Eduardo Vallejo, director and choreographer from Asturias, has developed his professional career in the fields of classical and contemporary dance across various institutions in Europe and the Middle East. His training is complemented by studies in martial arts, visual arts, photography, and dramaturgy, shaping a transdisciplinary approach that places the body at the core of scenic thought.
In 2018 he founded Batbox Productions, a platform through which he has been able to realize his own artistic projects, and in 2019 he created his company Ogmia. The company has received support and residencies from leading institutions such as la Compañía Nacional de Danza, el Centro Coreográfico Canal, los Teatros del Canal, el Teatro del Bosque, el INAEM, la Comunidad de Madrid, and el Ayuntamiento de Madrid, among others.
With his first creation for Ogmia, No Time to Rage (2019), he was programmed at los Teatros del Canal and received four nominations for the Premios MAX: Best Dance Production, Best Choreography, Best Male Performer, and Best Musical Composition. In 2021 he was selected for the Think Big residency program (Staatsballett Hannover), where he premiered a new creation at TANZtheater International Hannover. That same year, he received three awards at the Festival Masdanza, including the Audience Award.
In 2022 he premiered Mother Tongue at el Festival Internacional Madrid en Danza. The work was later selected for Tanzplattform Bern International Dance Festival and Choreographers’ Competition 2023, as well as for la Quinzena de Dança de Almada – Festival Internacional de Danza. It was subsequently selected by AECID for its 2025–2026 catalogue. In 2023, he began the year as assistant director at the Compañía Nacional de Danza and premiered alongside Ogmia. Glass House at el Festival Internacional de Danza Xixón, and the work was presented the following year at el Festival Madrid en Danza and MADferia.
In 2024 he began the creation of Replicant, a project developed through research residencies at institutions such as el Centro Coreográfico Canal, EiMa Creació, and la Fundación Antonio Gades, with the support of Acción Cultural Española (AC/E). That same year he initiated the creation of Spira, with a research residency at el Centro Coreográfico Canal and artistic assistance by Roberto Fratini, a collaboration that continues in his 2025 production Bloodmoon. In 2025 he was invited as a creator to the 7×7 program at Tanzhaus Basel.
Ogmia and Eduardo Vallejo have presented their work in numerous international festivals and performance venues, touring their creations in countries such as Spain, Germany, Switzerland, Portugal, Poland, and Italy, within contexts including Tanzplattform Bern, TANZtheater International Hannover, el Festival Internacional Madrid en Danza, Danza Xixón, la Quinzena de Dança de Almada, Wonderland Festival, and Masdanza, among others.
In his constant pursuit of a personal artistic language, Eduardo Vallejo has developed the research process Movimiento Dactilar, an approach that can be defined as an anthropological and cognitive-behavioral analysis of movement, articulating creation, research, and pedagogical transmission.
Alongside his creative work, he maintains an intense teaching activity and works as a guest choreographer, leading workshops and creation processes at institutions such as el Institut del Teatre de Barcelona, Theater Basel, el Centro Coreográfico Canal, Elephant in the Black Box, The Institute of the Arts Barcelona (IAB) partners with Liverpool John Moores University, higher and professional dance conservatories, and various international programs and festivals.
Eduardo Vallejo’s work is characterized by a strong formal and poetic dimension, with a distinctive physical and scenic style. His pieces address social and political critique, gender roles, power dynamics, and interpersonal relationships, exploring the tension between the individual and the collective.
