Contemporary dance Teacher, Choreographer and Dancer

In the last 20 years he has been working all over Europe, applying his extensive knowledge of the moving-body in the areas of improvisation and contemporary dance. He has taught in many theaters, companies, University and dance institution such as:

Theatre am Gärtnerplatz, Theater Gießen, Theater Heidelberg Theater Pforzheim, Theater Bielefeld, Theater in Kassel, Theater Braunschweig and Bremen.

Folkwang Tanz Studio, Neuer Tanz, Cooperativa Maura Morales.

Folkwang Universität der Künste, DansArt Academy, HJS (Henry Jurten Studio) and JMD Academie voor Theater en Dans / Urban Contemporary) in Amsterdam.

Tanzhaus NRW, Kaay Fecc Festival Dakar .

Along with his teaching he has choreographed several works for this organizations and his own independent projects. Most recent  choreographies are: Körpererzählung (2019), Der Blonde Eckbert ( 2016 /17 ), Der Tag am dem der Goldfisch Starb  ( 2015 )  commissioned by the dance Compagnie in Gießen, Stray Dogs ( 2018 ), What about you ( 2016 ) commisioned by the Compagnie Strado in Ulm, Energieplan 48 hours Performance inspired to Joseph Beuys ( 2013 ) in collaboration with the musician Reinhard Köhler.
 

Since 2017, he has been responsible for the creation and supervision of an original educational programme for contemporary dance and improvisation for the Shenzhen Art School academy. The programme is supported by the TanzArt Festival Ostwest in the person of Tarek Assam, the Tanz Compagnie Gießen and the Ministry of Culture of the Hessen region.

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In parallel to his stage activity, he works with private and public institutions and leads several social projects with people of all ages and backgrounds.
Since 2016 he has been successfully leading the Kroki project in collaboration with the University Hospital Gießen/ Marburg and the Theater Gießen. In this context, he developed a training method to help children with psychosomatic illnesses through dance.

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In 2019 he founded a similar association in Düsseldorf, which he names KROKI Düsseldorf with the same intent to help people with chronic diseases, with particular attention to the young age group.In the past year he has also led many projects and workshops with mixable profesional dancers and amteur.

With choreographer Gerda König, creator of the M.A.D.E. ( Mixed-Abled Dance Education ) project, he is collaborating on the creation of a new method of studying contemporary dance that will allow students and dancers with and without disabilities to share a common education.

In 2020 he joined the Ta.med. (dance and medicine) association. With which she is currently studying for the Tamed certificate.

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Paolo Fossa began his dance training in 1992 with the Theatre of Turin, where he studied the Cecchetti and Balanchine syllabus and Limon modern technique. Later he worked with the Theatre BTT and Teatro Nuovo in Turin, where he danced the repertoire from W. Forsythe, M. Ek, J.Kylián, J. Limon. In 1999 he moved to Germany and danced in several theaters and companies among which Theater Heidelberg, Bielefeld, Hagen, Darmstadt and Bremen, DinA13 Company, Sosta Palmizi, Kaiser-Antonino Dance Ensemble, Curtis & Co and with many choreographers such as Katrin Hall, Fabien Prioville, Jochen Ulrich and others. During the years he trained various dance techniques including Instant Composition, Contact improvisation, Fighting Monkeys, Butoh and Body Weather. He attended courses in Chinese Medicine and Feldenkrais Method. He practice since many years various Martial arts ( Judo, Capoeira, Kalaripayattu and Shaolin Kung Fu ), trained Yengar and Astahnga Yoga for several years, that he integrates in his choreographic and teaching work.

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Dance Art and Education

“We have a brain for one reason and one reason only -- that’s to produce adaptable and complex movements. Movement is the only way we have affecting the world around us… I believe that to understand movement is to understand the whole brain. And therefore it’s important to remember when you are studying memory, cognition, sensory processing, they’re there for a reason, and that reason is action.”

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Daniel Wolpert*

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Content coming soon

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Dance and art.
Dance as art and the art of dancing are not exactly the same thing.  

The first refers to an artistic domain which almost always involves a product to be marketed. This product, which we can conventionally call choreography, is a very complex artistic form, which changes over time, and which always includes new readings and interpretations of the body. 
As it is born from the body, and is characterised by a body moving in space and time.

The art of dancing is, in my opinion, something much broader and deeper that is not limited to the creation of a product but to a state of being. 
It does not involve a recognised professionalism, because it cannot be marketed, it refers directly to a way of living and seeing the world. 
Sometimes these two visions converge and then the best results are achieved. 

This often happens when one improvises with other people without specific aims, when during a lesson pupils and teacher interchange and become one developing entity, or when a choreographer has not used the dancers for his artistic purposes but has made those dancing human beings represent them and become messengers and creators at the same time.