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.