1. Epic Memory Projections

2. African & Caribbean Locomotions

3. Feelstyling

4. Reinforcements

5. Sections

6. Riddim



Studies dealing with specific qualities of movement derived from varied African and Caribbean aesthetic dramatic sources.



Dance studies designed around basic locomotive actions, which are the bases of all theatrical adroitness/dexterity, brilliancy, and communication. (walking, running, leaping, jumping, gliding, skipping, etc.)

Principles of spinal contractions and release and the curviliniality of movement, create a powerful and organic connection to the solar plexus and to the ground. Too often African inspired dance often only consist of a series of poses the creator feels to be African, while the locomotion connecting the poses are based on European modern or classical dance. TT-tech has made an extensive study in the feel, attitude, technique and pattern of African and Caribbean locomotive movements.



Is based on the experience of the student, reacting to surrounding music and the impulses of life, and are developed around the basic class material technique and genre.

Students are expected to show, what the music, “riddim” and the moment makes them feel. Expressing this with their own body as their voice, using correct technique but otherwise being free. This is closely related to impro, or hip hops “freestyling”, but takes it to the next level. Students are expected to be able to step into the riddim, syncopate, anticipate the riddims next move, but also be able to create polyrhythm and be an instrument as well as a dancer reacting to the vibrations. Feelstyling in this context also includes showing freedom from the obvious beat, and showing a range of rhythms and movement, emotions, attitude and more.



Combinations developed and designed specifically in order to ensure protection and maximum efficiency of the bodys capabilities. The Fortifications develop stretch, resiliency, range strength, suppleness, precision, endurance, postural polycentric balance, dynamic stress, isolations, and polymovement coordination.



Sections are short phrases of movement designed to quickly stimulate and tone the psycho-physical instrument for disciplined action.

These address choreographic concepts such as changing levels, rhythmic impetus, shape, weight, volume, and tempo, while stretching, strengthening, and sensitizing the entire body.



Studies involving the student in the common signatures of various rhythms from the continent of Africa, the Caribbean, Americas and African peoples music (jazz, hip hop, house etc. etc.) Focus here is on interpreting the different rhythms through body, attitude, spirit and space. Both following and anticipating, leading and creating polyrhytms as part of the orchestra. A master of African Peoples dance, is not separate, nor enslaved to the rhythm but a part of what makes it, he/she is the rhythm and part of the instrument. The drum throbs with the hart, vibrates with the shoulders, pulsates with the hips, beats with the feat pounding or tapping the ground. This is “RIDDIM”.

The reinforcements combined with certain standard technical choreographies t are the ultimate basis of the Talawa range of technique. They are the framework of movement mechanics, of muscular development coordination, elasticity and range of rhythm and timing of movement phrasing in pulse and space and spirit. They range from the barest essentials of coordinated movement to the most complex of dramatic polymovement studies.

Talawa- technique serves almost purely as the dancers tools; it does not define their style or expression. Technique prepares the dancer to in order to access spirit, emotion and those other elements that raises dance to the level of ART.