Cristina's pedagogic practice started in 2010 after taking part in 50 days of Flying Low and Passing Through in Costa Rica with David Zambrano, where she was the only Portuguese artist to be invited to participate in this unique project.

At the end of the 50-day intensive, each student received a letter of certification by Zambrano approving them to further develop Flying Low and Passing Through within their own artistic practice. Working with David Zambrano during the most intensive period he taught in a row, in 2010 and through extensively studying his techniques since 2005, she has gained the teaching qualifications for Flying Low and Passing through, which is since then integrating in her own teaching practice, always in constant change and development.

"I embody and share the knowledge of David Zambrano’s Flying Low technique adapted to my own artistic vision and needs, always taking care of the temporary group that is formed for the class. I see it as a technique that teaches my body spiralling pathways and skills to move in and out of the floor in a very direct and intentional way - it's something I always keep in my pocket using it when in need, as with other techniques. In the practice, the dynamics increase progressively using imagery and touch by exploring and exploding each short exercise, where participants are challenged to find their own solutions through experimenting, figuring out what are the pathways which cross their bodies, rather than established formulas or shapes. We work on the principles and the states rather than the exercises and everyone is challenged to disconnecting from the usual right & left or front & back idea. The technique focuses on the relationship with the floor by utilising simple movement sequences and by practicing speed and the release of energy throughout the body in order to activate the centre."

RADICAL SOFTNESS is a personal appropriation of an expression I've even tattooed on my body. It describes my position in the world and how I take part in it and in everything I do. I depart from the premise that personal is political and that art, even if we want it to be, it is not political enough. I create not as an artist, but as a person, as a woman, as a citizen. Through my artistic practice I see, question and connect to politics, spirituality, ethics, and togetherness and my artistic practice weaves curating, making, performing and teaching.

I don't believe in the conventional education of dance and I wish discipline designations would be abolished - our need to define is often very restrictive.

This workshop provides an individual artistic research that is not based on forms, shapes or conventions but rather ignites from what we need, individually to be able to manifest creatively in the world. It is shaped by the transmission of experiences through asking questions. 

Molded by two segments, in the 1^st one, we start by awakening our bodies and ourselves as a physical tool for deep connection with the universe, through practices like yoga and somatics, aligning to the reality of the daily macro-cosmos shifts that affect our micro-cosmos as a person. Through a continuous flow of movement, the body is seen as an oracle and as a vehicle for transcendence. The participants are encouraged to forget dance, to forget what composition "looks" like and to move big or small from their real needs to look for comfort on several mediums, like a river flow of images of the here and now.

In a 2^nd part, always accompanied by a beat sound that connects us all in a collective individual manifest, we will explore the basics of my choreographic practice, working with several layers of attention that fade in and out, repetition and constant exposure of the research. We will be doing things for a very, very long time until we shed the layers of performing through insistency, intensity and intention. We will work with juxtapositions and metaphors, always evolving and unfolding through the necessary means: voice, body, presence, and breath work. The participants are invited to dive in the grounds of my previous pieces and to play in the meanders of ambiguity; of concrete and abstract images; of a subject and an object body.