Ana Continente. Dancer, Choreographer, Dance Teacher.


In my training as a self-taught artist and dancer I have always sought to integrate the diverse performing arts and techniques and disciplines that no single school could offer.

I studied theatre with Jaques Lecoq in Paris and took various classes with masters such as Lee Strasberg. I took lessons in the Alexander technique and I trained as a voice artist at the Escuela Sincrotake in Zaragoza.

For many years I studied contemporary dance with Paul Grey Watts from the Alvin Ailey Company, with Anne Mielhorse (Graham), Gerald Collins (Limón) and Carolyn Carlson.

I took classical ballet dance classes with Emilia Bailo at her studio in Zaragoza.

I delved into the art of flamenco dance with Antonio Canales and “el bailaor” Jesús Rondeño.

In Senegal I studied african dance with Germain Lacogny, Mamadou Fall and Karo Diallo and was a dancer of the Senegalese band Makumba Beat.

During the summer of 2014 the Company travels to Berlin to work with Cathie Karaker(EEUU) and Sharon Hilleli-Assa(Israel) in Dock 11.

In this moment I was invited in the Open Space 2014 directing by Christine Bonassea(France) and Sara Shelton(EEUU) in Eden Theater( Berlin).

In August of 2015, I was selected by Sgae(General Society of Authors from Spain) to receive a professional training focussing around Phhysical Theater and Contemporary Dance in Summer Paris Academy directed by Medhi Farajpour from the Orian Theater Company( Paris.-Iran), it,s was a Marais School,s collaboration.

Ana Continente. Dancer, Choreographer, Dance Teacher. Ana Continente. Dancer, Choreographer, Dance Teacher.


I have worked as an actress with theatre companies such as El Silvo Vulnerado Teatro-Luis Felipe Alegre (Clásicos in verso, Poeta en Nueva York), Teatro del Alba-Santiago Melendez (Yerma, Terminal, Yara Berun), Luna de Arena Teatro-Félix Martín (Gargallo, un grito en el desierto.)

For many years I was part of the dance company ABCDanza: La espera, Siete flechas y un Sagitario, Las ciudades y el cielo. After this experience, I formed my own company, Ana Continente Danza. Dance Company.

As a choreographer, I have developed my work to other dance companies, theater, circus ... and musicals. Choreographic works..

I have been working as a teacher for over 12 years, teaching workshops not only in Spain but also Brazil, South Korea and Finland. Dance School.

In 2010 I was selected as a teacher at the twentieth Festival ECITE (Contact-Improvisation Dance) in Helsinki-Finland.

In 2011 I got an artistic residence in Seoul-Korea within the project "Crossing of movements projects" led by Soon Hoo Park Company.

In 2011 I participated as a choreographer and teacher in the "Conexao Samambaia" project in Goiania-Brazil under the direction of Kleber Dámaso.

Ana Continente. Dancer, Choreographer, Dance Teacher. Ana Continente. Dancer, Choreographer, Dance Teacher.


In this physical, mental and spiritual quest of mine the practice of yoga makes the transformation of body and mind complete, all of which has lead to a very personal movement style seeking to express the truth hidden beneath a trained body and mind.

The answer is unity.

Being aware of your thoughts and transform them into movement, analyze movement in order to master it, these are my goals. Technical perfection is just a means to unveil your soul.

In my work improvisation is the main creative force as it helps me break the limits and develop a more authentic movement.

Since dance as a purely stylized exercise doesn't interest me, I tend to merge dance techniques with tools of the theatre art such as character interpretation as they connect movement to the will to express the primordial.

Dance is the quality and execution of movement while theatre is the means by which they materialize on stage to express our innermost truth.

When I speak of quality I mean intensity, rhythm, mood, accent, harmony, prosody, acceleration, pauses, symmetry and dissonance of the movement.

When I dance or when I create a choreography I am very much interested in the relation with the performing space, the music and the audience as emotional and rational stimuli.

African dance has been very important in my pursuit of meaningful movement since it opened a door to spirituality and put me in contact with parts or my interior that had been locked away and blocked by culture and education.

It helped me unblock my nervous system and get through to the sensitivity and awareness of the body and the space that surrounds it.