Monday March 24

BLOCK 1- 9:00am-10:40am

• Advanced Ballet Technique- Eloy Barragán (E/S)
• Conditioning- Karina Cepeda (E/S)
• Modern Technique- Heather Maloney (E)

BLOCK 2 -11:00am-12:40pm

• How to Walk, How to Sit, How to Stand- Andrea Beckham (E)
• Movement Fundamentals- Jane Hawley (E)
• Contact Improvisation: Touching the moment, from stillness to impulse to action- Ray Schwartz (E/S)

BLOCK 3 -2:20-4:00pm

• Contemporary Dance Technique - Ruben T. Ornelas (E/S)
• A Practice of Going In- Karen Jensen (E)

Tuesday March 25

BLOCK 1- 9:00am-10:40am

• Advanced Ballet Technique- Eloy Barragán (E/S)
• Intermediate Jazz- Ground Zero Dance Company/Rob Petres (E)
• Contemporary Dance Technique-Heather Maloney (E)

BLOCK 2 -11:00am-12:40pm

• Performed Improvisation- Sally Wallace (E)
• The Eclectic Body in Search of the Pequeño Verdadero- Francisco Carrera (S)
• Skinner Releasing Technique- Karl Anderson (E)

Wednesday March 26

BLOCK 1- 9:00am-10:40am

• Advanced Ballet Technique- Eloy Barragán (E/S)
• Contemporary Dance Technique - Ruben T. Ornelas (E/S)
• Movement Fundamentals: Liberating Technique in Dance Creation and Performance- Amanda Hamp (E)

BLOCK 2 -11:00am-12:40pm

• Movement and Thought- Karen Langevin (E/S)
• Tap- Gene Medler (E)
• Intermediate Modern Dance- Mary Wililford-Shade (E)

BLOCK 3 -2:20pm-4:00pm

• Contact Theatre: intersections between contact improvisation and theatre- Mirla Criste (E)
• Exploring Limitations-Elsewhere Dance Theater/Matthew Young (E)
• Physicalizing co-relations (Corporalizando Corelacoes)- Marila Velloso (E/S)

Thursday March 27

BLOCK 1- 9:00am-10:40am

• Advanced Ballet Technique- Eloy Barragán (E/S)
• Jazz- Carlos Sisti (S)
• Contemporary Dance Technique- Susan Douglas Roberts (E/S)

BLOCK 2 -11:00am-12:40pm

• Gyrokinesis- Sandy Lacy (E)
• The Eclectic Body in Search of the Pequeño Verdadero- Francisco Carrera (S)
• Release and Floor Work Technique Class- Legitimate Bodies Dance Company/Cristina Goletti (E)

BLOCK 3 -2:20pm-4:00pm

• Skinner Releasing Technique- Karl Anderson (E)
• Danza Aerea- Blue Lapis Light/Nicole Whiteside (E)
• Tecnica Míxta- Delfos Danza Contemporànea (E/S)

Friday March 28

BLOCK 1- 9:00am-10:40am

• My Child, My Self, My Body and Dance- David Fernando Ventura Zárate (S)
• Intermediate Ballet- Sandy Lacy (E)
• Danza Aerea-Blue Lapis Light/Nicole Whiteside (E)
• Afro-Brazilian Dance- Anna Gottreich (E/S)

BLOCK 2 -11:00am-12:40pm

• Improvisation: Body, space, time and objects.- Mirta Blostein (S)
• Tap- Gene Medler (E)
• Tecnica Míxta- Delfos Danza Contemporànea (E/S)

BLOCK 3 -2:20pm-4:00pm

• Bartenieff Fundamentals- Mary Williford-Shade (E)
• Gender Neutral Partnering- Carisa Armstrong & Christine Bergeron (E)
• The Big Mess 2:20- 5:20-Miguel Gutierrez (E/S)

Saturday March 29

BLOCK 1- 9:00am-10:40am

• My Child, My Self, My Body and Dance- David Fernando Ventura Zárate (S)
• Feldenkrais- Elsewhere Dance Theater/ Lisa del Rosario (E)
• Pilates - Denise Posnak (E)
• Contemporary Dance Technique- Jesse Zarrit (E)

BLOCK 2 -11:00am-12:40pm

• Contemporary Technique- Bustamante
• The Eclectic Body in Search of the Pequeño Verdadero- Francisco Carrera (S)
• Contemporary Dance/Release Technique- Lou Sturm (E/S)

BLOCK 3 -2:00pm-3:40pm

• Intermediate/Advanced Modern- Lacy (E)
• Afro-Brazillian- Gottreich (E/S)

Sunday March 30

BLOCK 1- 9:00am-10:40am

• My Child, My Self, My Body and Dance- David Fernando Ventura Zárate (S)
• Skinner Releasing Technique- Karl Anderson (E)
• Partnering- Ground Zero Dance Company/Rob Petres & Kat Legault (E)
• Use of Space and Body Break-Down (Desglose)- Alejandra Ramírez (S)

BLOCK 2 -11:00am-12:40pm

• Stories-Laura Silva Cervantes (S)
• Dancing/Dialoguing- Susan Douglas Roberts (E/S)
• Body and Sounds Within Dreams- Sven Doehner (E/S)

BLOCK 3 -3:00pm-4:30pm

• The Woolly Process- Woolly Mammoth Comes to Dinner (E/S)
• Dance Theatre- David Silva Carreto (S)

Monday March 31

BLOCK 1- 9:00am-10:40am

• The Fluid Spine: Ride the Wave, Feel the Fall- Leslie Dworkin (E)
• Intermediate Jazz- Ground Zero Dance Company/Rob Petres (E)
• Yoga - Katharine Birdsall (E)

BLOCK 2 -11:00am-12:40pm

• Inhabiting a Moving Universe- David Appel (E)
• Contact Improvisation: Touching the moment, from stillness to impulse to action- Mark Moti Zemelman (E)
• Physicalizing Emotion- GZDC/Kathleen Legault (E)

BLOCK 3 -2:20pm-4:00pm

• Transparent Mind/Transparent Body: Revealing the Process of Improvisation- Kent De Spain (E)
• Elemental Body Alignment System- Scott Putman (E)
• Inside the Pilates Body- Barbara Magee (E)
• The Woolly Process- Woolly Mammoth Comes to Dinner (E/S)

Tuesday April 1

BLOCK 1- 9:00am-10:40am

• Floore Barre- Erika Arévalo/Rodanza (S)
• Jazz- Carlos Sisti (S)
• Re-Education Of The Body - Klein/Mahler Technique-Barbara Mahler (E)

BLOCK 2 -11:00am-12:40pm

• Adding Surprises to Your (Contact) Dancing with Laban's Efforts- Sue Lauther (E)
• Elemental Body Alignment System- Scott Putman (E)
• Contemporary Dance Technique- Julie Rothschild (E)
• Boundary- Jane Franklin (E)

BLOCK 3 -2:20pm-4:00pm

• Utilizing Literary Throughlines in Choreography- Rachael L. Shaw (E)
• Hip-Hop- Rudi Goblen (E/S)
• Touching Energy- Ida Smith (E)
• The Woolly Process- Woolly Mammoth Comes to Dinner (E/S)

Wednesday April 2

BLOCK 1- 9:00am-10:40am

• Moving With Laban and Bartenieff- Tina Kambour (E)
• Physical Awareness- Andrea Yugoslavia Chirinos (E/S)
• Contemporary Dance Technique- (E/S)

BLOCK 2 -11:00am-12:40pm

• Butoh- David de la Cruz (S)
• Movement Generating and Crafting- Jill Priest (E)
• Modern Technique- VIA Dance Collaborative (E)

BLOCK 3 -2:20pm-4:00pm

• Composition and Choreographic Workshop- Legitimate Bodies Dance Company/ Nick Bryson (E)
• Contemporary Dance Technique
• Thai Massage- Ground Zero Dance Company/Damion Bond (E)

Thursday April 3

BLOCK 1- 9:00am-10:40am

• Ballet- Pedro Beiro (S)
• How to Walk into a Dance- Katharine Birdsall (E)
• Contemporary Dance Technique- Li Chiao-Ping (E)

BLOCK 2 -11:00am-12:40pm

• Contact Improvisation: Touching the moment, from stillness to impulse to action- Mark Moti Zemelman (E)
• Hip-Hop- Rudi Goblen (E/S)
• Yoga- Allison Waddell (E)

BLOCK 3 -2:20pm-4:00pm

• Education/Aesthetics- VIA Dance Collaborative/Adrienne Westwood (E)
• A-DNA_Dance/ADN_Danza- Francois Joseph Lapointe (E/S)
• Re-Education Of The Body - Klein/Mahler Technique-Barbara Mahler (E)

Friday April 4

BLOCK 1 - 9:00am-10:40am

• Yoga- TBA

BLOCK 2 -11:00am-12:40pm

• Intermediate Jazz- Ground Zero Dance Company/Rob Petres (E)
• Presence of the Actor/Dancer- Ulises Martínez Martínez (S)
• Hip-Hop- Rudi Goblen (E/S)

E - English, S - Spanish

Karl Anderson

Skinner Releasing Technique

What Is The Skinner Releasing Technique?
We're all born dancers, with innate coordination and animal-like grace. As time goes by, we tend to lose touch with this natural ease. Muscles tense unnecessarily, and our alignment goes askew. The Skinner Releasing Technique™ (SRT) lets us practice letting go: letting go of stress, letting go of unnecessary holding in our body, letting go of preconceptions about what is supposed to happen, letting go of fear of awkwardness, letting go of the belief that we don't have the right body for dancing. We let go of habitual holding patterns and habitual ways of thinking in order to let something new happen. Eventually, we find energy and power. We rediscover our natural alignment, improve strength and flexibility, and awaken creativity and spontaneity. It's a dance class for professionals as well as everybody else.

SRT can enhance any movement style and any activity. For many, it's catalytic in their lives, with multi-faceted, far-reaching effects of opening and enhancing, no matter what it is they do.

SRT classes include imagery as a powerful tool for transformation. Part of the class involves hands-on partner studies, where we can feel ourselves letting go of habitual holding patterns, maybe for the first time. At times, the teacher's guided imagery quiets the mind, and coaxes us into a deeper state of wholeness, tapping into the imagination while working on technical aspects of movement. Movement unfolds, sometimes in quiet gentle ways, sometimes in surprising and inventive ways. Integration of the technical with the creative is a unique aspect of the Skinner approach. Connecting our physicality with our imagination, we end up with an empowered self much greater than the sum of its parts.

Some parts of an SRT class involve 'deep states,' where our brain waves slow down and we journey just below conscious level. This mode is similar to meditation: the senses are heightened and we're open to learning. Moving from this state, or even just visualizing movement, can lead to astonishing transformations. People find themselves moving in ways entirely new for them, that they didn't think themselves capable of, often with an ease they didn't think possible.

The class atmosphere is gentle, interweaving guided imagery with a variety of musical environments that support and propel us in a comfortable, safe atmosphere. Each of us can proceed at our own pace and in our own way, accessing our fluid, natural grace and inner, creative impulses. Balance is found by expanding multi-directionally rather than by holding. We align with the forces of the universe, rather than strictly in relation to our own bodies. It's an experiential, intuitive approach, taking into account not just the physical body, but the energies that move through and around us.

In SRT, we find a class atmosphere that includes all parts of us. Although the work is specific, it's broad and deep enough to include our own thoughts and feelings as they come and go. And no matter how much or little we move in class, we leave with more energy than we had when we came. And with ideas flowing.

David Appel

Inhabiting a Moving Universe

We will approach dancing as an act of acute engagement; moving comfortably and decisively, solo and with others. Some of the areas we will touch on may include: articulating specific movement choices while maintaining a fluid capacity for change; exploring rhythmic and other possibilities engendered by weight flow, breath, and subtle neuro-muscular activity; and drawing upon the linkage between our internal world and our external environment, as reciprocal sources and mutual support structures. Finding substance, inviting nuance, gathering presence.

Erika Arevalo/Rodanza

Floor Barre

Carisa Armstrong & Christine Bergeron

Gender Neutral Partnering

This class explores the fundamental principles of partnering using momentum, counter balance, weight sharing, breath, timing and trust.

Eloy Barragán

Advance Ballet Technique

Based on methods taught within traditional schools with the integration of contemporary language, considering the choreographic demands in the twenty-first century.

Andrea Beckham

How to Walk, How to Sit, How to Stand

Movement as non-verbal expression - clear, efficient, mindful - is the goal. Awakening the internal pathways of breath and energy flow through guided imagery and simple floor exercises that evolve to mid-level, and finally to standing, we attempt to move with individual simplicity through a structured experience. Informed by a neuro-muscular model, skeletal alignment is emphasized for efficiency and clarity, and we will utilize Pilates-evolved principles of movement facilitation, axial elongation and core control to enliven daily physicality . . . walking, sitting, standing.

Pedro Beiro

Ballet

Katharine Birdsall

How to Walk into a Dance

I tend to think I need to do a lot in order to prepare myself to make a dance. What if I tried just walking into a process that would bring me straight into conscious movement and the very essence of the dance I am making? This is the question I asked myself in the making of the duet which I perform here at Performática with Ida Smith. Ida calls it "the underpinnings". In this class, you will learn this simple process that will lead you to your own rich material. Afterwards you are free to use the process, or material as you choose!

Mirta Blostein

Improvisation: Body, space, time and objects. How to arrive to the scenic body?

We will be led to the development of the language of the body so as to arrive to the Expressive Movement, which is reached when you possess certain technical knowledge, know how to handle the space and have an ability to use emotions to attain intention and with it. You arrive to choreographic games rich with contents you can communicate. In this process, you arrive to the encounter of the dramatic or scenic body. Therefore, the proposal is to explore space, time and objects, and in this way, be able to arrive to guided improvisations, which could be the seeds of the choreographic games, which the participants will be able to develop in due time.

Francisco Carrera

The eclectic body is search of the pequeño verdadero.

Training and improvisation. Training course for bodies in movement and scenic action

The body, conceived as a universe that should integrate all the parts that make it a whole, needs, even in its every-day life, to make certain tasks or chores that can maintain it in a certain state of presence, of alert to whatever could happen around it. In the scenic realm, the task is even bigger, the body must be 'here and now', alive, present; it must be able to transmit energy and to transform it; it must be capable of metamorphing, of transforming the space in which it finds itself; it also must be capable of keeping its constant attention to solve every demand that scenic life requires, being the biggest of its achievements the act of poetic creation on stage.

The present course has as objective give tools that permit an "eclectic integration" in training and in the use of the scenic body, seen from a contemporary point of view, where exploration is the endless source of creative principles; using elements of diverse body-based trainings and scenic action designed to help the scenic artist, whose main tool is his/her body, there will occur a better understanding of movement/action.

A class will take place, in which body training is approached from alternative methods, based in body rhythm, Butoh exercises, yoga, interpretation and execution of the sense of movement as well as the search for the pequeño verdadero. Improvisation will be seen as a source to create languages of one's own and as a way of training.

The purposes of this workshop:

• To provide with tools that develop the actor's capacity within the dramaturgy of the body in the actual scene.
• Use the elements that theatre brings to make stronger the creative physical work.
• Construct an alternative class to the formational techniques, departing from an eclectic selection of the elements used in physical training.
• To live improvisation as an element of solution, creation and training.
• Identify how to nurture the small truth with training.

Each participant will use a number 8 plastic ball, a piece of cloth to cover the eyes, and 2 broomsticks.

Karina Cepeda

Conditioning

Li Chiao-Ping

Contemporary Dance Technique

Li Chiao-Ping integrates principles of Extreme Moves training, Yoga, Pilates-based methods, and functional anatomy, along with traditional dance techniques to help dancers work from a strong center while fluidly and dynamically moving in an articulate and full-bodied style- upright, sideways, and upside down.

Andrea Yugoslavia Chirinos

Physical Conscience

Based in Kinesthetics, Alexander Technique, Biodynamics of the body and Tai Chi, this class connects us with our bodies, preparing it to create movement, take any class or simple, to get us closer to ourselves and each other... we will integrate body and mind.

Mirla Criste

Contact Theatre: intersections between contact improvisation and theatre

This workshop will explore the impact of imposing theatrical elements (including music, text and objects) on contact improvisation. Our goal is to explore possibilities for compelling theatrical movement while retaining the truthful, improvisatory nature of contact improvisation.

David de la Cruz

Butoh

This workshop will focus on opening up the joints as basis of the opening of emotion and perception which will then land in a creative dance exercise. The grounds of Butoh are about connecting with multiple energetic qualities and exposing them; the body will always be the pathway, it will be exposed and vulnerable.

Delfos Danza Contemporanea

Delfos Mixed Technique

Used for Delfos Danza Contemporánea's dancers' training, one of its main characteristics is how to handle energy and dynamic through specific impulses that look to attain a greater organic quality, a freedom within the flux of movement and a broader awareness of the body in relation to space. In class, we'll emphasize specially on sensory awareness and the way imagination is handled, as motors of the individual understanding of the body.

Kent De Spain

Transparent Mind/Transparent Body: Revealing the Process of Improvisation

This is an improvisation workshop designed to engage in movement practices that reveal the creative body/mind of improvisation in action. Using a combination of spoken language and movement, we will challenge ourselves to shift intention on the fly and communicate thought processes and images in performance.

Sven Doehner

Body and sounds within dreams

According to C.G. Jung, the image is a sensory experience accompanied by emotions and a belief system... in this workshop, guided by some principles of Jung's and James Hillman's we will demonstrate how the images of our dreams offer unique possibilities to develop a physical and sound sensibility, with effects that are profound and transforming.

Susan Douglas Roberts

Contemporary Dance Technique

Grounded in traditions of the Humphrey-Limón approach to technique, these classes pull focus to motion, risk taking, and performance quality. Additional influences come from contemporary aesthetics regarding the use of weight, flow and physicality; principles of Contact Improvisation, Pilates and yoga techniques; and a love of being tossed about!

Susan Douglas Roberts

Dancing/Dialoguing

Contact improvisation-based class designed to engage dancers as effective "listeners" and responsive movement "conversationalists." This class brings focus to partnering skills that require weight sharing; the ability to follow momentum; counterbalance; awareness of energy concentration and flow; spontaneity and fun.

Leslie Dworkin

The Fluid Spine: Ride the Wave, Feel the Fall

A modern dance technique class (Int/Adv). Heavily influenced by Bartenieff fundamentals, release-based work, and triyoga principles, Dworkin's class begins on the floor, exploring breath and weight, then eases its way to standing exercises that gain in effort and expression. The bulk of time will be spent refining phrase material which asks the spine to be fluid and mobile, and the body to move articulately, off-balance, with ease, specificity, and dynamism.

Elsewhere Dance Theater/Lisa Del Rosario

Feldenkrais

The Feldenkrais® based dance class will investigate how to move with greater ease and connectedness - from the inside out. From slow, floor-based explorations we will transition to standing, spacious movement. Dancers will be led to move fluidly with precision, awareness, and curiosity.

Elsewhere Dance Theater/Matthew Young

Exploring limitations

This improvisation workshop looks into the opportunities opened by choosing to not do (something). Both mental and physical constraints can illuminate new paths and motivations. Ultimately, we will explore the relevance of this practice on creating scores and improvisational choreography.

Jane Franklin

Boundary

Boundary is an exploration of lines of division and the imposition of barriers. Boundary takes up, contains, describes, and creates space by activating social space and by drawing the participant and the viewer into the environment. Ideal for an outdoor plaza space, the workshop involves improvisation structures, group process and the performance/observation of the materials.

Rudi Goblen

Hip Hop Workshop

In this workshop Rudi Goblen will walk you through the foundational moves of B-Boyin'/B-Girlin' (Breakdancing). These fundamental moves are the stepping-stones to strengthening your body and becoming an all around, versatile B-Boy/B-Girl. In addition, you will also learn how certain dance forms such as Rhumba Guaguanco, Salsa, The Lindy Hop and African dance all played a big role in becoming part of this urban contemporary dance.

* Note: Please wear appropriate attire to this class, such as sweats and sneakers, no bare feet or ballet shoes.

Anna Gottreich

Afro-Brazilian Dance

A full-range dance class, with a thorough warm-up. Movement across the floor; exploring Samba and Afro-Brazilian dance, to beautiful, fast-paced rhythms.

Ground Zero Dance Company/Damion Bond

Thai massage

Thai Massage teacher, Damion Bond, guides partners through a brief Thai massage session. In Thai massage the practitioner uses her palms, elbows, and feet to compress muscles, stimulate acupressure points, and gently stretch the body allowing it to relax, open, and literally decompress. The Thai method traces and clears ten energy lines, which cover all muscle groups and organs, reaching every body system. Though active for the practitioner, this is completely passive for te client. The Thai style aleviates all types of ailments and injuries and is especially helpful to those who seriously use their bodies. It is also suited for those who wish to remind their body of how it feels to be without tension and stress.

Ground Zero Dance Company/Kat Legault

Origins of Connection/ Physicalizing Emotion

Kat Legault explores the physical relationship of body connection and emotion as compass.

Ground Zero Dance Company/Rob Petres

Intermediate Jazz

Rob Petres incorporates modern movement concepts with a classic jazz vocabulary.

Ground Zero Dance Company/Rob Petres & Kat Legault

Partnering

Incorporating basic principles to develop a strong foundation in partner work, students will practice phrases and GZDC repertory.

Miguel Gutierrez

The Big Mess or Practices for returning to a state of wonder...

What if we don't divide the experience of investigating our work as dance artists into the neat categories of "technique," or "improvisation," or "composition?" What if we accept the totality of our abilities and deficiencies and know that our work is defined by both of these things (and more and more) and what if that is perfect? What if trying to do something that you don't understand is the best idea that you have? What if it doesn't matter what "level" you are at as a dancer/creator/performer? What if we call this experiment The Big Mess and see what the hell happens?

Amanda Hamp

Movement Fundamentals: Liberating Technique in Dance Creation and Performance

Movement Fundamentals invites the whole person to the practices of dance doing and dance making. We can experience our bodies as intelligent and articulate. We can experience ourselves as instruments/beings that are increasingly efficient, available and versatile through awareness. In this workshop we'll explore and specify concepts of movement and choices in dancing.

Karen Jensen

A practice of going in

Living our daily lives, constantly moving from one event to the next, how do we sense our authentic self within relationship to others and our environment? How do we remain connected to our own personal rhythm of forming and reforming, while also knowing how to respond to our individual concerns and greater ethical dilemmas?

My research is based in the practice of Authentic Movement and the theory of Somatic Psychologist, Stanley Keleman. I have developed a somatic practice titled, The Process of Asking How. In this practice I combine Authentic Movement and a questionnaire as a tool from Keleman's The How of Behavior theory. From this research, I hypothesize that the answers to the questions stated above are more authentically discovered.

Authentic Movement is a body-based discipline where one person moves with eyes closed in silence while another person witnesses and tracks the mover's experience. This practice taps into the mover's natural intelligences. Somatic psychologist, Susan Aposhayan defines natural intelligence as the "synergistic intelligence that arises out of including all the resources of every tissue and fluid in the body". By attuning to the sensations of our own experiences, the Authentic Movement discipline cultivates the practice of being in the moment, asking questions, and gathering information on how we need to take action and participate in the formation of our daily lives.

By answering Keleman's questions on The How of Behavior, we begin to pay attention to how we constantly form and reform our relationships. With this process Keleman reminds us that people become "enlivened to accept and participate in thrusts toward change called from by the deepening of relationships" with ourselves and with others.

Tina Kambour

Moving with Laban and Bartenieff

This technique class will incorporate the work of Rudolf Laban and Irmgard Bartenieff for a full-bodied class. Internal and external space will be explored.

Sandy Lacy

Intermediate or Advanced Modern Dance

Eclectic style emphasizes moving from the inside/out with less muscular tension and increased joint ease yet incorporating a strong technical approach. Focus is on finding sound skeletal alignment, flexibility, and on moving efficiently with fluidity, clarity and power. Long center and across the floor phrases will challenge the mind and explore the use of breath, weight, timing and dynamic contrast in dancing.

Sandy Lacy

Intermediate Ballet

Ballet class geared to modern dancers emphasizing moving from the inside and learning to dance the classical vocabulary with whatever body you own. Attention will be paid to moving in center and musicality as well as placement, line and joint articulation.

Sandy Lacy

Gyrokinesis

Movement system created by Juliu Horvath that embraces key principles found in Yoga, Dance and Tai Chi. Class starts with self massage and simple breathing patterns to awaken the body. Next focus is on the spine and pelvis. Seated on stools or chairs the spine is mobilized through a series of arching, curling, bending, twisting and spiraling movements. These movements are then expanded upon in standing and mat work. The system gently works the joints and muscles opening up energy pathways.

Karen Langevin

Movement and Thought

Using the principles of the Alexander Technique as a tool for expanding awareness in the improvisational realm. Taking our attention, intention and will into directed thinking to release and surprise, discovering new relationships and possibilities.

François-Joseph Lapointe

DNA_Dance/ADN_Danza

The field of choreogenetics relies on a mathematical model of evolution and a computer algorithm to generate choreographic variation. In this workshop, short dance sequences will be created using vocabularies inspired through improvisation by the dancers. The different movements will be assigned to the different nucleotides (A, T, C, or G) of the genetic alphabet, or to different amino acids that make up our genes. A computer algorithm will then be used to transform, mutate and evolve the sequences for generating choreographies. The participants will not only apply a biological model to dance composition, they will also learn about molecular biology, genetics and evolution, bridging the gap between scientific and artistic endeavours.

Sue Lauther

Adding Surprises to your (Contact) Dancing with Laban's Efforts

Do you ever feel like you dance the same dance as you improvise? Let's explore the dynamic range as explored by Rudolf Laban to bring colorful twists to your expression and edginess to your connections with others.

Legitimate Bodies Dance Company/Nick Bryson

Composition and Choreographic Workshop

This workshop postulates that in our dance practice there is only a small gap between a tiny physicalization (almost nothing) and generating a whole movement sequence. The dance work itself can be seen as almost not made because it is inspired by so very little. By combining the ever-present resources of gravity, the habits of the dancer with some spatial restriction, the fundamental motivating idea can be very small indeed. There is probably not really an idea at all and the perfect movement motivation and intention results from an absence of ideas.

Legitimate Bodies Dance Company/Cristina Goletti

Release and Floor Work Technique Class

The session starts with a release-based warm up that focuses on alignment, spine and floor work. The class develops into ways in and out of the floor using head/tail connection with detailed appreciation of the sensory aspects to access technique. The last sequence is a dynamically challenging one that emphasizes the articulation of the whole body in the space.

Barbara Magee

Inside the Pilates Body

This class will introduce exercises to help the student identify and strengthen the correct muscles used in the basic Pilates mat class. Therabands will be used to facilitate exercises and specific attention given to correct alignment and body use. A working knowledge of the basic mat class would be preferred. Bring a mat!

Barbara Mahler

RE-EDUCATION OF THE BODY - Klein/Mahler Technique

This ongoing class is a dance/movement technique that works from the premise that the requirements of movement in daily life and dance are basically the same. It provides the underpinnings to support all styles of dance technique and improvisation. The purpose of the work/class is to re-educate one's body with an interweaving of theory and practice on a physical and organic level. The result is clarity and sureness of movement, and a new level of understanding the innate intelligence of the body. A body of work, it is also a way for dancers to be treated, respected and to be seen as individuals. The main thrust of the work is for dancers to find their own essence, their own identity and integrity and take that into movement. We work at the level of the bone, not the traditional level of the muscles. In order to move most efficiently it is necessary to let go of the muscles that hold us back from moving and fix the body into a set and locked configuration. When the bones are aligned we become connected, powerful and strong. The body becomes efficient and alive. The class is open to all levels, dancers and non-dancers alike.

Heather Maloney

Modern Technique

Throughout the course of the class we will workshop the physicality of falling through the exploration of gravity. The exercises incorporate floor work and upside down work to warm up the body as well as find the spiraling points of opposition. Be prepared to have a good time sailing the body throughout the space.

Ulises Martinez Martínez

Presence of the actor/dancer

His purpose is to guide a process of recognition and development of one's own creativity and perception with basic elements such as teamwork and concentration. There will be movement/training sequences from both dance and theater.

Gene Medler

Tap Dance

This class will focus on all aspects of tap dancing. This includes technique, traditional movement vocabulary, contemporary vocabulary, development of style, improvisation, fundamentals of music, polyrhythms and choreography. The goals of the course are to prepare the dancer for the musical stage (if applicable), to establish a technical and rhythmical base for continued growth, and to view and use rhythm tap as a means of communication, self-expression and creativity.

Ruben T. Ornelas

Contemporary Dance Technique

Limón-based approach to movement that uses breath and weight to initiate movement.

Denise Posnak

Pilates

A workshop/forum to practice the traditional method of Pilates, and question and/or affirm it's relevance to post-modern/contemporary training.

Jill Priest

Movement Generating and Crafting

Dancers will explore a variety of ways to generate and manipulate movement. The process will then move to crafting movement in duets and small groups through spatial and contact partnering.

Scott Putman

Elemental Body Alignment System

Experiential Anatomy class that systematically prepares the body for any type of movement modality increasing range of motion and joint action. The progression is a series of exercises designed to re-educate the body while bringing consciousness to how we articulate our pelvis, spine and exterior limbs.

Alejandra Ramírez

Use of space and body break-down

Advanced Release movement technique. The workshop consists in creating in the dancer/student an adequate process of handling basic connections between heal-tail, heel-sitbone, use of spirals in the vertebral column and emphasizing joints up to their terminal points (hands, feet, coccyx, head), which will provide a broader idea of space and of efforts required. It will bring ability, flight, balance and an articulate and flexible movement quality.

Julie Rothschild

Contemporary Dance Technique

A threading together of movement practices that leads to strength, delicacy, awareness, direction, and composition.

Ray Schwartz

Contemporary Dance Technique

Rachael L. Shaw

Utilizing Literary Throughlines in Choreography

This workshop will explore the utilization of short stories or poems in the creation of movement. The focus will be on attempting to dissect the throughline and other literary devices employed by the author of a selected work, then creating movement inspired by those devices.

David Silva Carreto

Physical Theatre

To help the dancer find theatrical interpretation by means of physical expression, breathing, energy levels and velocity of movement, without losing the roots of dance, working individually and in groups. Bring a piece of cloth to cover the eyes!

Laura Silva Cervantes

Stories in movement

Enjoy the practice of reading and dance, telling stories as a new experience, giving life to new inner worlds in which the person identifies with him/herself, knows, distinguishes, has opinions and generates a blissful and continuous learning through games and strategies for the use of oral, written and physical word. Bring a pillow, mat, a drawing book, crayons or colors, pen and pencil!

Carlos Sisti

Jazz

Ida Smith

Touching Energy

This will be a practicum in detecting energy flows in the physical body. It will afford an opportunity to feel energy flowing through the physical structure and how clearer, stronger flows of energy empower our bodies and minds. We will observe this in our own bodies and in the bodies of others.

Lou Sturm

Contemporary Dance/Release Technique

The session opens with exercises that connect us to our breathing and to the most profound textures of the body. We then start with Release Technique, the goal is to harmonically align the column and obtain free movement in joints. Learn to channel the force of gravity as kinetic energy to be able to travel around the floor with ease and fill the space as well, in movement and in longer dance phrases.

Marila Velloso

Physicalizing co-relations

Modern dance that focuses on the relations between body-environment and in the idea of format: function and form for physical preparation. The workshop aims to work the transition of the physical states, based on the notions above mentioned.

David Fernando Ventura Zárate

My child, my self, my body and dance

Through movement, I connect with my inner child to obtain an integral development of my self and am able to transform it into a creative movement. Bring a pillow, mat, 1meter of any fabric that's 1.50 meters in width and a human form doll.

VIA Dance Collaborative/Adrienne Westwood

Aesthetics

This experiential aesthetic education workshop, built around VIA repertory that will be presented within the festival, will use aesthetic education techniques to dive into the artist's shoes. The workshop will focus on using dance making and reflection while allowing participants deeper insight into the rep, enabling them to draw connections to broader contexts. Westwood, a dance teaching artist for Lincoln Center Institute, has been deeply influenced by Lincoln Center Institute's practice of aesthetic education in her work as a dancer, teacher, and chorographer.

VIA Dance Collaborative

Modern Technique

In this modern technique class we will begin by receiving support from the floor for a series of gentle exercises intended to warm our centers for efficient initiations. Standing, we will look at alignment and dynamic shifts of weight. Phrasework will focus on qualitative choices that open our awareness to moving more fully.

Allison Waddell

Yoga

Sally Wallace

Performed Improvisation

This class takes dancers through a series of improvisational exercises based in Listening and Compositional techniques. The class develops preparing dancers to "perform" improvisationally in a proscenium stage space. The class culminates in an improvisational group performance.

Nicole Whiteside/ Blue Lapis Light

Aerial Fabric Class

(limited to 12 people)

Mary Williford-Shade

Intermediate Modern Dance

The purpose of this course is to clarify the performer's understanding of the somatic body at the intermediate-advanced level in the genre of modern dance. The teaching methods will remain grounded in the mechanics of motion and to emphasize fluidity of the joints and breathing as well as in the generating, release and direction of energy patterns. Once these core concepts are embodied, the dancer has a foundation from which to propel herself through, in and around the space. Increased range of awareness, social interactivity, movement patterns, dynamics and performance focus define the performer as a soma of expressive power.

Mary Williford-Shade

Bartenieff Fundamentals

The Bartenieff Fundamentals as Performance Process is a seminar designed to facilitate students to discover, examine, and re-examine the principles that define a moving/dancing process of the body-mind. Students will explore the relationship between the nature of their bodies, the learning, unlearning, and relearning that takes place when researching the body as a knowledge site for performance research.

Woolly Mammoth Comes to Dinner

The Woolly Process

Over the course of 3 workshops, dancers will be guided through a mindfulness/movement practice that we like to call The Woolly Process, which includes elements of improvisation, deep listening, meditation, song, choreography, calesthenics, and nonsense. Together, the group will seek out and interact with specific physical environments, paying attention to how the idea of place affects the quality of a dance. Within the framework of The Woolly Process, we will look at a range of movement styles from rigorous athleticism to subtle gesture, examining our own idiosyncratic movements and peculiar preferences in order to expand our ideas of what "works" in performance. We will also explore what it means to be inclusive, generous, and non-elitist as both a mover and a conceptual artist. Classes will examine the process of composing a dance, and interested students will have the opportunity to help organize and participate in an ensemble, site-specific performance at the end of the festival. Dancers are welcome to drop-in on any class, regardless of interest in the final show.

Jesse Zaritt

Contemporary Dance

Jesse Zaritt's movement class begins with a series of exercises designed to explore different movement systems such as continuity, rotation, isolation, release, vibration, and momentum. Each system is addressed both through set exercises and guided improvisation. The class will culminate in a movement study that will allow participants to integrate ideas offered earlier in the learning session. Ultimately, this movement study will challenge and enable dancers to understand how the body can contain and express multiple physical states at the same time.

Mark Moti Zemelman

Contact Improvisation

Touching the Moment: From Stillness to Impulse to Action

Contact Improvisation is an honoring of every moment. There is a sweet surrendering that happens when our bodies stay faithful to what is happening now, and now... and NOW! In this workshop we learn to recognize and differentiate the subtle impulses in our choices and our partner's choices. We begin to decipher the cues that we give and receive which tell us when to lead or follow, when to go up, when to go down, where to touch, how to lift, when to slow down, and when to be still. Learn to stay in integrity with each choice, never forcing, never rushing. When Body, Mind, and Spirit are united in their instinctive wisdom we find our-selves at home in every moment expressing our true nature. With live music by Moti and guests.