I met Daniela at the end of 2016, at Sarah Storer's contemporary dance ensemble audition. At that moment I saw a skilled, capable and empowered woman. She had just returned from a six-month recovery for her ankle, and at the audition I saw a stable body, energetic and eager to move again.

We meet again in the first semester of 2017, we share almost all the subjects together. The staging of History of dance and Dance repertoire, as well as the basic technique of contemporary dance Release, and finally, Sarah Storer's contemporary dance ensemble.

As for the staging area, I highlight in Daniela her way of writing, text analysis and synthesis. During his process, I saw a consistent and conscious work regarding the investigations and recognition of the avant-garde of dance. In the dance repertoire, I saw his great interest in codified movement, and the different techniques and ways of learning dance. His analysis and continuous reflection allowed him to have a consistent process. I also saw how translating the theory into his body was sometimes conflicting, because styles such as Butoh, conceptual dance or theater dance, were difficult for him to visually appropriate and appreciate. There I realized his interest and potential to inhabit the techniques with his body. Also his fascination for choreographic pieces, agile movement and synchronized bodies.

His process in basic techniques has been revealing. From the beginning I saw his great interest in contemporary dance and the training of the dancer's body. I highlight their discipline, commitment and presence during classes. I remember that in principle Daniela was motivated to move and inhabit the space with her whole body; however, due to the previous pause it had had, its placement in the space and the musicality, they were somewhat affected. Sometimes her excitement to move led her not to observe those around her, and following the musical time or the sound patterns was difficult for her. Of course, this for the first semester of 2017, because, throughout the semester, I saw how his spatial awareness was awakened and sharpened, and how, in Ballet class, his auditory work was enhanced, allowing him to execute the variations and variations with greater precision. bar exercises.

In the ensemble with Sarah Storer, we shared the process of creating the piece “No, Ella No”, in which I saw a precise, capable and versatile performer. Her process was fruitful, she was purposeful, creative and active during each trial. He was challenged to work the contact dance, he did a body manipulation piece in which his work was highlighted. She enhanced her verbal communication, because, at times, exposing her ideas or being clear with her decisions was difficult for her since it was not a group with which she had worked before, and since there were so many different people, she felt shy with their comments. However, his body remained in dialogue and disposition the entire time.

On the other hand, in the second half of 2017 we returned to work in the Basic Techniques area. Starting with the Classical Ballet technique, I saw a trained and intelligent body, taking corrections with agility and seeking to expand its limits. Musicality was a developing skill, to which he paid a lot of attention. I noticed how his muscles were toned, his posture was more conscious, and his foot articulation improved. He worked on lengthening his body and not doing static postures, but lengthening the movement and using his skills. She is coordinated, attentive and persistent, she sweated the class from the beginning to the end, I felt that I just needed to believe in her more, because she was very skilled and sometimes she did not realize how good she was in technique.

In the Contemporary Dance Technique I saw a more conscious technical rigor and spatial work. Her attitude of sharing and learning led her to master the class exercises, she easily connected with the group while recognizing herself as a skilled and capable body. His performance in this class allowed him to perform with great technical and expressive development in Arnulfo's ensemble.

Her work in that ensemble was precise and forceful, she remained active, and conscientious during the creation process. There I noticed, for the first time, his great interest in choreography, in the role of the choreographer; his creative mind was constantly coming up with ideas, and during the performance he challenged himself on the code of the movement. We were doing a demanding choreographic piece, she accomplished it quickly. His spatial memory, and commitment, allowed me to see a great advance and foundation of the information of this creation.

We meet again in the first semester of 2018 where I saw a changed Daniela, more willing to validate herself and recognize herself as a capable and valuable body. We share the Laboratory of Dramaturgy of the Movement, in which I saw in its process great decisions and dispositions regarding the roles of creation. He worked on a piece that changed from a duet to a solo. His subject was the wounds, the marks, those tattoos that the body conserves even when they are not seen with the naked eye. His piece was lyrical and was accompanied by a text. It was the first time I saw Daniela use her voice in a dance composition. In this process, I think that the greatest challenge was to sustain and deepen his ideas, it was difficult for him to inhabit emotional spaces, then, opening old doors or spaces of vulnerability, they were shocking, since he did not want to expose his shock to his audience.

Finally, in his last semester, we found ourselves again in the contemporary dance technique, and in the Laboratory of choreographic composition. At that moment I saw Daniela more empowered and aware of what she wants to be and what she already is. Within the technique his rigor remains impeccable. Now his challenge was to work on patience and the details of the movement, well, it is already a very encoded body; her physical training is reflected in her choreographic compositions, she works from the physical, the codified, difficult and demanding movement. He made a piece in which his body was observed from various fronts and points, his movement was telling and clear, and his spatial design enhanced his sample.

To this day, I see in Daniela a creative performer capable of assuming the different creation processes based on her experience and previous training. She nimbly weaves information together and digests it through the body. Likewise, her abilities to organize and fix movement, as well as dialogue with other bodies, allow her to face the scenic creation from the roles of producer, creator and performer.