Online dossier · Music for Dancers · Ollin Cuauchinanco × Syncron iA
Everything it includes, minute by minute, and what it takes to bring it to you.
Here is the hard information about the course-workshop. Below you tell me who it is for and I answer in under two business days with the quote. If you would rather have it on paper, the PDF is the same dossier.
Length
3.5 hours
one session in person, or two 2-hour sessions online
Group
Up to 10
at an institution · straight to you, one to three people
You take home
Your piece, edited
plus The Copilot, the score of the body, and the kit
Launch rate
$18,000 · $3,000 MXN
institution, up to 10 · straight to you · September and October 2026, in MXN
Where it comes from
A case tested in front of an audience, turned into a course-workshop.
A poem by Princesa Hernández, Sirenas, became a three-part piece composed with artificial intelligence by Arturo Ordorika and Ángeles Rodríguez, stitched together in a free editor with no mastering. Ángeles choreographed it and danced it: it premiered in December 2025 at Breve Espacio, in Puebla, and it lives on in the tour Presentación del libro La sin rumbo, with more than twelve performances. That is where the method taught here comes from: generate in parts and assemble, so the change lands on the exact second the choreography asks for.
It is presented jointly by Ollin Cuauchinanco A.C., an Associated School of Artistic Initiation of INBAL in Huauchinango, and Syncron iA, a laboratory of applied imagination. The whole story, with the song →
What happens in the in-person session
Seven steps in three and a half hours.
Suno does not show up in the first hour. First the work, then the word, and the machine last; and the body closes the circle. While the machine is working there is never silence: instructions get read out loud and corrected together.
- 0:00 · 0:15Opening and demonstrationSirena Interior is played and the dance is watched. The case before the promise, with nothing explained about the platform yet.
- 0:15 · 0:4501 · ImagineEveryone defines their work: what happens, what they want to provoke, how long it lasts, what music would be incapable of telling it. A short round out loud. Led by Ángeles.
- 0:45 · 1:1502 · Write it downIntuition turns into a letter of musical direction. The Copilot is handed out and everyone starts using it. Led by Arturo.
- 1:15 · 1:4003 · The score of the bodyThe map by timings: what happens on stage in each stretch and the exact second everything changes. Everyone decides how many stretches to generate.
- 1:40 · 1:50Break
- 1:50 · 2:2004 · Turn it into instructionGenre, instrumentation, tempo, texture, exclusions. First generation at the end of the block.
- 2:20 · 3:0505 · Listen, discard, directDirected iteration: what works, what fails, what turned up unlooked for. One variable at a time. The waits are spent sharpening instructions together.
- 3:05 · 3:3506 · BuildCutting and splicing live, in GarageBand or Audacity. Export, name, archive.
- 3:35 · 3:5007 · Dance it, and closeThe music returns to the body. A test, a closing improvisation, rights and logbook. Led by Ángeles.
Online, in two sessions
- Session 1 · from the work to the first instructionOpening with the case, Imagine, Write it down with The Copilot, the score of the body, and the first instruction. Two hours.
- Between sessionsGenerate at least eight options and listen to all of them. Bring three candidates and, in writing, why each one survived. Try a phrase of movement with at least one.
- Session 2 · from candidates to the pieceCritical listening as a group, directed iteration, live assembly, and Dance it. Two hours. It gives better results than the in-person format: iterating takes real hours.
What you leave with
- A piece of music of your ownfinished and edited, made for your work
- The Copilota master prompt that guides you on its own, in ChatGPT, Claude or Gemini, every time you make a new piece
- The score of the bodythe template for translating what you want to dance into sonic material
- A guide to instructing Sunofield limits, tag order, exclusions, and the settings that actually work
- A rights checkliston one page: what you can and cannot do with your music on stage
- Your logbookthe exact record of how your piece was made, so you can rebuild it when the platform changes
The platform may change tomorrow. The method stays with you.
What to bring
- A laptop. A phone is not enough for the editing.
- Headphones.
- A Suno account. The free one is enough to learn; for the stage, a paid plan (below).
- GarageBand if you have a Mac, or Audacity on any system.
- A work in your head. It does not have to be finished; it does have to exist.
For schools, companies and cultural centers
Up to ten participants, and every one of them leaves with a piece.
Ten is the real ceiling, not a commercial number: above that there is not enough time to attend to each participant's work, which is what separates this course-workshop from a demonstration.
What the institution provides
- A classroom with a projector or screen, and room speakers.
- Stable internet. This is the critical requirement: no connection, no generation.
- That every participant brings a laptop and headphones.
- Clear space to work on the relationship between the piece and the movement.
- One contact person for logistics and for the internal call for participants.
What it receives
- The full kit for every participant, and each one leaves with their piece assembled.
- Photo and video documentation of the session, for its archive and communications, as agreed.
- A short closing report with the pieces the group produced.
- A technical recommendation on handling rights for the school's productions.
The rights, without the drama
The commercial rights to a Suno piece apply to whatever you download while on a paid plan, and they are kept even if you cancel later. On a free account there are, as of September 2026, seven lifetime downloads for personal use only: good for learning, not for a ticketed performance.
For a school, the tidiest route is an institutional Premier account (sixty downloads a month, around 30 dollars): a single account covers, with clean rights, the pieces for every production of the year. For an individual, the Pro plan (around 10 dollars a month) is enough, and you take it out when the piece is going on stage. Suno does not guarantee registrable copyright over the audio; your position is firmer the more human work sits on top of it.
Investment
Three ways to solve it, depending on how much you want to do yourself.
1 · Learn
The course-workshop
$18,000 MXN
For your institution · group of up to 10
total price for the group · launch rate, September and October 2026
$3,000 MXN
Straight to you · three 90-minute sessions on your own work
up to two more people, $1,000 MXN each
2 · Do it with me
Follow-up advisory
$1,200 MXN
Ninety minutes on your work, in two voices: Ángeles and Arturo
per session · only for those who have already taken the course-workshop
3 · Do it for me
Commissioned piece
from $2,500 MXN
Three versions and two rounds of revision, with written permission of use
launch rate · with editing, $4,500 MXN
from $6,000 MXN
For a company, a festival or an institution
quoted according to the work
Prices in Mexican pesos. They do not include Suno accounts, which are taken out with the platform. Outside the Sierra Norte and the Puebla area, travel and expenses are added according to destination. There is no open group for now: the course-workshop is booked for an institution, for you, or for your group.
The body and the judgment
Ángeles Rodríguez
Born in Huauchinango and a graduate of the Nellie and Gloria Campobello National School of Dance of INBAL: a degree in Dance Education with a concentration in folk dance. Founder, president and director of Ollin Cuauchinanco A.C., an Associated School of Artistic Initiation of INBAL. She teaches at the Instituto Tecnológico Superior de Huauchinango and at the Escuela Normal Profr. Fidel Meza y Sánchez; her work rests on ethnographic and ethnochoreological research. She created and danced the piece this course-workshop came out of.
The word and the machine
Arturo Ordorika
Writer and designer of creative systems. Television writing credits at Disney, Fox and VIX, ten published books, an international poetry prize. Founder of Syncron iA. He came to artificial intelligence from the craft of writing, not from technology. In this course-workshop he leads the translation: from the work to the word, from the word to sound.
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