Abigail Levine

Choices Over Time

Starting from the body in space and with the possibility to move, starting from the simplest compositional choices we find effective, what can we do? What can we find? What can we change? We will consider the difference between doing and performing nothing and then choose something to do for longer than we have ever done it before. We will watch and listen to these structures.

Andréa Bergallo Snizek

What's left of us

We will be working with images (memory) and based on the sound of the names of the participants for the construction of movement. That being done, we will offer the discovered and created actions for the construction of an in edit text. Words and ideas will be coherent for the group that re-created and re-signified them. A collective and poetic creation between bodies. With no pre-conceptions, only prepositions and a poetic license.

Brennan Harvey & Xander Jeanneret

Dancing With The Stars

An exploration of Sensuality Versus Sexuality based on the current dance scene in Hollywood and the media. Applying a Somatic based approach to dance forms ranging from Hip Hop to Contact Improvisation.

Brooke Gessay

Seeing and Being Seen in Movement

Using the format of a Contemporary Dance Technique class, we will shift our attention slightly, toward developing the ability to witness ourselves and others deeply, while also engaging kinesthetic clarity. While I will direct somatic and movement practices, the process of deepening the witness capacity will necessarily be collaborative.

Carolina Ramirez Reyes

Proprioception: creative element in the construction and execution of dance training...

This workshop will focus on the development of the sense of proprioception, considering this to be a key element in the training of a movement artist. For the development of this workshop we will be using release technique as unifying element, but the class itself will be constructed by all of the participants. The physical, sensitive and emotional needs and demands of the participants will be taken into account for the elaboration of the class.

Cristina Goletti

Release Technique and floor work

My classes focus on alignment, dynamic of the body moving, experiential anatomy and stamina. It usually starts with a game or a short improvisation score to then move towards a floor-based warm-up. The class culminates with a challenging phrase that moves through space and explores a wide range of dynamics. My approach as a teacher is to facilitate a journey of self-discovery, allowing time and space for the body and the mind to connect on a deeper level. Information should flow together with movement to create an atmosphere of holistic integration and appreciation for the art form. I feel I have the responsibility of appreciating the whole person, observing closely in order to allow individuals to develop, getting to the root of problems as they arise, hinting at other ways of seeing.

Fatima Wachowicz

Contact Improvisation and Practices of Perception.

Sensation, perception and cognition work together to create in our heads impressions of qualities of objects that exist in the world. At the same time, sensation refers to immediate and basic experiences produced as stimuli fall on our sensory systems. The idea is to explore the creative potential of Contact Improvisation. We will introduce basics concepts of movement improvisation; work in small groups to create alive dancing dialogue by using touch, movement, weight and balance; from the light and softness movements welcome us to the ground and other bodies towards more weight and intensity. We will also be using our skin surface open to feel muscles and bones that build dance as a structure that connect one to each other and the space.

HeJin Jang

Page/Stage Your Silence through Embodiment

We move to de-contain. We move to re-member and forget. Our bodies are containment of noises and silences of our memories that are constantly affecting how we live our lives now. This workshop explores our unshared, untold stories through embodiment. It is a practice to give voices to our muted memories. Using both writing and moving as forms of embodiment, we will break and un-break our silence through bodily thinking with the question "How can we use words as we use movement?" Our bodies speak louder than words, but as we search for words and inscriptions to "match" what our bodies have spoken, it can become performative writing. We will use writing as a treasure hunter of dance and silence. This class will start with a silent warm-up leading into improvisation and composition. We will explore several layers and dimensions of silence in and outside of our bodies. There will be showing of our materials utilizing what we created both individually and collectively.

Move with Body Wisdom

HeJin Jang's Modern Technique Class. Wise body is strong and political. Body wisdom awakens our bodily voices. Using an array of style and aesthetics in urban dance forms and others, WE will move to free and empower the individuals in us. Exploring different choice-making and somatic rigors of our bodies in relation to time and space, we will re-collect and re-connect kinesthetic wisdom that is already imprinted in our bodies. The class starts with a warm-up sequence and improvisation of wakening our bodies' voice and focus on the floor. We will use the floor as a mirror to remember artistic citizenship with gravity. Transforming raw movement information into "cooked" body wisdom (our personal way of physical knowing), we will move and re-move our stories and histories throughout class. This class explores the pathway of a released and off-balanced dancing body while finding stillness and surprise in it. During phrase work, we will research different ways of moving and thinking through phrase rather than recreating the shapes. Phrase works will focus on sequential movement, momentum, falling, and taking risks. Dance matters. Let's Dance!

Jen Stone and Megan Thompson

Color Improvisations

What are your color memories? What is your body's response to color? What do individual colors represent in your culture or religion? Through discussion, storytelling, free association and improvisation (individual, group, guided and structured) we would like to develop a movement dialogue about color.

Julie Rothschild

Hands On

Dance teachers, yoga and pilates instructors, somatic educators, movement and body therapists, choreographers and directors – we all use our hands to learn from and communicate with our students, clients, and performers. I propose something of a "show and tell." How do we use our hands? I invite participants to bring their own questions, theories and techniques.

Karl Anderson

Enormous Eyes: sculpting dance in real time

Presenting improvisational structures that allow each participant to actively sculpt in real time the overall shape and energy level within the space. Each class will begin with a brief Skinner Releasing Technique warm up and then an improvisational notion will be presented and explored, finally that same improvisational notion will be presented with enhancement options so that a choreographed situation evolves from a myriad movement possibilities.

Kate Jewett

Moving with nature

A chance for anyone interested (dancers and non-dancers) in moving their bodies with the information of the natural world.

Katie Swords

(re)generating and (re)directing energy

Integrating a technical movement base with full, sweeping, supple, expansive movement phrases, the class will think about redirecting energy that moves within and throughout the body. How can this energy continue and extend outside of the body to possibly come back into the body again? How does this energy (re)circle? Is it continuous or can it stop? These are a few questions we will consider throughout the class as we move our bodies together through space and time.

Lance Gries

Your Dance, Your Technique

Two extended workshop days (must attend both sessions) to introduce my teaching methods. These would cover some basic technical ideas which connect awareness with some functional anatomy and usage. During these sessions, we use shared hands-on guidance, exploratory exercises and improvisational structures to practice the application of these principles towards expanding the individual's movement vocabulary.

Laura Rios

Técnica Topf Y Laboratorio Somático Escénico

This laboratory aims to create a bridge between somatic work deriving of techniques such as Topf, somatic movement, butoh and scenic speech, in which the performer makes himself present entirely, holistically, with all her capabilities, potentials, weaknesses and vulnerabilities. This workshop is divided in two parts:

FIRST PART:

Topf Technique: Through the initiation of a visualizing process deriving from the meditation of anatomical images, we will acquire a fluent and strong internal focus. To the extent that we direct the mind towards the skeletal structure, the body will acquire freedom and smoothness. We will find natural spaces within the body. The process of working from the center will encourage observation, questioning and experimentation. Connecting the body with the mind and emotion with the spirit. As we study the art of movement, we will use open forms such as improvisation to create the possibility of the emergence of new forms of expression.

SECOND PART:

We will perform "cleaning" exercises that will allow us to deepen our content and baggage, removing the thoughts that lie on the surface and then doing stage exercises. For this we will return to Somatic Movement Authentic Movement, Butoh, Postmodern Dance and the work of scenic artist Robert Steijn.

Laura Silva Cervantes

Choreographic dance

Explore and rebuild from scratch the evolution of the body through warm-up, technique and choreography with different music, including songs.

Left Feet

The Breathing House [take three]

The workshop of Breathing House is a condensed version of the laboratory. Fun, process centered, with time for reflection.

Leilani Maciel Cabañas

Contemporary dance and repertoire

This workshop consists of a warm up, contemporary dance technique and exercises and repertoire of an extract from a piece of my creation. The movement that will be taught in this workshop has a mix of contemporary dance with hip hop and capoeira.

Lisa Shattuck

Navigating Sociometric Landscapes

In this workshop we will measure and stage various aspects of the society in the room through sociometrics (placing your body in a specific location based on your response to a presented question). Once our internal perceptions are translated into a public staging we will navigate the landscapes through individual gesture scores based on responses to the stereotypes presented.

Lou Sturm

Dynamic Yoga: Move the Breath, Breath your Movement

Dynamic Yoga is blend of Hatha Yoga styles Iyengar and Ashtanga, developped by teacher Lou Sturm during the last years. Her teaching of yoga emphasizes precise alignment and "vinyasa", the fluid transition from one posture in another. Correct vinyasa lets flow the breath and therefore movement.

Mónica Coronado Mateos

Voice and Movement

Improvise, play with rounds, explore voice and movement connections, search for internal spaces. In this workshop we will sing with our own body and dance with our voice. Through various activities we will be looking at how voice and body affect each other. The goal is to release creative energy through the use of our voice and the free movement of our body.

Nick Bryson

Falling into shape

A one-off workshop that asks...What can dancers learn from the 'sister' form of juggling'? Anything profound and worth holding onto? These topics will be explored in the workshop, from the imposition of task as a way to stick at rehearsal to the convenience of a rhythm provided by the balls.

Nicole Dagesse in collaboration with Tara Rynders

Discovering the Site through Sensation

As a species, humans navigate the world primarily through sight. In this workshop we will use movement explorations that utilize all the senses to discover the movement potential present in a particular space. Beginning with blind improvisations, we will build movement phrases that unearth secrets of the site.

Ray Eliot Schwartz

Roots and Wings: Contemporary dance

Through the use of comprehensive war-ups, basic physical training, repetitive movement sequences and dynamic physical action through space, we will gain experience and skills in coordination, alignment, endurance and flexibility. We will explore the intersection between technical principles and creative expression. Students will be motivated to both think creatively in their work and be prepared to submit to rigorous physical experiences. In class, we will integrate a series of gentle exercises and improvisational structures that focus on anatomic and physiological harmony within a technical dance practice. Using partnering techniques and body work explorations we will help each other to feel subtle structures that invite the body to a richer and deeper expression in dance.

Sven Doehner

Reflections on dreams (2.5 hours)

The workshop's goal is to discover the reflexes that underlie the basic movement patterns in our lives. The stages of our dreams are mirrors that can make transparent the way in which each action (physical movement) brings into play both emotions, ideas and feelings. Recognizing the emotional issues inherent to our bodily movement allows us to identify some of the tensions and intentions implicit in them, opening up possibilities for new choices and creative decisions. The person reflects itself in its movement. Moving different is being different. During this workshop we will focus on the actions performed by characters in the stages of the dreams of the participants. The aim is to uncover unconscious aspects of a certain unexpected movements that occur in forms that are mostly correspondent and relevant to the dreamer's movement in his waking life. The purpose is to imagine and experiment our body, emotional and mental movements in ways that can help to modify some of our ways of being and improvising in life.

Zap Mcconnell

Improvisation and Creating Dance

We will investigate how to free our creativity and bodies, relating to ourselves, each other, and the space we inhabit. Utilizing group scores, breaking up into smaller pods and having time to work solo will unfold a road towards being super present, connecting to the source and creating work. As the class unfolds we will follow its direction into impromptu performances, repeatable phrases, layered solos or....