To investigate, how we observe bodies in the space, utilizing different forms of contact improvisation, starting with the questions "How do we deeply feel the other?" "What is communicated to us, seeing two bodies communicating deeply?" "What does the authenticity of our reactions communicate?"

The Latin word juncture refers to a joint which also translates into a place of union and mobility between two rigid skeletal components. Pulling from Bartenieff Fundamentals and release technique principles, class material will explore the connectedness as well as boundaries between our body's inherent pathways and our weighted body matter, and how these two components work in juncture with time and space. Class includes body-pathway explorations on the floor that leads into denser and more rigor driven in-and-out of the floor phrase material. This class invites the participants to ask themselves how are we transitioning between each movement idea, each connected with time and space. How is my weight facilitating change? And how is my weight challenging time?

Finding the possibilities of our surroundings to be able to be part of them, walk in them, create in them, dance in them. Which dances and movements can happen in a stair, a wall, a column, a fountain, a sidewalk? Which stories can we tell in different places?

Providing one possible point of entry into Performatica. We will find opportunities to connect with ourselves and each other, to become grounded by our own experience and fly with the support of those around us.

Movement improvisations will be guided through 27 lens of contrasting notions (e.g.: pleasure/pain, similar/dissimilar, inner/outer, chaos/order). One of the goals of this session is to establish an internal dialogue to clarify intent when engaging in either collective or individual improvised/devised work.

In order to expand oneself fully, first it is necessary to turn to our center. A return to the base allows us to identify where the energy is coming from and everything that goes into the execution of the movement. This practice invites you to start the day waking up from the inside in an conscious, reconstructive, and progressive manner. Beginning with a brief meditation, we will go through a series of exercises that harmoniously combines the breath and movement of Yoga and QiGong practices with the fluidity, rhythm, and expressive liberty of dance, accomplishing a deep warm-up that prepares the body for full day of dance.

We use tools of body recognition starting from the recognition of space ,anatomy and emotions . we will explore the body contact with the floor from the tissues and organs that make up the body ; besides we will go into the liquids running through our body and its relationship with space, the floor and other bodies . All this added to the breath and recognition of Reiki energy . The objective, rather than constructing a movement laboratory , is to generate a collective ritual and dance after recognizing and acknowledging the others .

Can the communal practice of 'class taking' facilitate a recognizing of a collective knowledge about ourselves? In this class I offer space for a self nurturing, awake state as we work on movement awareness in relation to space,fluids and forces. The composing and dissolving as a dancing principle, guides the way I share information absorbed from Qi Gong and Body Mind Centering.

An introductory practice to Contact Improvisation, from a ludic, sensory and technical approach. We will stimulate our senses to develop a state of alertness, through touch, rolling, falling, being upside down, support, give weight etc. We will work in contact with others from an autodiscovery state, listening, trusting our basic instincts and playing constantly with balance.

Can the communal practice of 'class taking' facilitate a recognizing of a collective knowledge about ourselves? In this class I offer space for a self nurturing, awake state as we work on movement awareness in relation to space,fluids and forces. The composing and dissolving as a dancing principle, guides the way I share information absorbed from Qi Gong and Body Mind Centering.

Wake up your senses and your body awareness with a group dancing walk through the luscious UDLAP gardens. We will pause in spaces that speak to us, as we reflect and weave our responses to the ways the symbiotic nature of the land informs the way we move together.

What happens when you put on your layers/masks? Are you a different person? What you wear defines you? How far is the frontier of what you are wearing? How does this influences your movement? Through improvisational games we will generate a movement score that will be repeated several times, traveling between the uncomfortable layers that are not ours into the skins we feel more comfortable….

The body can move dynamically, saving energy….this training technique can be used by dancers, actors and performance artists in general, providing tools for the correct use of the dynamic body and capitalizing on energy, using the principles of action/reaction, and the real physical force and re-direction of the same. This method has as an objective to simplify the body mechanics of movement, channeling directly these principles to create a strong movement, organic and making intelligent the body. The primary manifestations of physics used in this method are: energy, weight, center location, axis of the body, fall, gravity, speed, and force.

To begin the day, and establish an sonorous-corporeal harmony, the musical therapy class is proposed. Relaxation and concentration techniques will be shared, departing from the Soma studies, musical therapy, structural harmonic music composition. We will work with two lines of musical therapy, passive and active, taking the partakers through a sonorous landscape, combined with multisensory, taking every sound with every other sense. We will go through 3 stages, contemplation and concentration, creativity, and meditation.

A movement class bridging awareness, intention and action.

Through the use of comprehensive warm ups, basic physical training, repetitive sequences of movement and dynamic action across the space, we will win experiences and abilities in coordination, alignment, performance and flexibility. We will explore the intersection between technical principles and creative expression. Students will be encouraged to think creatively so as to be prepared to undergo rigorous physical experiences.

In class , we will integrate a series of gentle exercises and improvisational structures focused on anatomy and physical harmony, found in the practice of the dance technique. Using work techniques in pairs and explorations of body work we will help feel sensitive structures that invite the body to a richer and deeper expression in dance.

In this class we will work on listening, conscious attention, giving and receiving weight, and most importantly we will focus our attention on the disorientation. We will practice contact improvisation, welcoming mistakes, difficulties, and confusion and with the intention of putting to one side the idea that the aesthetic, the "interesting" or what we already know in order to adventure into the surprise of the unknown. In other words, we are interested in traveling further than our present limits.

This workshop is directed towards any performative artist that is interested in approaching the stage from the body energy, to arrive at a personal discourse that he/she is willing to deepen.

This class is based on somatic and ancestral practices like Yoga and Tai-chi,that pass on their concept of natural contact of the body with earth, and its physical and energetic growth. Weight, bone structure, and gravity relationships are understood through the experience of movement and breath; they will reveal the natural "take of earth" that the body maintains continuously by walking, dancing, or just being. This practice has been developed by Sandra, and taught to groups through her project "Movimiento Puro" for the past 4 years. Class can be taught outside or in a classroom.

This is a juicy option to warm up your body: articulations to muscles to conscience. All through: S :oulful, E: xpressive, W: arming, I: nteractive, T: echnique. You are required to have a deep love for R and B music… or an open curiosity for all kinds of music.

This lab proposes for every participant through their knowledge in acrobatic techniques (gymnastics, parkour, capoeira, break dance, kung fu, balance, contemporary dance) and with a decomposition of movement method add variations that can be applied in other areas and develop a personal acrobatic style. We also want to work in expression, with a reason and a purpose of communication with the audience, and a way to personalize a phrase to each individual. Basic exercises and progressive ones will be taught, to help develop movement repertoire , and sequences that will mix those exercises to look for places to do aided acrobats and can be used as bases of explorations for choreography.

This is a laboratory that combines the physical work that I've done and investigated with my peers from Dédalo Artes Escénicas and voice workshops with Kristin Linklater. The physical exercises proposed share a base in dance, mixing different movement techniques and styles, combining to form an amalgamation of body movement and voice.

I would like to teach a contemporary class that starts with a gaga influenced movement exercise. We will then move into a center warm up that fuses ballet with Limon modern influenced technique. The class would then move across the floor to start working on occupying as much space as possible and to work at expanding our senses as performers by using our focus and imagination to move the whole body and spirit across the floor. The class would then work on a longer phase for the dancers to continue working on themselves as performers.

The class is directed to the second block of teaching. It is a meeting point allowing the participants to bundle their curiosity and playful mind by taking into an artistic research mode. They will explore the creative and choreographic potential of prescribed physical, functional and semantic aspects of objects as well as the possibilities to play with these aspects and break them. Franzelle will facilitate the participant's personal creational journey of discoveries. The class will be based on choreographical practices in contemporary dance as well as methods from contemporary circus in researching objects and from theatre and physical theatre. The class tends to be playful, deliberately fun and cooperative, 'hopefully making the creative curiosity spring to life for the day! We aim to co-create a short choreographic sketch, but more important is the tools and the state of mind that the participants take with them from the class. Participants: Curious mixed-ability participants are very welcome to our classes.

A workshop dedicated to the experimentation and search for the intimacy with acting through the amplification of the perceptive state and its projection by the performer. Using Butoh as a an essential tool to explore where the psyche and the body rediscover their own create paths, proposing the performers as a resonant organism, reaching out and available to the creation. For dancers, actors, musicians, painters, sculptors, and the general public. Dirigido a bailarines, actores, músicos, escritores, pintores, escultores y público en general, Expresiones de la Belleza is a workshop interested in exploring the conscious body as an essential in developing your own artistry.

Contact improvisation is a movement practice that has been described variously as "experiential physics", "a movement conversation", and "a combination of modern dance, aikido, and yoga". All three of these examples suggest a practice that involves exploration and investigation on both physical and non-physical levels. In keeping with this year's theme of Borders and Boundaries, the class will focus on developing an expanded and heightened awareness of our physical and energetic selves, and then investigate how we navigate and negotiate as we bring those boundaries into contact with others. We will explore ways of maintaining our autonomy while in connection, and of finding connection from across distance. The class will adjust to the needs of the participants, and will also provide the basic skills of contact improvisation within this framework of discovery.

Description: Grounded in release technique and somatics, this contemporary class will explore the 3-dimensionality of space. Using awareness of weight and flow, students will have the opportunity to dive into the off-vertical, fly with momentum, and understand the sensation of moving with ease and athleticism

Advanced/Intermediate Modern Technique will address a functional anatomical approach to modern dance movement through dance exercises and combinations that stress an ability to move with economy, fluidity, strength and mobility. Artistry, expression, and performance qualities are addressed through performing class material and choreography. Students will develop a more integrated body, incorporate functional anatomy and employ its application to dance, strengthen skill through the practice of advanced level modern dance combinations, and deepen his/her understanding of one's own expressive "voice" as a performer. Advanced/Intermediate Modern Technique is a wonderful opportunity for every dancer to explore breath, expansion, release, suspension, gravity, and momentum within their body and movement.

In this class we will use the pleasure principle-- moving and vocalizing in ways that feel good-- as well as DD Dorvillier's TALK TOUCH MOVE WRITE method to tap into our physical and creative intelligence, and find greater freedom and range of expression. We will begin with a guided meditation to create a safe container for this exploration, and open our channels to welcome new venues of sensation and expression. In continuing with these intentions, we will allow our bodies and voices to become part of a moving exploration, creating a collective experience based in release, and the investigation and embracing of the sensual. We will follow this holistic awakening with an exercise drawn from DD Dorvillier's practice TALK TOUCH MOVE WRITE, where we will move through each of the aforementioned forms in order to unearth information and impulse, and increase awareness of the fluidity of our creative beings.

This class begins with the idea that improvisation is an integral part of technique in contemporary movement training. A gentle but rigorous warm up will lead the participants from the floor into the air as we work through various exercises that challenge both the mind and the body. Class will end with solo and group explorations that will deepen our technical and improvisational skills. (Class taught by Patty L. Solórzano).

We will look for a dynamic and interactive class, where we will work with objects to set a departing point for improvisation and creation through our senses. This class is for and outside space, where we will share with the spectator the improvisations.

This class will combine the grace of modern with the speed and fluidity and streetdance, capoeira, and house dance. Phrases will involve every part of the body—whether in the air or on the ground. The class focuses on how to move from high to low to high again, and how to rediscover "the down" through floorwork. By shifting the focus from internal dialogue to creating movement that, in its own physicality, can tell a story by itself, the class will delve deeper into the cathartic ability of sweat and exhaustion, while offering a new and active method of expression.

This class will approach movement re-patterning through application of current understandings of fascial workings within our body's structures. By engaging the elasticity characteristic of our fascial web we build kinetic potential while reducing the possibility of injury. Understandings of tensegrity allow us to cultivate buoyant resiliency that prepares us for dynamic and responsive activity. By close observation we build our capacity to collaborate with the design of the body, developed over hundreds of thousands of years of evolution. This class is appropriate to all movement levels of movement experience.

Using the physicality of the body (breathing, dynamics, voice, posture, position) and the relationship of this body to the space, students will develop basic exercises to understand these principles and their use in the context of physical theatre. The objective being to work with a text by Jorge Luis Borges in order to make practical the workshop and finally, present this work in the laboratory. With this end, students will be given tools and exercises that allow them to familiarize themselves through experimentation with physical theatre. The session will be divided as such: 30 minutes of warm up, 90 minutes of exercises and exploration and 60 minutes of staging, with brief water breaks during the session.

In my dance class, dance practice is not simply the metaphor of exercise or art. Dance is not a pleasurably aesthetic things that we reconciled, rather it is the intention to listen and to tune into our physical bodies and the memory, knowledge, and potential that they carry within them. I encourage participants to experience and move beyond our superficial understanding of "dance" and our underestimated ideas of what we think we can do/our bodies can do. The class exclusively requires deep listening of rich internal sensations and profound dialogues with the inner voices. The class builds progressively from sensorial practice, alignment exercise, and body awakening exercise, to physical and dynamic phrases. To develop awareness of the body as a medium for artistic expression.

How can we reconnect our minds to our bodies through movement and improvisation? How can movement help us re-think and discover our connections to the Earth? Through practice we all can learn to better understand the ecology of our bodies, and our relationship to the environments that surround us (natural and man-made). In this laboratory we will collaborate to develop a series of solo, partner and group improvisational exercises and scores. Our movement practice will be deeply guided by the observation of landscapes, places where the 'natural' and the 'urban' rub against one another, patterns in the natural world, environmental psychology and memory.

When we think about dance, we often refer to visible movement forms, but, how would it be a choreography for the other senses? This workshop has as an objective to share some of the movement analysis principles from Laban/Bartenieff and invite the participant to use them to create a choreography for touch and hearing.

This lab uses exercises from the Voice as Movement class, but extends them into group explorations, generating material inspired by the various relationships between voice/movement I have been exploring and the acoustic properties of the work spaces available. Some ideas to play with include activating space with sounds and movement to help observers perceive the space in different ways, sourcing text from the individual languages spoken by the participants, taking into consideration the historical (perceived or factual) uses of each space, creating songs with movement and working with archetypes.

The objective of this lab is to share with the participants a dispositive for collective creation built by the members from La Colmena Danza Contemporánea Company which is based on trust not only as an actuator element of creative events, but also as a generator of approach and contact with the viewer, trying to destabilize the barriers that separate the actor from the spectator and the work , ie the creation, execution and perception, and then generate a mode of intervention for community creation. Although there have been already many creative proposals playing with the destabilization of the agents that make up the traditional theater, in an effort to integrate the viewer as creative collaborator and performer of a noninvasive way , we find " confidence " as the element that will not only allow us to develop a way to foster creative approach and integration of all participants, but also catalyze creative processes and aesthetic experience.

Dramaturgy principles to boost choreographic creation.

MAPS is a choreography and performance project in process, initiated by Julie Rothschild in 2011. Here at Performática, Julie will share this project teaching selections of the choreography that emerged in this 5 years and she will be creating new material during this two days lab. Once this is done all the choreography will be available to be changed. Participants will have the opportunity to appropriate the material, creating new dances that then will teach to others. Original material can disappear completely. Participants are welcome to record the material for their personal use during the lab and future use.

This lab is an opportunity for students to take part of the composition. It will immerse you in a creative process starting with improvisation and from there discover how you can compose a choreographic approach.

I would like to work with the theme “frontiers” thas has been highlighted in the lineaments of the festival. Starting with the exploration of time and space in frontiers meanwhile a duet is danced, the student will have the liberty to contribute his/her own interpretation and to explore the definition of the movement. A series of duets will be created.

In this lab, we will invite participants to circle up in diverse groupings in order to share, reflect upon and create new frameworks for collaboration. This lab will culminate in a multimedia performance Bitacora Performativa.

By sharing the way that we have been and continue to work as an international and multidisciplinary arts collective, we expose and question the limitations and possibilities that arise from the boundaries and differences between our countries: geographically, culturally, personally (differences in perspective, age, abilities, skills, philosophies and practices).

We are certain that the diversity in our collective challenges and strengthens our work and keep exploring the common ground that emerges as we allow our differences to be fully present.

Throughout this lab we will be asking and exploring the following questions: How do we approach our work weaving theory and research, different artistic practices and engaging with our communities? How do we research and then use theory and gathered information to inspire and inform our different artistic practices (improvisation, somatics, dance for film, sound, choreography, visual arts, performance)? What do we mean by community and how do we understand collaboration?

In search of exploring distinct elements, such as: listening, movement, sound-voice. Also, these in relation to concepts like: material, body, and agency from philosophic and neo-materialistic perspectives.

We will wake up the participant body and spatial conscience. The elements used will be part of the vocabulary, some tools will work for future creations. The emphasis will be in observation and general perception of the elements that work in the physical and concrete context. Borders between disciplines will be blurred. We are interested in the here and now.

In Preparation for Performance Arson, we propose a laboratory to pose the questions: What are the boundaries of meditation? How many paths are there to achieve a meditative state? What is the space between meditation and dreaming? Where do visions occur? How do we compose, and then share, these experiences? We begin with a physical practice, principally yoga, but sprinkled with other influences (Gyrokinesis, Body Mind Centering, Release Technique, Contact Improvisation). Meditation and mindfulness practices, such as walking meditations, chanting and sound meditations, follow. Propositions gathered from the group through improvisations and exercises in Authentic Movement, Tuning Scores, and Instant Composition will determine the evolution of our meditative practices. Storytelling ends each session as we give language to our experiences in order to share them with others.

Select literary texts and conduct a movement laboratory based in the phonetics of each text, generate instant composition through the "cadáver exquisito" exercise. With the objective of identifying a universal language for dialogue on the stage and the points of recognition in the background meaning of the text, that goes further than the symbolic or the characters.

To be co-lead with Daniel Davis: This Compositional Laboratory will explore the relevance of current philosophical and perceptual understandings of fascia for bodies, cultures, and ensemble performance composition. Fascial fibers always strengthen along lines of pull. Any habit will become reinforced and easier to reiterate, regardless of how destructive in the long term. This absolute willingness is a gift and a curse of fascial intelligence. It allows us to proceed with whatever we ask of our body, it allows us to re-train and re-shape, and it allows us to follow through with self-destructive patterns until the systems breaks down. In this lab, we invite participants to enter a working space that poses the following questions: • What is the "fascia" that exists in our collective cultural body? What are the continuous fabrics that create separation while binding us together in interdependency? • How is that which defines our shape also that which separates? • In what ways are we permeable? And how taut are our definitions? • What changes as we build trust in local intelligence and organization as an integral part of a functioning whole? • How does this move the body and/or let the body be moved?

This lab is co - taught with Rose Pasquarello Beauchamp and dedicated to collecting methods for creating work with a sociopolitical emphasis. We will examine methods of transforming abstract, theoretical research into experiential, visceral performance scenarios and co-creations. Ideally, this lab is 3 x 3h. In the first 3h, after an initial, group-somatic experience, we are inviting the participants to share one paragraph of a critical, self written or found text [participants would have to be notified after they enroll to come prepared]. Additionally, as a group, we will collect a pool of proven tools for approaching sociopolitical work in creative processes. We will prepare a selection of tools from different artists to make the participation of people who have never ventured into this kind of work possible. Our specific interests are: How do we integrate critical analysis of a topic with the depth of our own somatic, cultured and political body knowledge to inspire physical research in the creative process? How do we transform personal boundaries and generate dialogue through critical, multi-layered metaphors? How can we create viscerally impressing experiences that inspire audience members to make their own connections instead of relying on literal representations that lead to heavy-handed preaching? The second and third 3h blocks will be dedicated to praxis; groups will be formed according to similar interests. As facilitators, we will prepare materials that speak to the themes of the conference. Using excerpts from Susan Leigh Foster's Choreographing History, we will explore how each individual's embodied understanding impacts the performative space as it pertains to the integrations of theory, physical research and sociopolitical understanding. Additionally, we will generate a focus on the transgression of borders and on how we understand time and space we share with readings from Peter Sloterdijk's "The Time of the Crime of the Monstrous: On the Philosophical Justification of the Artificial" and Rebecca Solnit's "River of Shadows: Eadweard Muybridge and the technological Wild West". Each group will decide which methods they want to explore and start the process to create one 'scene' in the studio or site specifically. Our hope is to share the 'scenes'-in-progress and discuss gained insights either with our specific cohort or with the conference at large. We wish to remain flexible with the format of the showing to benefit the conference as a whole. The overall goal is that each lab member as well as interested conference participants will have access to a written document listing the various collected tools and their origin.

This laboratory, given by Jean Paul Carstensen y Ambar Luna, looks to open a space to share generated strategies, learnings or findings, during the process of the project [RE]POST, based in collaboration, encounter and intervention of space and people. We work with personal baggage, allowing each participant to find their own voice outside of the way of knowing that constitutes them, permitting to be intervened and at the same time, to intervene, via these ways of knowing.