agnieszka&agnieszka

Things we can still do on stage

The workshop we propose is part of the project. It is a 10-day working period (we could squeeze it into 7 or 8 days) that leads to a final performance created with the participants and presented on stage. During the workshop itself we will try to discover and develop with kids three basic sources for the movement. They will learn how to use their own imagination, abstraction, get inspiration from the surrounding movement codes and schemes and how to consciously use their bodies in solo and in group. Finally altogether we will prepare a dance piece.

D. Chase Angier

Image Based Composition

Collecting images while walking, viewing, reading, dreaming, imagining. Using those images to create rich choreography where the meaning of the work reveals itself during the process. Intuition will then be used as an editor, and your choreographic skills used to shape the work.

Penny Arcade

Rigorous Inquiry

Penny Arcade is creating a special workshop for dancers who wish to integrate performance art, theatre and video into their work that is backed by rigorous inquiry as well as for dancers who wish to work from an autobiographical or memoir point of view. The workshops will include an overview of Perfomance Art and Experimental Theatre history . Since Penny Arcade brings immediacy and authenticity to every aspect of her work, these workshops will be geared to both the immediate and long range needs of the workshop participants in a very personal way. Art is a vocation not a profession, says Penny. Who you are, your individuality, your uniqueness, is what you have to offer to the world and is what you use to create and inform your work.

Workshops will be divided into lecture and performance segments. Workshop participants will examine segments from several of Penny Arcade's 8 full length works on archival video and participants will learn atom by atom how to create work from a rigorous personal inquiry. These workshops are suitable for artists who range from the beginner to the most accomplished artist. Be prepared to bring your specific performance questions to incorporate into the performance workshop segments.

Irma Arce-Kundala

Arab Dance Technique: The Basics

The workshop will include a warm-up, followed by basic steps and 2 rhythms of it. We will end with a choreography and a relaxation stage. Requirements: comfortable and tight clothing. No shoes. A hip-belt.

Gilad Ben Ari

Researching Movement/Improvisation

Working with images of textures of materials and tastes, the research for movement will not be motivated by what you know of the structure of your body, but by how can you imagine it to be. With joints in the middle of bones, and blood vessels flowing with freezing silver.... This research will be inspired by the time I spent with the Batsheva ensemble in Tel Aviv. In the first part of the workshop, the movement research will be mostly personal, interaction of the body with itself and the space. The second part of the workshop will be devoted for a structured jam session.

Carisa Armstrong

Modern Dance Technique

Influenced by many styles/techniques of modern dance. A movement class focusing on the use of spine in movement and the use of floor in phrase work.

Arte Escénico ELEUSIS

A time of your own

Objective: based in elements that constitute the medular work of training, Arte Escénico ELEUSIS will develop a session where the participant is acquainted with the principles of improvisation that the group uses when creating, looking to foster in the interpreter a capacity for the development of a movement dramaturgy.

The workshop will be taught by all the members of the group, with the will to integrate the participants in the work dynamic of the group itself.

David Beadle and Allison Waddell

Contact Improvisation

This workshop will focus on the basic skills, principles and vocabulary from contact improvisation.

Kumara Inti Beleni

INITIATION TO THEODANSE

Contemplating the source of life...the BREATHING
We recreate the conscious movement...
the one who activates, circulates, penetrates and expands
the DANSE that Unifies the Diversity.

Christine Bergeron

Intermediate Modern Dance Technique

Chris' work has been described as quirky, athletic and humorous. This class will reflect these qualities.

Robert Bingham

Contemporary Dance with Kalaripayettu

This is a contemporary dance technique class drawing from the movement vocabulary of kalaripayettu, a South Indian martial art form. Specific features/qualities of the warm-ups and movement phrases will include strong, direct, and grounded movement, clear shaping and a propulsive athleticism.

Katharine Birdsall

Yoga Asana, Easing into power

This class is designed to be restorative and recharging in the context of the fullness of Performatica.

Mirta Blostein

Skeleton, Muscles, Skin and something more

Improvisation workshop: we will explore the relationship of body-space, time and objects; the way in which they affect the body-subject and thus, the way they affect movement.

Kathleen Byrne

Intermediate/Advanced Ballet Class

Francisco Carrera

The eclectic body in search of the small truth

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 small truth. 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.

Chung-Fu Chang

Modern Dance

This modern class draws elements from both the Eastern and Western traditional dance, and fuses contemporary techniques. The class starts on the floor warm-up emphasizing the use of the body in contraction and release to prepare the dancer for the standing and traveling work across the floor. Movement combinations from Chang's work will focus on developing an awareness of the dynamic changes in movement quality and the relationship of the dancer to the space around them.

Kate Corby

High-Speed Choreography

Working from an instinct-based framework, we will be developing an arsenal of tools to generate and edit choreographic material quickly. The class will begin with improvisation and end in short solo compositions, with a focus on developing vocabulary specific to our new dances.

Donna Costello

Movement Translation

Translating movement material is a common practice between a dancer and choreographer. I believe that the choices dancers' make within that exchange help to define and create work. In this workshop we will look at movement and see what is at the root of it. Is it initiation, weight, sequence, timing, force, shape, intention? Using different practices of creating movement like improvisation, set phrase material and manipulation we will use a common vocabulary to notice, dissect and discuss the process of translation. The goal will be to create an exterior of movement with clarity and specificity, yet allow an interior that welcomes choices and subtlety from each dancer's individuality. The workshop will begin with an initial warm-up period using simple exercises that open the joints to deepen the awareness of the whole self and assist in creating a dancer that is dynamic and present.

ModernTechnique Class

Starting at a place of noticing, the class will begin with the senses in order to tune into the body and connect to a focused mind. During the initial warm-up period, there will be simple sequences that open the joints to deepen the awareness of the whole self and assist in creating a dancer that is dynamic, present and voluminous. As the class progresses and the dancer is prepared to adapt to varying styles, phrase work will be introduced that asks the dancer to make choices in the movement. The class will culminate in the full embodiment and balance of the movement material that is the class's shared experience and opens the possibility for connection and growth as a community.

Juan Crisóstomo Izaguirre Ruiz and María del Carmen Valdez Almada

Psycho-Kinetic Autoperception

It is a space of physical, intellectual and emotional work. The exploration of the systemic organization of such components takes place here, and is thus synthesized in the individuals' meta-cognitive process. It aims for teachers and students of scenic arts, and it is oriented to the self-knowledge of the relations between the the physical diagram and the body's image. You can expect to discover creative, cognitive and expressive possibilites, and you will also be able to commence a personal organization of all of them.

Mohiniyattam and Bharatanatyam-Dahlia Butler

Contemporary South Indian dance workshop

Kent De Spain

Harmony and Dissonance in Improvisation

This workshop will look at the concepts of harmony and dissonance through the practice of improvisation. Exploring duets and small groups, we will examine the dynamics of relationships in moving and read the effects of those relationships on content and meaning.

Sven Doehner

Reflexes, Images and Sounds (in our dreams and lives)

All movement (physical, emotional, mental) initiates and is based upon our reflexes. We will take advantage of some recent images and sounds from our dreams and lives to explore and discover our present relationship with these involuntary responses to specific stimuli. Our goal is to create awareness and open new possibilities for responding to difficult or unexpected situations in our lives.

Sally Doughty

Improvisation: what do I do and why do I do it?

The title says it all! Have you ever found yourself improvising and not knowing why you are doing what you are doing? This workshop is all about developing your awareness of decisions that you make when improvising. We will look at broadening the range of choices that you might make to increase your creative potential in any one moment of improvising. We will work in solo, duet and ensemble. Be prepared to talk as you dance and please bring a pen and paper.

Alex Escalante

The mechanics of experience and the principles of a practice

Class begins using various modalities of organizing, sensitizing and integrating the body. We'll respond to our environment through active listening, modes of seeing, shifting perspective and investigating the tactile possibilities of our surroundings. Building on this foundation, floor and standing exercises will harness the pull of gravity, anchoring the body's weight into the ground so that it can release into space. We'll set out to discover our own unique way of integrating mind and body and our own unique approach to creating an experience. We will practice actively watching and dancing with each other as tools for developing a more detailed way of seeing and producing movement in our own bodies. My interests in this workshop are the following: to take advantage of the unique phenomenon of studio/class time to create a fertile space for experimentation, to warm up the body, voice and imagination, to use a variety of methods to coach you through your inhibitions and improvisation and performance habits into new choices and perceptions.

Ami Garmon

Physical mind training

Technical warm up, tuning and training for precision of movement and muscular and core work. A demanding approach to training both the body, the mind and the will to work directly with our biographies and our biologies; their strengths and weaknesses, to achieve strong and connected movement ready for any style or vocabulary used artistically.

Elena Giannotti

From Experiential Anatomy to Improvisation

The workshops introduce various improvisational exercises.

I initiate a thematic exploration on the body structure through the use of tasks based on experiential anatomy, Ideokinesis and imagery that allows the students to emerge with a wider range of movement possibilities on their own terms. My focus is on facilitating the students into a deeper understanding of their moving body (proprioception and perception) through a process from inward to outward focus and attention.

Ladys González

Play and Curiosity: go without programming the return - Spherodynamics and Contact

We will approach the body encountering equilibrium and its rupture. We will develop physical actions like rolling, falling, turning, gliding, pressing and pushing. The practice will combine elements of relaxation, breath and stretching. The ball-floor contact point and the other bodies are key to this type of work, in this dynamic play of giving and receiving weight is where the dance takes place. We train expectation and the unexpected as well, the ability of moving within different surfaces through the paths of gravity, sensation and imagination. From improvisation there shall flow tools that we will incorporate to a final composition.

Good Foot Dance Company

Body and Foot Percussion

Students will explore fundamentals of Hambone, an African-American and Appalachian tradition, and foot percussion from traditional dance vocabularies. Emphasis will be on improvising based on a few simple blocks of material and jamming in a group. Fun and easy!

Keira Hart-Mendoza

Masterclass in Contemporary Dance

Join me for this intermediate-advanced level technique class where we will explore many ways of moving into and out of the floor. The goal of this class is to get you moving through space and we will explore dancing big!

Kathy Harty Gray

Humphrey/Weidman/Limón Technique Class

In the early 1920's we had to develop techniques that would train the dancers to present humanistic movements. That form of training became known as "Modern Dance". Doris Humphrey, Charles Weidman and José Limón, modern dance pioneers, used a method of "fall and recovery" or "fall and rebound" to train dancers for their works. The essence of their styles will be taught.

Jane Hawley

Four Archetypes: A gender aschematic approach examing the mature masculine in duet form

A duet workshop designed to play with the movement vocabulary from the production, REIGN, exploring The Masculine in Politics: Four primordial archetypes campaign for decent leadership. The archetypes include, sovereign, lover, magician, and warrior. The workshop will culminate in performative duets with video installation and/or software projection.

Jennifer Keller

Technology Trio: Dancer, Camera and Projection

Beginning with duet improvisations exploring the choreography created between dancer and camera, this workshop progresses to include projection as a third partner in the dance. Using the software Isadora, participants improvise scenes integrating live dancer, live video feed, and unconventional projection surfaces.

Sandra Lacy

Contemporary Dance Technique

Eclectic style emphasizing 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.

Martín Lanz

Somatic approach to physical improvisation

I propose a space for personal exploration and experimenting, through a combination of techniques, mainly Topf, Partnering and Body-Mind Centering, which will be used as tools for improvisation, departing from the body's physiological structures. We will be able to obtain expressive moments, both personally and as a collective.

Katalin Lengyel

Free Body Free Mind

The principle of my class is that the student has to understand the movement by him or herself with the help of appropriate information and support from my side. Not taking a form from outside but based on their bodies developing it from inside by trusting themselves. My priority; therefore, is self-teaching based on mutual trust. There are four strategies used in the exercises: breath, rhythm, joy and repetition. The aim is to help the person not to think which means in that case not to judge or doubt the process; moreover, it gives a certain openness also that is essential by working with new ideas.

Rosalía Loeza

Contemporary Movement Technique

This form of movement allows the student to move according to his/her physical capabilities, and, taking these as departure point, it allows them to increase their movement range. Parts: floor warm-up, coordination and development through diagonals.

Anadel Lynton

Laban Movement Choirs

A movement, expression and communication proposal.

The more, the better!

Heather Maloney

Modern Technique

The workshop explores the physicality of falling through 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.

Nadine Martínez-Sierra

From the Inside Out

From the Inside Out is a hands-on workshop. Where we will move, explore, and analyze/share movement that is natural for each performer. This workshop will explore and apply Dance-Theatre elements such as time, space, relation, and sound. Subsequently, creating collaborative various movement studies.

Zap McConnell

Site-specific investigations

To work in the gardens of UDLA utilizing simple yet effective tools in exploring improvisation based on place and nature.

Analía Melgar

Dance Therapy

Dance Therapy is an artistic and healing activity of stimulation through movement, music and objects. Its main objective is to awaken a creative capacity in all persons (children, teenagers, adults, elders and people with disabilities) to achieve a psycho-physical health and a broadening of cognitive and emotional capacities, through the integration of languages of dance and music, in an ambience of happiness, respect and cooperation between human beings. Knowledge and care of one's own body are the basis for achieving a feeling of self-esteem and personal realization, which is extremely necessary whether one is 3 years old or 90. It is so necessary for professional dancers as well as for the usual citizens. Freedom for improvisation is where the best conditions for learning can take place. In Dance Therapy there do not exist pre-established moves, forms, figures or steps; each person moves according to their own stimuli and inner desires, according to their physical possibilities. During this workshop, we will get acquainted with the basic tools of Dance Therapy with a double goal: to be able to apply them on ourselves and to share them with others.

Catherine Monnes

PLAY! A music improv workshop

PLAY! would largely be an improv, depending on participant's energy & ability, & availability of instruments or what I can bring, make or find -maybe simply vocal dancing. I'm very interested in combining movement with exploring musical improvisation.

Ximena Monroy

Movement on Screen: Dance for the Camera Workshop

Departing from diverse points of view used to define dance for the camera, we will consider what these two languages (dance and film) can offer in the way of an expressive form, a piece of dance for the camera. We will do a basic run through the styles of dance for camera and of the stages of audiovisual production. As an option, we will show participants' pieces, whether finished of in progress, so we can exchange opinions and perceptions. The workshop is for all of those who are interested in this combination of languages. No previous experience is required.

Mayra Morales

Dance Theater

Christina Müllenmeister

Movement-Word-Score

In this workshop I want to invite people to research in their own complexity of their moving actions. It will be an in depth study of the source material, your life, your body, your response patterns. We experiment with composition and performance tools while attempting to be brutally honest about it. We will be moving a lot, writing a lot and transferring this into moving and writing again. It is about articulating, verbalizing and getting into real movement.

Mamela Nyamza

African Soul Movement/Afrofusion

Ruben T. Ornelas

Contemporary Dance Technique

Limón-based technique

Jazmín Ortiz

Belly Dance

This workshop aims to acquaint the participants with the basic technique of movements that characterize these dances, some brief information regarding its cultural and individual symbolic connotations. We will be introduced to some basic sequences and we will have a choreography.

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.

Julie Rothschild

Alexander Technique

In this workshop, we will consider and practice the principals of the Alexander Technique as they relate to dance, improvisation and performance. Participants may bring materials, such as a musical instrument, a movement phrase, a song, or piece of text to work with.

Luis Javier Santiago Sierra

Creative Freedom

What rules do we follow when creating a piece? Where do we start the creative process and for whom are we creating? As we answer these and many other questions, we will explore the possibilities that lead us through a creative process with freedom.

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 body, the learning, unlearning and the relearning that takes place when researching the body as a knowledge site for performance research.

Rachael L. Shaw

Literary and Composition Workshop

This workshop will approach utilizing literature in composition of movement from a slightly different angle. It will endeavor to look at the piece of literature from an analytical standpoint. Movement will be created by looking at charts and/or graphs generated by the literature.

Attendees are invited to bring a selection of some type of literature of any language: poetry, or fiction, written by themselves or other authors to use during the workshop. There will also be selections to choose from available in both Spanish and English.

David Silva Carreto

Physical Theatre

Using breath, speed and use of gravity in space, the dancer will find different methods of dramatic interpretation within a montage.

Laura Silva Cervantes

Choreographic Dance

It is a form of exploration of the human body in which the body is designed in space by dancing in a pleasant way. The class has 3 parts: warm-up, combinations and choreographic sequences with different dancey songs and a final phase of relaxation, a communion of the body with the spirit.

Nora Stephens

Release With Me

Join with me in a practice to find freedom in movement through our bodies and our minds! This workshop strives to bring more awareness to our dancing while helping us extend beyond pre-conceived ideas of movement limitations. We will begin by giving special attention to our muscular and skeletal systems through breath and touch, warming up the whole body with mindfulness and clear articulation. We will carry this intension with us as we move into longer phrases of complex movement combined with improvisational structures. Through the challenges of moving on and off center, with continuous breath and focus we aim to find ourselves with a deeper consciousness in our dancing and therefore in the world.

Lou Sturm

Dynamic Yoga

Blend of Hatha, mix of Iyengar & Ashtanga that helps enter the flow of breath and movement.

Gina T'ai

To Cunningham and Beyond

The class starts with classic Cunningham exercises. Ms. T'ai leads the class through her own spin on the basics, and plays with moving between balanced and off-balanced movements. Dancers will be challenged to claim the space in bold combinations that utilize the entire studio.

Makeda Thomas

Contemporary Dance

The organic approach of traditional dance. The sharpness and clarity of shape of contemporary modern dance. The celebration of spirit in social dance. Class begins with a warm up to strengthen and develop modern technique, progresses through a series of movement phrases, and culminates in choreography from repertory. Movement phrases emphasize musicality, rhythm and incorporate floor work. The repertory calls for generous physicality and understanding of the conceptual mechanics of motion, a strong use of gesture, articulation of the body, and fluidity of the joints and breath.

Santiago Turenne

Time+Space+Form

A reflection upon the body on stage, the organization of a present body, alert and alive using three elements: time, space and form.

The workshop will be divided in three moments:

1. Warm-up: empowering the body through yoga and modern dance technique. This section will end with some phrasing.
2. Improvisation: time+space+form.
3. Reflection upon what we experimented on the workshop.

Allison Waddell

In to Out/ Pratyahara to Projected Periphery

Co-taught by Allison Waddell and Julie Rothschild (Yoga/Improvisation)

Pratyahara in Sanskrit means withdraw of the senses. In this workshop we'll use the process of meditation and yoga to draw our senses inward. We'll then bring this inner knowing to the surface as we move beyond the periphery of our bodies and into relationship with our environment for full expression.

Allison Waddell

Chakra Yoga

The chakras, or "energetic vortexes" are representative headquarters of each element that make up the physical body. The seven main chakras reside along the spine. In this class each chakra will be explored through asana (yoga poses), pranayama (breath work), philosophy, physiology, mantra (voice work) and meditation. Students can expect to be physically challenged, energetically refreshed, and mentally stimulated.

Taja Will

Discovering Authentic Artistry

This workshop offers the opportunity to re-discover one's own artistry as a mover and choreographer. We will use authentic movement practices, somatic principles and improvisational explorations to ask our bodies how we want to move, rather than how we are supposed to move. We will search for a trancelike state through continuous movement in an exploration for what comes after the usual patterns that live in our bodies, where we can observe the expansion of our own vocabulary. This workshop urges the release of judgment and encourages saying, "yes" to any and all impulses. Through this acceptance there may be sacrifice and bliss, as the search for authenticity will support the inherent artistry in our bodies.

Inner Connectivity breeds Outer Expressivity

This workshop explores improvisational relationships, those relationships being with self, other and world. These three specific ideas will be explored through solo improvisation, duet or contact improvisation, and group improvisation. Together we will explore the metaphorical power of movement through engaging in exercises that may mirror our everyday encounters with ourselves, others, and the environment in which we live.
(This workshop is for all levels of dancers. It, however, does not facilitate the principles of contact improvisation, but urges contact knowledge and skill be used in the duet and group exercises.)

Maida Withers Dance Company

Site performances for audiences and for the camera

Features USA artists: Maida Withers, dance and video artist; Ayo Okunseinde, New Media artist and Founder of Dissident Display in Washington, DC, and Steve Hilmy, electronic composer/musician. Artists will show and discuss previous projects where the site becomes part of an on-stage performance and dancers will participate in the creation of a site event on location during the workshop. http://www.maidadance.com

Jose Zamora

From Making to Performing: Understanding the Fusion of Pop Culture and Tradition

In this workshop the dancers will experience how one choreographer focuses on his Mexican-American heritage to create dances. By participating in Jose Zamora's artistic process through learning and performing excerpts from one of his dances, students are encouraged to create their own dances based on the environment they live in and analyze artistic strategies that incorporate the past with the present and pop-culture with tradition when creating their own work.