Inquiring for the body is my profession, using intuition as a method of work, intelligence as a common denominator and culture as a necessity for growth.

My investigation begun at age 9 when auditioning at the ballet academy, the examiner asked me to point my foot while ‘stretching’ my knees. How could this be possible?

My teachers did their best to sculpt and condition my body to jump high and elegantly but failed to make me conscious of my body’s true nature. ‘Fit the mould’ was the order of the day.

It is in fact only after the end of my ballet-career that started my quest to regain the genuine living body underneath the exclusive instrument it had become.

Through various theories of dance and movement philosophies, my perceptions changed and my paradigms got challenged again and again.

My attention for the body as an organic substance got awakened; in its forms, its expressions and its needs. The interaction between conceptual, aesthetic and organic became an artistic expression in itself. My experience became inclusive rather than elitist.


Ballet developments

I was 9 years old when I entered the Conservatoire de danse du Théâtre Royal de la Monnaie in Brussels.  At the age of 17 I signed my first contract as a ballet dancer in the Théâtre de l’Opéra de Nice in France. One year later in 1981 I joined the Ballet Nacional Clásico de España in Madrid, and from 1982 until 1987 the Ballet National de Marseille. From 1987 I danced at the Dutch National Ballet in Amsterdam, where I concluded a rich ballet-career in 1998.


Contemporary developments

An uninterrupted 18 years of devoted labour left me exhausted. In spite of this my passion and curiosity for dance continued to burn with a renewed intensity. This brought me to make a leap towards contemporary dance and choreography. An aspect that intrigued me particularly was improvisation.

Between 1998 and 2004 I enrolled as a student at the School for New Dance Development, the Body Weather Laboratory Amsterdam and attended several workshops with eminent personalities from the dance world.

Throughout that period I would choreograph and perform regularly in collaboration with wonderful artists and dance makers, working from within and most often outside the recognised theater realm. The vision of these artists intrigued and fascinated me.

Learning new ways to have access to dance and reach an audience changed my own vision radically. I started to perceive movement, performing art, teaching, learning and life as one whole experience. I also begun to recognise the physical and mental healing and therapeutic potential of dance and art.

Since then I have been performing and choreographing, teaching ballet and contemporary dance technique, improvisation and composition.


Knowledge, intuition and experience

I then felt the need to conciliate my knowledge and experience and to define it with words grounded in academic theories.

In 2004 I began studying at The somatic Movement institute, which gave answers to my quest and settled the foundation for my actual work.

This wonderful study taught me how to achieve physical and mental autonomy, learning how to coach myself and others.

I became a Somatic Movement Senior Coach.


Parallel to this and out of the need to find a workout routine that could give support to old injuries and abused joints, I practiced and followed a formation to become a Pilates instructor. I taught Pilates for a few years before developing my own workout method that I’ve called Mind-Body Fit and which combines fundamental findings along my working experience and explorations.

Mind-Body Fit   Amsterdam    020 7856100    annonces@alfredofernandez.nl