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Malin Astner Contemporary |
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Malin Astner (SWE) is a freelance dance artist in contemporary and improvised dance, based in Stockholm and Berlin. The last year her work has been focused on several improvisation-collaborations with musicians and dancers, performing in Berlin, Switzerland and Mexico. In Stockholm Malin worked with choreographer Susanne Jaresand, Margaretha Åsberg, Jukka Korpi, Malin Elgán and in Kompani Equilibrium. Malin was educated at University College of Dance in Stockholm and at Rotterdamse Dansakadeimi in Rotterdam, and has also been teaching contemporary dance and improvisation at Royal Swedish Ballet School and Ballet Academy in Stockholm. In the past year Malin has received grants from Swedish Art Council, which has enabled her to study improvisation with artists most important Julyen Hamilton. More information: www.malinastner.com The class Working with moving exercises as well as applying basic composing-tools this class stretches and slides between physical floorwork and improvisation. Moving in order to open the body and reminding it about its possibilities. Set material will be taught and challenged by personal interpretation to inspire and awake the creative, spontaneous minds of the dancer. |
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Karen Bößer Contemporary |
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Karen Bößers Tanztechnik beinhaltet Prinzipien von Körper- Awareness und Alignment und integriert u.a. Elemente aus Contemporary Dance und Releasetechnik. Das Training fokussiert auf den Bewegungsfluss, der die einzelnen Formen verbindet, sowie deren Akzentuierung und Dynamik. Vom beginnenden Warm-up baut es ich zu einer raumgreifenden Kompination auf. Karen Bößer stuierte Tanz bei Dance Space Inc und dem Panetta Movement Center in New York und arbeitete u.a. mit Dyane Neiman, Elaine Shipman, Howard Katz, ArmarTheater (Israel), Ballet for young Audience (NYC), Urban Art Zribe (NYC) und den Tatraumprojekten SchmidT zusammen. Ihre eigenen Stücke wurde in In und Ausland gezeigt und zeichnen sich durch die Zusammenarbeit mit Bildenden Künstler aus. 2008 wurde Sie zum Internationalen Performancefestival nach Erevan, Armenien eingeladen. |
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Alessio Castellacci Contemporary |
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Movement Research The class is aimed to discover idiosyncratic possibilities of the body in motion. This is sought through elements of experiential anatomy, finding an exciting place where poetic images interchange fluidly with an understanding of body mechanics. Particular focus is given to floorwork technique, exploring which roots we base our movement upon at any moment - playing with movement qualities where all our body surfaces can become dynamic rooting points. And, most important…we’ll connect to our own desire and joy of moving , while meeting the others in our dance. Alessio Castellacci Alessio Castellacci studied psychology at the Universita’ La Sapienza (Rome, Italy) and dance-making at the EDDC/ArtEZ – Arnhem (Holland). He has performed for Maddai (Ita), Canvas Performing Arts (Nl), Noema Dance Works (Nl/Ciprus), ‘St Company (Hungary), Gabriella Maiorino (Ita/Nl), Mati Elias (Nl), TheDamCompany (Nl/S.Africa), H.Min Kim (Germ/Korea), Morgan Nardi/Ludica (Germ/Ita), Dani Brown & Marta Navaridas (Germ/Usa/Sp). Since 2005 he is part of Fingersix, an international network of dance-artists. He lives in Berlin working as a teacher, dancer, voice-performer and sound composer. |
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Rosalind Crisp Contemporary |
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I use principles that I have distilled from my choreographic research as well as elements of Body-mind centering®, release techniques and Contact Improvisation. The class starts with an attention to the sensations in the body, in particular, the sensations of breathing and falling. It commences on the floor with breathing work to centre attention low in the abdomen, and a series of floor exercises to undo heldness in the body, follow the pathway of pouring weight, and fine tune efficient support to the limbs. Standing work is explored along the same principles with the addition of directing the falling body through space, opening the limbs to a multi-directional focus, and greater use of fall and rebound to engage maximum power from the floor. The class will move between solo exploration and partner initiated tasks, utilising phrase work as a light framework to explore these same principles. |
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Jess Curtis low-flying release technique |
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Jess Curtis is a director and performer of interdisciplinary dance/performance. Working independently, and in the collective performance groups CAHIN-CAHA, Cirque Batard (France/USA'98-2002) CORE (USA '94-98), and CONTRABAND (USA'85-'94) he has created and collaborated on numerous award-winning performance works known for their intense physicality, emotional honesty and athletic beauty. In 2000 he founded Jess Curtis/GRAVITY as a research and development vehicle for very live performance. Gravity aspires to the creation of exceptionally engaging physical entertainment that explores and addresses issues and ideas of substance and relevance to a broad popular public. Jess has received four Isadora Duncan Dance awards, was a recipient of the prestigious 2001 California Dancemakers Fellowship and recently was awarded a Fringe First Award at the Edinburgh Fringe Festival for his work, fallen. He recently premiered a new evening length piece entitled “Touched: Symptoms of Being Human” in June 2005 at Yerba Buena Center for the Arts where he was a Fellow in the Wattis artist-in-residence program. Fundamentals of Motion, a low-flying, released technique Class will begin with floor-work based in organic movement fundamentals and incorporating breath and sound to warm and expand the joints and muscles. From the floor we will explore multiple pathways to standing, bringing the center of gravity over the support of the legs, feet, arms and hands. Developing speed and awareness, we will focus on the body in motion and the qualities of motion in the body.Velocity. Airtime. Fun. Sweat. |
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frankfurter küche deufert / plischke |
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Kattrin Deufert, Dr. phil., Regisseurin, Autorin und Videokünstlerin. Studierte Theater-, Film- und Medienwissenschaft (Goethe-Universität, Frankfurt/Main, Royal Holloway University of London, Université Libre de Bruxelles). Thomas Plischke, Regisseur, Choreograf und Videokünstler. Studierte an der LMU, München, und bei P.A.R.T.S., Brüssel. Sie geben regelmäßig Workshops und Seminare an Kunstinstituten und Hochschulen im In- und Ausland. Zusammen mit Pirkko Husemann gründeten sie 2001 die frankfurter küche (FK): Theaterpro-jekte, Dia- und Video-Installationen, Text- und Video-Publikationen, u.a. entstanden die Stücke "inexhaustible (RW)", "Directory" und "As if (it was beautiful)". Projektworkshop I tell you memories and I receive yours and via movement they enter a game of formulation and reformulation. Texts, movements, images, ideas are constantly passed on so that formulation appears as a critical process that leads to small project drafts to be worked out by every participant individually within a constant feedback of all the others. During this workshop we offer you to work in an everyday situation. A situation that is not meant to become everyday-like. We want you to become aware of the difference of you doing something and you doing as if you do something. This doing as if quickly inscribes itself in all your movements and thaughts busy reproducing fixed mechanisms. And maybe nobody besides you recognizes your doing as if and somewhen later you become aware of an irretrievable loss (the ideology of selfconstitution). |
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Shai Faran Contemporary |
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About me I started my professional dance studies in the "Haifa workshop for dancers and choreographers". After I finished my studies I danced in the KCDC young company for one year and from that time until today I am dancing in the "Sigma Ansanble", a contemporery dance grop located in Haifa and directed by coreographer Michael Miler. During these years I also participated twice in the "Shades in dance" fastival in the Suzzan Dallal center, created my own pieces, for which I received a scholarship from the America Israel cultural foundation and the Ehud Manor Choreography Scholarship, and did my Gaga teachers training with Batsheva dance company. My main preoccupation today is teaching Gaga, dancing, and develop my own materials through movment research. About the Gaga Gaga is a movement Language developed by Ohad Naharin, choreographer and director of BatSheva dance company. Gaga is based on layers of tasks. This is the challenge that the Gaga users should be available to. We learn to love our sweat, our desire to discover and connect movement and effort to pleasure. We find the bestial within us as well as the gentleness and the power of imagination. We are investigating a multi-dimensional movement, enjoying the sense of fire in our muscles. We are aware of the materials from which we are made of, the flesh and the bones, and we change our habits of movement - by finding and adopting new habits. The class is a one session of guided improvisation in movement, deals with senses, sensations, textures, qualities and capabilities of movement. |
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Raffaella Galdi Contemporary |
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Raffaella Galdi was born in Genoa, Italy and lives in Berlin. Training in classical and contemporary dance, she attended the Ecole de Danse Rosella Hightower, in Cannes, France, and received her diploma from the modern dance academy Rotterdamdansacademie, in Rotterdam, Holland. She has been a member of the Berlin-based company Cie. Toula Limnaios, headed by Toula Limnaios, the Belgian Companie Thor, headed by Thierry Smits, the Luxembourg company Unit Control, headed by Bernard Baumgarten and the Belgian company Galothar, headed by Andy Deneys. As a freelancer she has worked with choreographers including Rui Horta, LaborGras, Christoph Winkler, Tomi Paasonen, Helge Müsial, Thom Stuart, Sanne van der Put. Raffaella is choreographer in residence at the artblau - Tanzwerkstatt in Braunschweig. Her choreographic exploration often returns to the concept of the personality-identity occupying the space. She is particularly interested in research, which she considers an important tool to experiment and to observe the work itself. She uses improvisation to discover movement material and as a working method to create instant choreography. Contemporary dance training The teaching is based on release alignment technique. Initially I guide through exercises to build up the awareness of the skeleton and to work more efficiently by using less muscle tension, (only using deep muscles and strictly the amount of tension required to move and dance) and of aligning the bone structure (to respect its natural condition and to use the connection with “gravity”). The aim is to work with the idea of “release and connection” allowing the natural connection of different body parts through relaxation and alignment, so that each part can move as a consequence of the other. We start with a minimal work of the basic aspects of movement: to give the weight, to connect to the floor, to move in the space, to stand. We will use some material combinations and, as well, some tools of improvisation, in order to ex- plore the own potential to interpretate and create movement qualities. This class is the result of my personal investigations and is influenced by the study with Labor-Gras, Barbara Mahler and Susan Klein (Klein Technique). |
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Gabriel Galindez Cruz Contemporary |
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Gabriel Galindez Cruz ist 1977 in Kolumbien geboren. Er hat studiert am Centre National de Danse Contemporaine in Angers, Frankreich und setzte dann seine Ausbildung an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main fort. Gabriel hat gearbeitet in Projekten von Dominique Dupuy, Carmen Werner, Alvaro Restrepo, Dieter Heitkamp, Carlos Cortizo, Toula Limnaios, Huber & Christen und WilhelmGroener. Seit August 2006 ist Gabriel Mitglied der Compagnie Sasha Waltz & Guests. Als Choreograph hat er mehrere Tanzstücke gemacht. "Marca", seine letzte Creation war in Dock 11 und Tacheles im Sommer 2006 ausgeführt. The Class We start with a minimal work of the basic aspects of movement: To give the weight, to conect to the floor, to move in the space, to stand... Always with easy and slow exercises to give the time to work with body consciousness and get warm in the deep muscles, joins and skeleton. After that, using some material combinations and tools of improvisation, we explore the own potential to interpretate, use and created qualitys of movement. We don't focus in the form to give priority to the sensation in and out of the body. |
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Malgven Gerbes Contemporary |
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Contemporary / Malgven Gerbes We will start to warm up in a gradual build up through awakening and observing our body's structures and mechanisms, arriving into a dynamic and connected body-mind state. From there we will train an individual, articulated and poetic physicality. Working on our bridging ability and creative potentials. Dealing with scores as tools for real time creation will help us to find a fluid interaction of the conscious and unconscious mind and the transforming body while simultaneously gaining accuracy and specificity in our movements. We will take time for the pleasure of moving, using spirals, floor work, extensions, modulating gravity, moving center etc... Exploring our personal way of crossing kinesthetic challenges, contrasted vocabularies, release and imagery work is the focus in this class. Malgven Gerbes (F/D) is choreographer and dancer. She lives and works in Berlin. She studied choreography in ArtEz Arnhem (former EDDC) NL, and inner architecture in the Ecole Nationale Supérieure des Arts Appliqués et Métiers D’Arts in Paris. She was guest professor for one semester at the Korean National University of the Arts (KNUA) for the choreographic department in autumn 2007 and for the choreographic department of ArtEz Arnhem in spring 2008 . Malgven Gerbes created together with David Brandstätter a choreographic project structure: www.s-h-i-f-t-s.org. Among their works, they co-choreographed the project "Rencontres" for seven dancers. This piece has been performed in the fabrik Potsdam 2007, in Sophiensaehle and in Tanzfabrik at Tanz Hoch Zwei in spring 2008. |
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Kathleen Hermesdorf Contemporary |
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La Alternativa - MOTION TECHNIQUES A vigorous and detailed focus on the act of motion from the inside out, encouraging sensation, articulation, efficient power and creative investigation. Breath and energy work, improvisation, technical experiments and methods of physics, floor, air and inversion lead to extended three-dimensional choreography. The class progresses from the interior of the individual body to the performance of the group, offering a dynamic and supportive training ground for engaged and expressive dancing. Kathleen Hermesdorf has been dancing in San Francisco since 1991 and directing La Alternativa (formerly MOTIONLAB) with musician Albert Mathias since 1998. She has worked with Sara Shelton Mann/Contraband since 1993, been a member of Bebe Miller Company since 2002, receiving a 2006 BESSIE Award, and collaborated with Stephanie Maher in Berlin since 2000. She co-directed Hermesdorf & Wells Dance Company with Scott Wells, sharing a 1994 GOLDIE Award, and was a member of the Margaret Jenkins Dance Company, receiving a 1999 IZZIE Award with the ensemble. Hermesdorf holds a BFA in Dance from Western Michigan University and an MFA in Dance Performance & Pedagogy from the University of Illinois. She teaches, creates and collaborates throughout the USA, Europe and Mexico. www.la-alternativa.us |
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Ayara Hernández Holz Contemporary |
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Ayara Hernandez Holz(Mexico, Uruguay 1976) studied contemporary dance, composition and theatre in Uruguay and at EDDC (European Dance Development Centre). Since 2001 she is creating her own work in collaboration with Felix Marchand as “Lupita Pulpo”. She taught at in the University in Uruguay, at the meeting of Net of South American dance/RSD and in Berlin for professional dancers and is Ground work Based in floor work and release technique. Mapping the skeleton through anatomical images based on floor work. the focus goes into the relationship between centre and limbs. Finding simple movement patterns help to sharpen our awareness of body function. At last the collected information is taken into phrasing playing with different physicals and special dynamics. Improvisation and group games are part of the class. |
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Simo Kellokumpu Contemporary |
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Contemporary The main principles for the 2 weeks workshop/classes are slow>fast, simple>complex and in>out. The class starts with simple excersices of opening, listening and sensing the body in standing position and with tasks of finding the neck-pelvis connection. The class contains lots of improvisational tasks moving through the space; the idea is to activate all the capacity and knowledge that dancer has into complex and fast movement material based on the the idea of the neck-pelvis connection. In the end of the class we work with fast material. The combination is based on my earlier works as a choreographer so it is more or less repertoire-combination. "As a choreographer I am interested in fast and complex movement language in detailed frames and the base is in persuating the whole capacity of a dancer into organic movement-language. I always encourage dancers with whom I have a chance to work with to get away from the comfort-zone. This way I have found very fruitful and inspiring when it comes to my artistic work. For me dancer is a subject, not an object." Simo Kellokumpu is 36-year-old finnish choreographer/dance-teacher/dancer living and working in Berlin. Kellokumpu began his choreographical work in 2001 and has graduated as a MA from the Finnish Theatre Academy's Department of Choreography in 2003. He has also studied in University of Jyväskylä and Kuopio Conservatory of Music and Dance. Kellokumpu's works as a choreographer has been performed in several venues and dance-festivals in Europe e.g. England, Holland, Italy and Finland. He has been working as a choreographer and a teacher in different institutions e.g. Theatre Academy of Finland, Kuopio Conservatory, Culture Academy of Latvia and Helsinki City Theater. He has received different grants from The Central Arts Council of Finland among others. Next year 2010 Kellokumpu is invited to create a choreography for The National Ballet of Finland. |
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Maya Lipsker Contemporary |
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Contemporary This class is meant to allow dancers from all levels to experience a group- dynamic work which stimulates the senses and the imagination. Focusing on energy rather than technique, we shell explore areas of physical effort, virtuosity, musicality, individual expression and improvisation. One of the main keys for our work is ENJOYING - as an essential mental and physical task. Witnessing the powerful tool of pleasure and guiding images, and encouraging creativity through awareness, alertness and playfulness. Once these elements are found, we begin gaining the technique that is needed for our body to become stronger and able to deal with choreographic work. In the second part of the class we will experience our physical build up infused into the study of a choreographic sequence. Based on my experience of teaching the method used in Batsheva Dance Company, the class will use the elements I have adopted and developed in improvisation, composition and choreography in the last 6 years. Maya Lipsker 2004 Maya Danced 3 years in Batsheva-Ensemble Dance Company in Israel (2000-2003). Arrived in Berlin 2004 and joined "Research Project" with Sasha Waltz and Guests. Since 2004 is active as an independent choreographer, dancer and contemporary dance teacher and is based in Berlin. Her work performed in Berlin( Dock11, Lucky Trimmer,Tanztage) Stuttgart, Theater Freiburg-Heidelberg, Essen(Pact Zollverein), Theater Görlitz, Theater Greifswald, Ireland (Project Art Center Dublin), Romania and Greece (Athens). Since she is based in Europe Maya is teaching contemporary dance classes and workshops in various companies (Tanztheater Osnabrueck, PVC Dance Company, Ballet Vorpommern and Goerlitz Tanz company) studios, schools and academies for dance education in Berlin-such as Ernst Busch College, UDK(dance, choreography and concept studies), Balance School, Dance Works Berlin, Tanzfabrik, Marameo. |
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Barbara Lucarini Contact Improvisation |
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Contact Improvisation & Instant Compositions Freely moving in and out of contact We begin with a warm-up using principles from the release technique to lead us to an internal experience of our weight in motion. We then enter into contact, following and meeting our partner with an open mind, a curios body and a generous invitation to share and exchange weight. Throughout the classes we will explore all different ranges of and include an awareness of space as the third partner in our dance. This will lead us to move together and alone, safely and spontaneously, energetically and sensitively, while entering into the rich and instinctive area of the unknown. We will then engage with the composition of emerging moments, looking for the resources to challenge our dancing desires and reach deeply into our sense of play – constantly encouraged to share our own current quest in the dance while we improvise together. Barbara Lucarini started dancing 23 years ago in NYC, practising Release Technique and Klein Technique amongst others. She discovered CI with Andrew Hardwood and Randy Warshaw. Since then she has been studying with many different teachers such as Kirstie Simson, Nancy Stark Smith, Julyen Hamilton. For the last 10 years she has been teaching CI throughout Italy and Europe, amongst others at the Zipfestival in Orvieto and the Freiburg Contact Festival. She is member and co-founder of RomaContact, a collective of dancers whose aim is to promote the practice of CI through workshops, jams and performances. Her engagement with Contact Improvisation extends throughout her work as a psychologist and dance therapist. |
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Stephanie Maher Contact Improvisation |
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Stephanie Maher is a dancer, choreographer and teacher. She spent 10 years in San Fransisco after her New York modern/classical training, (BA in dance SUNY Purchase), study-ing deeper the many forms of motion, improvisation, voice and image making in performance and community based art. She was a choreographic collaborator with the Margaret Jenkins Dance CO., formed Collusion with Kathleen Hermesdorf and CORE with Jess Curtis and others. She relocated to Berlin in 98 and develops and organizes the Ponderosa Tanz/Land Festival in the countryside of Stolzenhagen. As a teacher she has been highly influenced by the teachings of Barbara Mahler and Susan Klein and the mixing of art, politics and action from her 848 Community Space history. |
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Carlos Osatinsky Contemporary |
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Espacio propio proposes a training class based on the exploration of the own space of the body as an expresive medium under a flow of constant change of necessities beyond a specific stilistic/technical procedure. It departs from collecting the individual and group energy, focusing on the development of an integral awareness, unfolding in a series of exercises concerned with a wandering body supported by and in connection with the floor, a movement born from the its center and projected beyond its limits. We try to create concioussness on inner and outer kinetic patterns, opening ourselves to the listening of our intuitive and instinctive powers, creating the possibility for a clearer presence and a mutable way of moving. Through material conjugating improvisational and specific phisical tasks, we look for generating energetic states, giving ourselves to them, observing what is hapening in the moment and paying special atention to the obstacles to the free fluidity of the performance being. Carlos Osatinskyborn in Tucumán, Argentina. While studying Physics in the University, he began his dance studies graduating in the Taller de Danza Contemporánea of the General Theater San Martin in Buenos Aires. Participating in different projects and companies. 2000 he travelled to Europe where he takes classes and workshops with Angels Margarit, Kristie Simson, Jeremy Nelson, Emio Greco, David Zambrano, Susanne Klein among others. He participated in works of Susana Tambutti, Beatriz Lábatte, Mey Ling Bisogno (Arg.), Fernando Hurtado, Fernando Pelliccioli, Trinidad G. Espinosa, Arnd Müller, Janet Rühl, Helena Lizari (Spain), Dávide Camplani, Tomi Paasonen (Berlin) and between 2004 and 2007 he was a fix member of the company Toula Limnaios in Berlin. He has taught classes and workshops in Argentina and Europe. He has made choreographies and directed several spectacles. Since some years he collaborates with Fernando Nicolás Pelliccioli creating different performance experiences mainly in Argentina. Actually he resides in Berlin and continues his constant learning from life day by day. |
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Manuel Pérez Torres Contemporary |
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Breath & Move Is a physical training combining contemporary dance techniques and the „breath-connected-to-movement” system from the Asthanga Vinyasa Yoga. The class aims to develop an effective and healthy body-in movement. It is also an ongoing exploration connecting the dance and the yoga fields. Each class includes a series of warm up exercises followed by movement’s sequences inspired by the work of dance teachers like Jeremy Nelson and Luis Lara Malvacías. This class is taught in English. Manuel Pérez Torres Spaniard - Venezuelan-born dancer Manuel Pérez Torres studied dance at the Instituto Superior de Danza de Caracas. He was a member of the Venezuelan Dance Companies Acción Colectiva (1991-1993) and Espacio Alterno (1993-1997). Since 1997 he resides in Europe. He has toured and performed in the United States, Canada and Europe with Wilda Productions (Copenhagen), Jeremy Nelson & Luis Lara Malvacías (New York), Cie Flak-José Navas (Montreal) and since 2003 as free lance guest of Sasha Waltz & Guests (Berlin). Currently he is working in collaboration with choreographer and dancer Luis Lara Malvacías, to create a new duet entitled JA! This duet, commissioned by Danspace Project in New York and created in co–production with Sasha Waltz & Guests, will be premiered in New York in November 2009. As a dance teacher he has taught in Venezuela at: Instituto Superior de Danza, Escuela de Artes Visuales “Cristóbal Rojas“ (1996-1997); Instituto Universitario de Danza (2006, 2009); Randall Scott Dance School in The Netherlands (2001); Latino American Dance "Not Festival" Project in New York (2003) and Tanz Ensembles Staatstheather Kassel (2008). He has taught Ashtanga Vinyasa Yoga at It’s Yoga Berlin, Cosmoyoga-Berlin, Sasha Waltz & Guests, Ashtangastudio, Yoga Shala, in Berlin; SOHAM and Valle Arriba Athletic Club in Venezuela. |
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Valeria Primost Contemporary |
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Dance Technique This practice aims to refine our perception of inner directions as the origin of every movement, for the development of a strongly based, ever developing and inclusive dance technique. The training starts with unlocking exercises based on repetition as well as standing and dynamic qi gong work. By Redefining inner communication processes and disintegrating habits in movement and thought we open up perception and response. Through attention to inner primary directions we will study the physical conditioning forces. We investigate relationships among bone structures and the point of contact with the floor, relationships among organs and spatial volumes, speed, balance, impulse, pause, focus of eyes and ears, distance, attraction and gravity. The class ends with the dancing of instant sequences making use of the tools gained through the practice. Technique is developed through the challenges and needs presented by each body in the context of this training. The idea of Not Doing (AT) or Wu Wei (qi gong) is the main concept reinforcing the development of a technique without strain. Valeria Primost is a dance artist and performer based in Berlin. She has been a resident artist at AIAV (Japan), The Performance Corporation (Ireland), MIKS dance theater (London). She has worked with Trisha Brown, Robert Steijn, Frans Poelstra, Julyen Hamilton and Katie Duck, a.o. She is the founder of The Meeting Point interdisciplinary arts platform carrying activities in Amsterdam, Milano, Caracas, Buenos Aires and Berlin (Schwelle7 and Living Room Practice) a.o. since 2004. Her main focuses in dance are internal and external communication processes and the use of public culture to make work that relates to context. She is a BA graduated of AHK , modern dance and SNDO. 2005. www.valeriaprimost.com |
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Britta Pudelko Contemporary |
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Britta Pudelko kam über eine Ausbildung im klassischen und Modernen Tanz u.a. am Alvin Ailey American Dance Center, New York zum zeitgenössischen Tanz. Großen Einfluss auf diese Entwicklung hatten die Studien mit Stephen Petronio, Jeremy Nelson, Luis Lara Malvacias, Susan Klein und Barbara Mahler. Sie tanzte u.a. für Bernard Baumgarten, Robert Poole, Christoph Winkler, Michael Clark. 1997 gründete sie zusammen mit Katrin Geller die Kompanie Pathfinders, für die sie bis 2000 drei Stücke erarbeitete. Seit 2001 ist sie Mitglied im Ensemble von Achim Freyer. 2004-2006 arbeitete sie als choreografische Assistentin und Tänzerin in London mit Akram Khan für die Produktion "MA", mit der sie auch auf Welttournee war. Seit 2008 ist sie regelmäßig als Gastdozentin für die Sascha Waltz Company tätig und unterrichtet im Studio LaborGras, Berlin. Im Dezember 2009 gründete sie zusammen mit Patricia Woltmann das Kollektiv Patty & Britty und die Impro-Gruppe grape shade mit Biliana Voutchkova, Ingo Reulecke und Klaus Janek. Unterrichtsbeschreibung Schwerpunkt der Technikklasse ist es durch anatomisch korrekte Arbeit mit unserem Instrument, dem Körper, einen befreiten und dynamischen Bewegungsfluss zu erreichen. Klarheit von Bewegungsansätzen zu schaffen und durch den geringst möglichen Krafteinsatz Bewegung zu initiieren. Am Anfang der Stunde nehmen wir uns Zeit in unserem Körper anzukommen, unser Skelett zu erkunden, Gelenke zu öffnen und Verbindungen in unserem Körper und im Verhältnis zum Raum zu erforschen. Darauf aufbauend entstehen Bewegungssequenzen, welche zuerst sehr einfach gehalten sind. Am Ende der Stunde werden wir eine komplexere Choreografie zusammenstellen, um den Tänzer/Innen die Möglichkeit zu geben Ihre darstellerischen Fähigkeiten und Präsenz mit dem erarbeiteten Material zu verbinden. The main focus of this technique class lies on the anatomically correct work with our instrument, the body. The goals are a free and dynamic way of moving, to become clear where the movement initiates from and to find a way to move with more efficiency. In the beginning of the class we take our time to arrive in our body, to discover our skeleton, to open up our joints and to find the connections within our body and the space. Based on this work we create movement sequences, which start very simple and allow us to apply the information from before. Through a more complex choreography during the last part of the class we have the chance to use the technical work to express our individual and theatrical talents. |
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Martin Sonderkamp Contemporary |
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class description The teaching is influenced by my studies and the practise of improvisation, hands-on work, release technique, contact improvisation and ideas about movement as can be found in BMC, The Alexander technique and Laban-Bartenieff. The class is aimed at gaining a deeper sensual perception of our bodies in motion, allowing for an efficient, precise, and creative approach to movement and dance. Exploring the body¹s response to relaxation, breath and imagery, we will proceed to moving on, towards and away from the floor, vertically and upside down, focusing on playfully exploring weight, momentum, speed, effort/no effort. We will look at how to deepen one¹s presence in space, both in stillness and motion and how to clarify our intentions while dancing and moving alone and with others. Improvisational tasks will allow for each dancer to explore her/his body in an open form, emphasizing certain aspects of dance for which we don¹t need fixed choreography. Martin Sonderkamp is a German freelance choreographer, dancer and teacher who works throughout Europe and the US. Coming from a background in visual arts and professional experience as a percussionist from 1989-1993, he has earned his degree in dance (1994) from the School for New Dance Development (SNDO), a department of the Amsterdam Academy for the Arts (AHK) where he has taught regularly from 1995-2001 until he moved his base to Istanbul, Turkey. Since 2008 Mr. Sonderkamp lives in Berlin, Germany. He has worked as a teacher for Technique and Improvisation for many dance institutions and organisations throughout Europe and the US. |
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Oleg Soulimenko Contemporary |
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Oleg Soulimenko, Russian performer and choreographer, living and working in Vienna and Moscow. In 1985 he graduated in construction engineering. From 1985 until 1990 he studied dance, acting and improvisation in various theatres in Moscow; attended a course in Butoh dance as well as in Release Technique, Contact Improvisation, Body Mind Centering with Kirsti Simson, Vera Mantero, Ka Rastler, Anzu Furukawa a.o. In 1990 Oleg Soulimenko founded the International Laboratory Saira Blanche Theatre. Their work has been shown throughout Eastern and Western Europe and in the United States. Saira Blanche Theatre has evolved a deeply sophisticated, strong and provocative performance practice of improvisation. He was part of the collaboration between Saira Blanche Theatre & Lux Flux, performed at various festivals: Malta Festival in Poznan/Poland'98; Impuls Tanz'98 in Vienna; Wiener Festwochen in Vienna '99; Tanz 2000 in Vienna. He worked with with Meg Stuart & Damaged Goods; with Tanzquartier Wien organizing and creating the project 'East meets West'; curated Festival 'zwei tage' in cooperation with Arge TTP, im_flieger and WUK-Theater. Since 2005 he has also been teaching regularly at the dance department of Bruckner-University Linz. Lately Oleg has started to compose electro-acoustic music as well as experimental videos, which have been shown at several international festivals. Improvisations of improvisations Communication and performing are the subjects of our training. We will work with personal movement languages in order to articulate and enrich them. We will experiment with basic things to create compositions by using space, time, perception and interaction. Dance, simplicity of movement, everyday gesture, stillness, improvising text - these all are our tools to experiment and to create different scores and various forms in which the sensations of the body lead to spontaneous compositions. We will improvise our own improvisations which is inspired by and related to our life experience and our senses. Presence and various states will play important roles. We will confront the energy of fragile states and powerful physical dynamic. |
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Davide Sportelli Contemporary |
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Davide Sportelli had his dance education between Rome, his birthplace, and Venice, with teachers such as Sacha Ramos, Carolyn Carlson, Malou Airaudo, Joan Woodbury, Inaki Azpillaga, Janet Panetta. Has been creating his own work and danced with Giorgio Rossi, Rebecca Murgi, Rozenn Corbell, Roberto Cocconi, Antonio Montanile, Michael D’Auzon, among others. In 2005 he joined Sasha Waltz & Guests. His class is meant to be a tool to find a richer and more sophisticated relationship between the space/time we are in and our physical speech. We’ll start by exploring verticality and horizontality, weight and directions, grubbing among the innumerable qualities of time and movement. Through the conscious use of weight as the fundamental motor of motion in space, with a combination of impro and set sequences, we’ll focus on the connections in our body in order to respond efficiently to the gravity. Playing on the thin line between surprise and control, we’ll try to make our phrasing more organic and intimate, and at the same time clear, able to project and suggest. |
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Juschka Weigel Contemporary |
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My work is based on playing with movement qualities, frequencies and dynamics. The class starts with a simple warm-up followed by stretching for the forgotten areas of our bodies. Little sequences of movement will train our coordination and help us explore the room. The class ends with choreography. The Butoh base technique - to work from the inside to the outside – is of big importance to my work. For my way of dancing choreographic form is not as important as the geometrical limits and possibilities of the space we dance in, the crossword puzzle of the body and the switching between different dynamics. One recurring theme of the work will be: movement-dummies, alibis of movement, and movements that cannot be disturbed. We are going to investigate these movements in different shapes and degrees (limited and expanded, for example.) That should be pretty interesting, right? Juschka Weigel started her dance studies in Zürich. Then Berlin. After she successfully finished her three-year course, she received a six-month scholarship for Merce Cunningham School, in New York, further advancing her studies. Another scholarship brought her to the Academy of Arts in Solo (Indonesia). Back in Germany she co-founded the dance company ’Verwandlungsamt’ under the direction of Butoh master Anzu Furukawa. At the same time she started to study the movement method Dharma Body Work (DBW). After investigating the synergy between dance, butoh and body work she created successful individual and collective choreographies for the stage, for film and multimedia productions. She also worked with different choreographers in Germany, Belgium, Spain, Austria and Sweden. She currently tours around Europe with her choreographies, and works as a choreographer and teacher internationally. |
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