Support of the French-Brazilian dancer Fabricia Martins

Photo: Thomas Geffrier.

Photo: Thomas Geffrier.

Fabricia Martins

Born in 1973, in Minas Gerais, Brazil, Fabricia Martins is a dancer, performer, researcher, educator and teacher of Pilates Motley. She lives and works in France since 2006. A graduate of the dance department of the University Paris8, she obtained her Master 2 Arts, music, dance specialty in 2011 under the direction of Professor Isabelle Launay. Trained at the conservatory of Music, Dance and Theater of Belo Horizonte, she has led a rich collaboration since. Like the one with the TkH group in Belgrade, in the How to Do Things by Theory project, and the W seminar with Joris Lacoste and Jeanne Revel at Laboratoires d’Aubervilliers. She has also participated in the film and the theatrical performance That Rolls - That-which-rolls by Austrian artist Rainer Ganahl, assisted by Fanny de Chaillé. She collaborated and worked with Lia Rodrigues, Michelle Moura, Thiago Granato, Pierre Leguillon, Judith Cahen, Joris Lacoste, Sabine Macher, Wagner Schwartz, Cecilia Bengolea, Lénio Kaklea, Gustavo Ciríaco, Frederico Paredes, Dudude Hermann, Anne Collod, Gaëlle Bourges, among others.

In 2003 she received the award Bom Sucesso - dancer revelation - by her performance in the show 4 Solos para 3 Interprets, by Dudude Herrmann.

“I now have many years of dance practice and dance teaching, and my pedagogy I have built little by little along the way. In this path of self-taught teaching I have reproduced many of my masters (in a process of mimicry completely natural), I asked myself many questions, I went elsewhere but especially I learned a lot with my students, but in France, for some years now the question of the diploma of dance teacher status arose on the one hand because this diploma represents the opportunity to study dance pedagogy in a systematic and structured way, and I know the field of dance pedagogy, but I would like to widen my field of vision, experiences, to know other approaches, with different publics. On the other hand, this diploma is the condition for the maintenance of my activity, it is required for the teaching of dance in France I had no choice, but it did not displease me at all! The idea of going to feed me to better give to my pupils enchanted me. I do not particularly want to teach in conservatories, I’ll be able to do it soon, anyway, I hope so. But what attracts me the most in this idea of being a graduate of the state is that I will have more tools to go dance where you do not expect, where the art is not summoned. And that I want to heart. Because it was through a theater performance, quite improvised with very precarious means, assisted at the age of 5, that I was caught forever by art. I can say that I know what art can do in the life of a child of a violent family, in a poor suburb of Brazil, under a military dictatorship. It saves me! This training in pedagogy gives me the keys that I missed in my approach. Now i’am a week away from finishing it. I could not have done it to the end if I had not found the support of the Lorenzo Padilla Foundation. And I am very grateful and comforted to be supported in a pivotal moment of my life. I wish “vida longa" to the Lorenzo Padilla Foundation and that she can also meet the support necessary to carry out her gesture of supporting artists all over the world. Life is always beautiful.“