowed for a new way to look at movement.

Edgar Zendejas

What happened next?

This exercise gave us the opportunity to discover Edgar’s talent. As a result, he participated in the recast of an artistic number for the show Totem.  

The residency

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