Certified Yoga and Mindfulness Teacher Offering Personalized Relaxing Classes for All Levels - Accessible to every budget

Find out more about Carolina

• 1. When did you start practicing? How did this passion find you?

  I didn't choose performing arts — it chose me. At seven years old, I wandered into a school rehearsal and felt something shift. Watching bodies tell stories without words, I was completely undone. I started dancing that same year and discovered theatre shortly after. What began as a childhood obsession became a lifelong conversation between me, movement, and the stage. I've never once had to convince myself to show up — the work always calls me back.

• 2. Which artists or works affect you the most?

  Pina Bausch changed how I understand the body as a vessel for emotion — her work in Café Müller showed me that vulnerability is a technique, not a weakness. In theatre, I return again and again to Anne Bogart's Viewpoints method and the raw emotional honesty of Stanislavski. For dance, I'm moved by the way Akram Khan fuses classical Kathak with contemporary movement — proof that discipline and rebellion can coexist. These artists remind me that the best work comes from somewhere deeply personal.

• 3. What are the qualities and skills required to succeed in this area?

  Discipline is the foundation, but it's not enough on its own. What truly separates artists who last is emotional courage — the willingness to be seen, to fail publicly, and to try again. Beyond that: spatial awareness, rhythmic sensitivity, the ability to listen with your whole body, and a genuine curiosity about people. The technical skills can be trained. What I look for and nurture in students is presence — that ineffable quality of being completely here.

• 4. What is the most valuable advice you can give to help someone stay focused on creative projects?

  Fall in love with the process, not the outcome. The students I've seen quit are usually the ones chasing validation — applause, grades, likes. The ones who flourish are obsessed with the doing. Set small, daily rituals: ten minutes of movement, journaling a character, practicing one phrase until it lives in your body. Creativity isn't inspired — it's built. Show up even when it feels flat. The breakthroughs happen just past the point where most people stop.

• 5. How would you describe your passion; how does it make you feel?

  It feels like being most fully myself. When I'm deep in a rehearsal or watching a student unlock something new in their body, time disappears. There's a particular feeling — almost electric — when a movement clicks into meaning, or when a scene suddenly lives. I'd describe it as being simultaneously very small and very large at once. The stage and the studio are the only places where I feel the world make complete sense.

• 6. What creative achievements are you particularly proud of?

  I'm proud of the productions I've directed where non-professional students performed with real artistic authority — not just executing steps, but communicating. One piece comes to mind: a devised theatre-dance work where the entire cast wrote their own movement vocabulary based on personal memory. The result was raw and irreplaceable. No achievement feels more significant than helping someone discover they have something worth expressing.

• 7. Have you ever been surprised by a student; by their ability or quick progression?

  Constantly. The students who surprise me most are rarely the "naturals." I once worked with a teenager who had never danced — stiff, self-conscious, convinced she had no rhythm. Within three months she was the most emotionally present performer in the room. She had no technique yet, but she had truth. That's something you cannot fake. Those moments remind me why teaching is its own art form.

• 8. Being a Superprof is an art! What is your secret?

  I teach the person, not just the craft. Before I think about technique, I want to know how a student learns, what they fear, what excites them, and what story they carry in their body. My secret, if I have one, is that I never treat a lesson as a transaction — every session is a collaboration. I bring the same preparation and presence I'd bring to a performance. Students feel that. When a teacher is genuinely invested, students rise to meet it. Every single time.