Baseworks Tier 2 Certification Training: Tokyo 2018

Patrick Oancia

Baseworks Practice | Teacher Training

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6 months: 380 HoursCapacity: 20 participants2018 Baseworks Tier 2 Certification (BT2) Training TOKYO. This immersive training takes place over 6 months and 380 hours. This Tier 2 Certification training takes the participant to a new level in understanding how the reciprocation between the student and the teacher opens possibilities that extend beyond formal teaching. .

CERTIFICATIONS / ACCREDITATIONS– Baseworks Tier 2 Certification (BT2)Curriculum:

Teaching Methodology: NODAA Framework
Self Inquiry
Practice Teaching
Extended Anatomy and Physiology
Extended Neurobiology of Movement
Extended Biomechanics

Limited to 20 participants to create a highly focused experience

ABOUT THE FACILITATOR:

Patrick Oancia

Patrick Oancia is the founder of Baseworks. His background spans competitive athletics, music, and more than three decades of movement and contemplative practice. He directed multidisciplinary movement studios in Tokyo for two decades, where the teaching standards and curriculum that became the Baseworks Method took shape over tens of thousands of hours of instruction. He leads programs, hosts the Baseworks Transmission podcast, and collaborates with artists, scientists, and educators worldwide to connect movement education with current research on perception, learning, and cognition.

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CONNECT WITH BASEWORKS:

PODCASTS:

Baseworks Transmission episode artwork: a portrait of choreographer Catherine Gaudet, seated with her chin resting on her hand and smiling, beside the title On Ambiguity, Ritual, and What a Performance Does to an Audience, with the names Catherine Gaudet, Ksenia Asia Shcherbakova and Patrick Oancia and a blue soundwave along the bottom.

Catherine Gaudet: On Ambiguity, Ritual, and What a Performance Does to an Audience

2026/09/16

How a performance gets built to do something to a spectator: choreographer Catherine Gaudet talks

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Baseworks Transmission episode artwork: a portrait of Edward Clark with long grey hair, looking at the camera against a white background, beside the title On Tripsichore, Physical Theater, and the Emergence of Critical Practice, with the names Edward Clark and Patrick Oancia and a blue soundwave along the bottom.

Edward Clark: On Tripsichore, Physical Theater, and the Emergence of Critical Practice

2026/01/01

This episode explores the intersection of rigorous physical practice, critical thinking, and artistic expression—themes central

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ARTICLES:

$Title card for the article, reading "If We Wrote About Vision the Way We Write About Proprioception" with the subtitle "A thought experiment about body awareness" and the byline "Ksenia Asia Shcherbakova", set over a dark olive-green illustration of two silhouetted figures facing each other across a plain, one dissolving into a cloud of dots and connecting lines streaming from its head, the other standing against a muted gold sun with pale fractured shapes across its body.$

If We Wrote About Vision the Way We Write About Proprioception

2026/09/22

We don’t talk about vision the way we talk about proprioception, as something you only

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Angine de Poitrine performing on stage in pyramid-shaped papier-mâché head costumes under gold stage lighting.

What’s Between the Notes

2026/07/07

An essay tracing one shift through cycling, skateboarding, music, and Baseworks practice: when effort or

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