Neoclassical · Verónica Tandura Method
A Neoclassical practice structured to expand awareness, musicality and movement possibilities while keeping dance at the center.
The Method
Created by Verónica Tandura in 2004, the Method starts from the grammar of Ballet — a complete barre and centre — and develops a Neoclassical practice that asks for technique, perception, musicality and a readiness to discover other movement solutions.
The Method is structured through the study of movement biomechanics and respect for the body. This does not turn class into a laboratory: technique provides organisation while the dancer explores how to preserve clarity, efficiency and quality without reducing movement to a rigid shape.
Exercises combine classical vocabulary with music from varied styles, different pathways for port de bras and torso, and movements characteristic of the Method. Breathing and sensation are used as attentional tools to deepen body awareness, refine technique and expand expressive possibilities.
The proposal is deliberately demanding. There is always something new to learn and work on: rather than repeating a fixed formula, class presents coordination, musical, perceptual and expressive problems that keep technique alive.
Architecture of the practice
Class preserves a recognisable Ballet structure. Barre organises preparation, support and coordination; centre work moves those relationships into space, where balance, transitions and intention must remain available without fixed support.
Biomechanics guides the construction of the Method. Pedagogically, this means observing how the body produces, transfers and receives force while acknowledging individual differences instead of forcing one shape at any cost.
Breathing and feeling are not presented as decorative language. They are ways of directing attention towards tension, support, direction, continuity and effort, helping dancers perceive what they are doing while they move.
Music from varied styles changes accent, timing, dynamics and intention. The Method uses that variety to resist automatic execution and to train technique and musicality as parts of the same action.
Different pathways for arms and torso expand the available solutions on top of a known technical base. The aim is not decorative gesture, but reorganising coordination, direction and flow without losing bodily clarity.
The Method’s characteristic movements develop perception and bodily intelligence. The emphasis is on recognising adjustments, learning from sensation and gaining resources to respond to new challenges without relying only on external correction.
In brief
It is a Neoclassical dance practice created by Verónica Tandura in 2004. It starts from Ballet structure — barre and centre — and combines technique, musicality, perception, breathing, port de bras and torso work to expand movement possibilities.
It develops dance technique without separating execution, perception and expression. Classes work on coordination, body awareness, musicality, balance, transitions and movement vocabulary.
Because it combines a recognisable technical base with varied music, dynamics and bodily pathways. This creates room to refine technique while exploring other movement solutions.
Body awareness, coordination, musicality, balance, expressiveness and a broader movement vocabulary are central pedagogical goals. The aim is to gain resources for perceiving, organising and expressing movement with greater clarity.
No. The Method uses Ballet grammar and class structure as a base, while incorporating varied music, different port de bras and torso pathways, dynamic exploration and movements characteristic of Neoclassical practice.
There are paths for Ballet students from age 12, from beginner to professional level, and also for adult beginners. Format and level should match each person’s experience; study can be in person, live online or recorded.
The benefits described are pedagogical goals and expected practice experiences. They are not clinical promises or guarantees of individual results.
Scientific context
Scientific literature offers useful language for understanding why biomechanics, proprioception, attention, variability, imagery and repeated practice matter in dance learning and performance. This context broadens the reading of movement without serving as specific external validation of the Method.
DanceNeo presents the Method and scientific literature in separate layers. Technical articles identify sources, limitations and uncertainty explicitly.
Explore the technical libraryForces, support, range and balance strategies can be observed and measured, but no equation turns a mechanical pattern into artistic quality. Technique still has to integrate data, task and intention.
02Learning means reorganisingImagery, feedback, repetition and task variation can direct attention and alter movement solutions. Their pedagogical value depends on how each stimulus interacts with experience, goals and the dancer’s response.
03Practice changes possibilitiesDance neuroscience describes adaptations associated with experience and learning without supporting shortcuts or claims that one method is inherently superior. Progression, variety and context remain essential parts of the process.
Classes are designed for Ballet students from age 12 across beginner, intermediate, advanced and professional levels, and also for adult beginners who have never danced. The common ground is not prior virtuosity: it is developing perception, coordination, musicality and movement through progression appropriate to the body and experience.
The Method
Dance is always front and center.
Creator
An Argentine dancer, teacher and choreographer, Verónica began dancing at age three and developed the Method through training and professional experience in Ballet, Contemporary and Jazz.
Her curriculum records work with Ballet del Mercosur and Tangokinesis, performances in more than 17 countries, a season at the Palace of Versailles and participation in the filming of Francis Ford Coppola’s “Tetro”.
Verónica developed and taught the Method in Buenos Aires before moving to Brazil in 2010. In São Paulo she taught at established schools, and the work went on to circulate in Argentina, Brazil, Colombia, Portugal and Germany.
Faculty
The current public set brings together teachers accredited to teach Neoclassical — Verónica Tandura Method. Their curricula combine classical training and different professional experiences; profiles will expand progressively on the platform.
Accredited teacher
Dancer trained through the Royal Academy of Dance and the Ballet Adriana Assaf technical dance program.
Accredited teacher
Dancer trained through the Royal Academy of Dance and qualified as a teacher by Cuba’s National Ballet School.
Accredited teacher
Dancer trained through the Royal Academy of Dance, with professional experience in dance and musical theatre.
Study the Method
The Method is offered in person, live online and through recorded classes. It addresses Ballet students from age 12 — from beginner through professional levels — and also adult beginners with no previous dance experience.
The fullest setting for barre, centre, travelling, musicality and spatial work under the guidance of accredited teachers. The format allows adjustments and progression to be observed within the real context of class.
Synchronous classes adapted to the available space while preserving attention, coordination, musicality and progressive construction of exercises. The goal is not to imitate a larger studio but to preserve the logic of the work.
Recorded courses and materials allow exercises to be revisited, sequences to be studied and details to be reviewed at another pace. The platform organises this content as a progressive study path.
Media
Conversations, classes and records from the Method’s public archive, gathered from the official YouTube channel.
Video from the Method’s official channel: “Método de Neoclásico Verónica Tandura en Hotmart - Curso completo”.
Technical library
Essays on dance, biomechanics, learning and performance. Each piece separates what the literature actually measures, what remains a hypothesis, and what belongs to pedagogical practice.
Latest publication
Brain & learning · #021
Neuroplasticity has become a popular term and sometimes an explanation for every benefit. In research it has a more specific meaning: structural or functional change associated with experience and training.
Read articleContact
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