INTERNATIONAL SUMMER DANCE SCHOOL – SDS 2018

Ljubljana, June 25 – 30, 2018

MENTORS AND WORKSHOPS SDS 2018

Alexandra Baybutt

Alexandra Baybutt, MA, is a movement artist, educator and Certified Movement Analyst, teaching privately (London), for CMA programmes in Europe, and as a guest at contemporary dance studios. She is currently a PhD candidate and lecturer at Middlesex University.
More: www.alexandrabaybutt.co.uk

LABAN/BARTENIEFF MOVEMENT SYSTEM, Improvisation and Observation (18+), level ll

This workshop introduces the Laban/Bartenieff Movement System, the interconnected framework of Laban Movement Analysis (LMA) & Bartenieff Fundamentals (BF) as taught on LIMS (New York, USA) programmes in Europe.
This workshop is designed to demonstrate the application of these tools for movement improvisation, and to develop observation skills. We will use themes and fundamental topics derived from LMBS to craft movement scores in which we may appreciate our spontaneous, somatic, creative selves. Through these scores, we will identify patterns and habits, and find their articulation through LBMS terms. We will practice self-observation, and observing others, to develop a more conscious awareness about how these habits serve our dancing, communicating and interacting, and where we might be able to expand a little more. Practice informs our understanding of the theory, which in turn informs practice. This process will be supported by mark-making, using Motif symbols. Motif writing will not be the meticulous detail of Laban Movement Analysis; instead basic symbols serve as a middle ground between language, movement, thinking and sensation.
The insights and approaches developed by Laban and subsequent practitioners of Space Harmony continue to find relevance in how to bridge bodymind and/as space, self-other, and inner and outer as a whole, and not as binaries. LBMS is a somatic practice but differentiates itself in the history of somatic practices through a specific activation of Space.
The workshop will be relevant and suitable for dancers, choreographers, teachers, actors, directors, musicians of all backgrounds and levels, and for dance/movement/arts therapists wishing to extend their tool kit of resources, experiences and movement fluency.

Dagmar Dachauer

Dagmar Dachauer is a freelance dancer, performer, choreographer and film maker, based in Upper Austria and Brussels/Belgium. After graduating from Music Highschool, she studied dance at Amsterdamse Hogeschool voor de Kunsten and at P.A.R.T.S. in Brussels. She also attended courses in Handstand and Dance Acrobatics at DOCH (Dance and Circus University) in Stockholm. In 2015, she founded the art association UMFUG, through which she carries out dance and theatre performances as well as film projects with collaborators coming from various backgrounds such as Cinematography, Sound Design and Ecology.

Her Solo ‘Wunderbare Jahre’ (2015), as well as its excerpt ‘Wie soll ich das erklären’, about the Viennese Waltz, has been presented internationally (a.o. USA, Israel, Germany, U.K., Cyprus, Spain, Serbia, Slovenia, Italy, Austria). As a freelance performer, Dagmar has worked with a.o. Christoph Winkler, Dance/Performance Group T.r.a.s.h., Luke Baio & Dominik Grünbühel, Kevin Trappeniers and Florence Augendre. She has been for several years co-directing, managing and co-curating the art festival SPIEL in rural Austria, featuring Dance, Music, Circus, Theatre, Improvisation, Lectures and Workshops. In 2015, she co-curated Secret Hotel’s Landscape Dialogues Summer Lab in Mols, situated at Denmark’s National Parks.

Dagmar’s coaching and teaching practice encompasses training and workshops for all levels, as well as master classes. She often assists creative processes and productions as an advisor, assistant choreographer, coach or outside observer and is a guest teacher at the BA and MA programme of IUI Belgrade, Serbia.

Dagmar is the recipient of several Austrian and Belgian scholarships for her studies, as well as of support for her projects and activities in Austria and abroad. Her solo works, as well as her dance films have received several awards and are touring internationally.

More: www.dagmardachauer.com

CONTEMPORARY DANCE – Move through the gears (16+), level ll

The aim of the class is to cultivate physical availability, holistic presence and performative quality in movement; a body that projects, so as to enable it to economically and efficiently navigate through different dynamic demands and ranges. Also, finding ease, stability, space and structural support by directing the body through images and by relating to itself and others.
Challenging coordination exercises are meant to draw our full attention into the action we are performing, with the intention not to leave room for inefficient mind-chatter. That way we give our “body system” a greater and more equitable chance to organize, improve and integrate movement and quality.

MOVEMENT RESEARCH – No Noise (16+), level lll

This class’ focus lies on expanding the choices available to us in how and “from where” we initiate and generate movement material. It wishes to encourage dedication and attentiveness to detail, precision, inquisitiveness and the ability to listen to our actions with the entire body in real time as we create and perform.
The smallest action can resonate and project to its fullest, when movement “noise” is quieted. The aim of the session is to challenge one self in one’s movement habits and habitual compositional choices and to (re-)discover qualities and possibilities in depth.

Milan Kozanek

Milan Kozánek graduated from the Academy of Performing Arts in Bratislava (Slovakia). He works as an independent choreographer and teacher. Milan has got a lot of experience as a teacher in institutions such as the Salzburg Experimental Academy of Dance (SEAD), Northern School of Contemporary Dance in Leeds (UK), Tanz Quartier Wien and Konservatorium Wien University (Austria), Grotowski Institut in Wroclaw (Poland) and many others. Together with his wife Zuna Kozankova, Milan is a co-founder of the Artyci Dance Company. The goal of the company is to combine creative and pedagogical activities. Their current aim is to develop the Pangea Art and Education Center, located in the Eagle Mountains (Czech Republic).
Alongside his work in dance, Milan continues to develop his skills and artistic qualities through the study of Chinese and Japanese calligraphy, intuitive archery and through taking part in workshops with Sam Chin, master and co-founder of a new martial art form I Liq Chuan.
More: https://www.youtube.com/watch?v=NrLqHsWE-qc;
https://www.youtube.com/watch?v=3CqJHMlSOXg;
https://www.youtube.com/watch?v=7e9lwzEAioo

ANATOMY OF MOVEMENT (16+), level ll

During this workshop we will explore the fundament of our body – the bone structure and its power. We will use this information for improving our technique together with practicing and experiencing the subtle work with energy, body alignment and mental process called “I do not know”. We will also discover the creative potential of every individual in the direction of movement research, tasks for improvisation and compositions. My intention is to encourage students to discover new movement possibilities and develop dance quality. During this process we will also develop perception about the natural composition of time, space and energy.

CONTEMPORARY DANCE TECHNIQUE “Embodying Now” (16+), level lll

What is the goal of the technique? Where does the source of the dancer's art spring from? What is behind the dance form?

This class is focused on using the nature of the movement by understanding bone structure and 19 movement centres. It centres on using the perception of mutual motion relations, physiodynamic of the body, rather than using the judgmental mind. It combines somatic work with technique and improvisation to direct the dancers towards the performability of the body. In the class you learn to listen to the innate instincts and then use them in movement, discovering and developing chain reactions which our body allows, search for new movement possibilities.

Alicia Ocadiz

Alicia Paulina Ocadiz Arriaga, MA, received her master’s degree in Dance and Motion Arts in 2015. Her topic was researching the meeting points between Indonesia and Mexico at the San Antonio Catholic University of Murcia in Murcia, Spain. She graduated in Contemporary Dance from the National School of Classical and Contemporary Dance of Mexico and is a certified dancer at the prestigious Rotterdam Dance Academy, CODARTS, in Rotterdam, Holland, and the Beijing International Arts School in Beijing, China. She has performed as a choreographer, dancer and circus artist in various stages, theatres and festivals in countries such as Mexico, Holland, France, Costa Rica, Panama, Spain, Slovenia and China. She has been a member of the 2Move Dance Company (Holland), NANA + NA (Panama), Foco al Aire Producciones (Mexico), Ashley Meeder Movement Project (USA), Circus Kansky (Slovenia) and other independent collectives. In 2009 she won the "Mexico City Youth Award", which put her on the list of young talents of the city government, and in 2010 she won the Niewe Maan award for creating and executing the best show for Gallery within the Framework of the Museum Nacht, in Rotterdam, Holland.

THE PLEASURE OF MOVING WORKSHOP (16+), level ll

Dance has always been a reflection of the identity and culture of those who do it. Through this art, feelings and thoughts make communion with the body, thereby providing impulses that release the soul.

In this workshop, I intend to find out and show the dance identity of all students regardless of their technical level.

In this process, students will learn several technical - creative - interpretive elements, derivatives of contemporary dance. This will provide the participants with the necessary tools for developing a creative process that leads them to know their body and release it.

The class time will be distributed as follows: The first hour will consist of a technical class where we will explore elements of Release Technique, Flying Low, Passing Through, Counter Technique, Limon and Contact Dance. This will be very useful to develop the coordination, strength, flexibility, laterality, spatial awareness and body awareness of all the students.

In the next half, I will guide improvisation work. During this time, the students may apply what they have learnt in the first half and at the same time they can add creative elements and previous knowledge to their explorations.

Universal rules on improvisation will be also taught in this part in order to guide the interpreters to be able to create a spontaneous dramaturgy, thereby providing the opportunity to improvise live, whenever they want it/need it. The class will conclude with stretching, recovery of the body and feedback.

CONTACT IMPROVISATION

This workshop is focused on the fundamental technical skills we use in Contact Improvisation, and is aimed at both beginners and expert dancers.

We will begin every session by opening our senses through body work and breathing to increase our awareness of weight and the transfer of weight.

We will then go on to explore the basic aspects and principles such as: the rolling point of contact, physical listening and following, spiral rolls, no hand dance, open up the back space, lift principles. Using this vocabulary, we will dive into a fluid dialog created through mutual listening, suspensions, surrenders and supports.

Contact Improvisation is an improvised dance form based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. The body, in order to be open to these sensations, learns to release excess muscular tension and abandon a certain quality of wilfulness to experience the natural flow of movement. Practice includes rolling, falling, being upside down, following a physical point of contact, supporting and lending weight to a partner.

!!! Each class is going to be taught by a different teacher!!!

Neus Barcons Roca & Matevž Dobaj

Neus Barcons Roca is a dancer, choreographer and dance teacher from Spain. After graduating from Institut del Teatre (Barcelona), she travelled to New York in pursuit of additional knowledge of different dance styles. Later Neus graduated from Salzburg Experimental Academy of Dance (SEAD) and was a guest in the Bodhi Project company. At the moment she is collaborating with Britta Lieberneknecht company and Karen Bößer (DE), and was working for Isabella Soupart, Nigel Charnok, Nazanin Fakoor and Olga Álvarez among others. She is active in improvisational research and performance in Brussels, part of Artist Commons and was a member of the Research program of Ultima vez.
Choreographically, she continues working with Matevž Dobaj and teaches in Belgium, Spain and Slovenia.

Matevž Dobaj is a Slovenian dancer and choreographer. After finishing his studies at the Medical University Maribor, he continued his formal education at the Salzburg Experimental Academy of Dance (SEAD).
Matevž is continuously educating himself in different places around Europe – at the moment focusing especially on somatic practices, body-work and finding his own choreographic/dance language.
Matevž collaborated/worked with many different artists and companies, including Les gens d’uterpan, Francesco Scavetta, Bud Blumenthal / Hybrid, Dieter Difurne and Iñaki Azpillaga. He is continuously working/creating different dances with Neus Barcons Roca and teaching in Belgium, Spain and Slovenia.
More: www.matevz-neus.com;
https://vimeo.com/170652322

TURNING CONTEMPORARY DANCE AROUND (8+), level ll

Suitable for a new promising generation of dance students, who want to get to know or/and deepen their knowledge in dance. During this class we will closely look at our energy efficiency. How can we use less to do more. How can we take another perspective on the form and different dance styles we already know. We will revisit our knowledge of turning, falling, weight transfer, floor support, flow and movement intensions. Testing all the new things we have been observing, we will start dancing fast dances through space - flying in our jumps, sliding like ice skaters and turning for ever.

FALLING OVER CONTEMPORARY DANCE (14+), level ll

Our dance will begin with stillness. When time has passed and we are silent and we don’t feel the urge to move anymore, we will project ourselves in space using our weight to fall and catch. Tasks are proposed to explore different worlds of the now with the aim to connect with our dance in full form. Taking knowledge from anatomical basis, revisit our sense of placement and continue with folding, turning, accelerating, balancing and extending. Later we will translate this work into short light dance phrases from the floor to standing and back, swiftly spiralling through the room with the possible joy of kinetic body experience. With the focus on exploring our “three dimensional - multi planar” bodies, we will share the time observing our limits and testing our existing knowledge.

Sandra Šok

Sandra Šok is a freelance body and movement researcher, movement artist, contemporary dancer, performer, fitness trainer Pilates and yoga certified teacher, philosopher, thinker, globetrotter, teaching a bunch of physical disciplines and constantly improving herself in new one...Always try to combine a set of movement principles and elements into one synergy and give participants one new and holistic healthy to body and mind   ... Whole life she is trying to connect body with mind. After all years of training, searching, exploring, exercising, participating in many national and internationals contemporary dance, reiki, yoga, yoga-ballet, Pilates, improvisation technique, dance kinetics, fluid balance, capoeira, acrobatics, theatre and body workshops and summer schools she is actively promote her philosophy of movement through her way of teaching FLOwDANCEing (synthesis  of several approaches inspired by dance and non-dance techniques) yoga (SWINGA- well designed dancing yoga program created for better core, flexibility and balance which turns yoga into a fluid, smooth, powerful and gentle dance movement at the same time. The program develop body alignment, define nice curve in spine, gives better flexibility and enhances resources of mental strength ), BODYLAB Fusion (contemporary dance techniques), CONDITIONIG FOR THE DANCERS. She also created more than 15 years ago her own style of Pilates, named SYNERGY IN MOTION for better balance and alignment and still giving yoga, pilates, fitness, dance classes and performances.

BODY CONDITIONING FOR DANCERS (16+), level ll

Contemporary dance is not like traditional dance forms. It is a free-form genre combined with several dance styles and movements reflecting current trends in culture. Contemporary conditioning dance exercises will be based on basic ballet, pilates, yoga, aerobic exercises, hips opening, glutes workout, leg/arm coordination, aerobics and unaerobics training for improving strength and stamina.
Warm-ups- will be designed to improve balance, coordination, alignment and awareness of a centred body. Common warm-up exercises include body isolations such as hip rolls, ribcage movements without shifting the rest of the body and head rolls. Body isolations can be properly executed by moving a particular body part without moving its other parts. Another common contemporary warm-up exercise involves rounding back while sitting with legs crossed on the floor (15-20 min duration). We will include different types of squats, lunges, coordination movements to enhance body temperature and blood circulation (speed, disbalance, explosive starts)
Stretching and flexibility – stretching is a key component of any contemporary routine. As contemporary dances includes the ability to create interesting shapes, flexibility is important. Stretching exercises, such as deep lunges and splits, are often included in contemporary stretching routines. We will also master neutral spine, pelvis, neck and every joint, emphasize postural education and talk about the awareness of current posture and common muscle imbalances that need to be kept in mind (quadratus lumborum, psoas, rectus abdominis, lats, mid and lower trapezius, glute max, adductors, hip internal rotators (glute med/min).
We will include barre à terre, yoga and pilates exercises, Horton and Marta Graham contemporary dance technique. Splits are also very common as they are usually part of contemporary performances (15 min)
Aerobics – we will using weights, small balls, elastics, simple coordination exercises which improve and stimulate the immune system and increase muscular strength, blood flow, stimulate the lymph system and improve misalignment. These exercises moreover decrease stress, increase energy and boost lungs capacity alongside reducing the fat around the body. (15-20min)
Floor work – involves doing while standing centred in the middle of the floor or moving across the floor from one end of the room to the other (rolls, slides, jumps, turns, variations of cartwheels, variations of handstands). Common floor work exercises include leaps and kicks. Because contemporary dance is about making big movements, exercises in which you practice wide movements across the floor are great for performances (kick across the floor) (15-20min)
All this make one contemporary dance routine.

SWINGA-DANCING YOGA (12+), level l

Freedom of movement brings me to a new level of action, spontaneity and even maturity of total use of physical movement which is connected with a calm mind.
Sandra created a personal yoga program called VINYASA SWING (or just SWINGA) which turns yoga into a fluid, smooth, powerful and gentle dance movement. The program develops body alignment, defines proper spinal curvature, gives better flexibility and enhances resources of mental strength.
This new and interesting way of teaching yoga and dance has easy and spontaneous movements (related to ashtanga, hatha yoga, handbalance, fluid balance, acrobatics, contemporary dance movements...). During the class participants can develop their own speed of movements and be connected with the free mind and spirit. Find your new way to express dance and yoga together, warm-up poses, deepen poses, follow-up poses and all others different variations for core, balance and flexibility. Merge yourself into a beautiful body expansion, which turns yoga into a fluid, smooth, powerful and gentle dance movement. Listen to your body and spine alignment, use muscle awareness, stronger mind, better flexibility, open body, find powerful core and your renewable resources of mental strength and most of all enjoy a different yoga dance class and swing it the best you can! This class is created for all levels and all who want daily home exercise. It includes ways to start a movement practice, warm up, strength and flexibility exercises and once you learn the entire flow with breath, we can swing, improvise freestyle and have fun together, cool down and than enjoy in savasana and gentle neck massage.
We talk about technique, modifications and how to use body and spirit in a right way. We work slowly with awareness and patience.
In the end, all we need is swiiing:))))

Nastja Bremec&Michal Rynia

Nastja Bremec began her career in ballet and modern dance when she was six years old. She has won many awards at competitions in both ballet and modern dance. After graduating from high school (Secondary Preschool Education School and Gymnasium Ljubljana – specializing in modern dance), she was chosen by the Italian choreographers Mauro Astolfi and Erika Silgoner to receive a scholarship for training with their dance ensembles (Spellbound Dance Company and Esklan). After finishing this six-month course she successfully passed the entrance exams at CODARTS – Rotterdam Dance Academy. Among 900 candidates from all over the world, she was admitted directly into 3rd year of study, graduating in 2008. During her stay in the Netherlands, she worked with numerous choreographers such as Nacho Duato, Mauro Bigonzeti, Michele Poglini, Neel Veerdorn, Jerome Meyer and Isabelle Chaffaud. Additionally, she was a member of Scapino Ballet Rotterdam dance company. Nastja has presented some of her choreographic miniatures at various choreographers’ competitions. She worked as a choreographer in Classics and Tango at the Slovene National Theatre Opera and Ballet of Ljubljana and collaborated with the Slovene National Theatre of Nova Gorica as movement director or choreographer on multiple occasions. In 2009 she co-founded the MN Dance Company together with Michal Rynia. They call their dance style ‘Contemporary Fusion’.

Michal Rynia (1984 ,Wroclaw, Poland), began his career as a hip hop dancer. He was very successful in dance competitions winning several times the title of Polish National Champion and five-time hip hop World-Champion. Moreover, he also twice won the National Championships in Netherlands in hip hop solo Adults. Working in Wroclaw, at the Polish National Theatre inspired him to continue his professional dance education. He received a special scholarship from the mayor of Wroclaw in order to continue his studies abroad. He graduated from the CODARTS – Rotterdam Dance Academy in 2007. During his studies he received significant scholarship from the Academy – Corrie Hartong found. After finishing the studies at the academy, Michal began to teach at this prestige academy as a guest teacher and choreographer. During his stay in the Netherlands, he worked with numerous well known choreographers such as Ed Wubbe, Andre Gingras, Guy Weizman and Roni Haver, and companies like Scapino Ballet Rotterdam.
His first solo project “Dream of Electric Sheep” was presented at the Royal Opera House in London and at iTs Festival in Amsterdam. Moreover, he created the duo “Switched”, which was performed at Lucent Theatre under the auspices of the Nederlands Dans Theatre. He was endorsed by some of the large production houses such as Korzo Theatre Den Haag and Theater Lantaren Venster Rotterdam. These two theatres produced his first performances “Made in Rotterdam”, as well as dance productions “Dust in the Wind” and “The Myth”. His short miniature choreographies were awarded with performances in the gala finale at the largest international choreography competitions “The Story We Tell” and “Switched” at the Hannover International Choreography Competition and “Framed”, “Chained” and “The Final Concert” at the Belgrade choreographic miniatures.
He has been living and working in Slovenia since 2009. Together with Nastja Bremec, he has co-funded the Slovene-Polish duo known as the MN Dance Company and helped developed their own, unique way of expression called “Contemporary Fusion”.
Michal was invited by Irek Mukhamedov to choreograph for the Slovene National Theatre Opera and Ballet of Ljubljana and has closely collaborated with the Slovene National Theatre of Nova Gorica as movement director or choreographer on multiple occasions.
As an artistic director and choreographer Michal is mainly focused on creating full-length dance performances hosted by Slovenian and European theatres. The latest projects “Conspiracy of Silence” and “Urban Tales” have received outstanding reviews and MN Dance Company is generating more and more interest worldwide from dancers and spectators.
More: www.mndancecompany.com;
https://www.youtube.com/mndancecompany

CONTEMPORARY FUSION

The class will begin with a short warm up, constructed from different contemporary techniques combined with exercises from ballet and some yoga stretching and strengthening training. It will be followed by challenging choreographic sequences, made for dance training in order to improve dancing skills of participants and explore diverse possibilities of movement. The choreographies that the dancers will learn are made through intuitive dance creation with the mixture of different dance techniques. Contemporary fusion is a special dance vocabulary an a recognisable symbol of the MN Dance Company. 
More: https://www.youtube.com/watch?v=NB7DvydCNd0;
https://www.youtube.com/watch?v=Q-M6kStmSu4;
https://youtu.be/W_bkbmCJ4ww

PARTNERING

This class is dedicated to partnering work. We will learn duet pieces from MN Dance Company. 
The company, led by artistic directors Michal Rynia and Nastja Bremec, was founded at the end of 2009. The MN Dance Company plays a vital role in popularising dance among all generations. Their performances and workshops are moving the boundaries of various dance styles. They are trendsetters who inspire a lot of dancers all over the globe. The group performed at many international dance festivals and theatres in Slovenia, the Netherlands, UK, Germany, Italy, Serbia, Israel…
Lately the company has been creating pieces for the Slovene National Theatre Nova Gorica, Opera and Ballet Ljubljana, Cankarjev dom Ljubljana, Opera Graz, De Gouvernestraat Theatre Rotterdam.
Choreographers Michal Rynia and Nastja Bremec, both graduates of CODARTS – Rotterdam Dance Academy, are creating their own recognisable dance style and body language. Their training methods are based on new ways of body movement and expression. Influenced by their backgrounds, they create pure, powerful and expressive dance.
More: https://www.youtube.com/watch?v=wm98afryPf4

Marija Slavec

Marija Slavec began her dance career in the Elite dance club in Koper under the tutelage of Siniša Bukinac and Kristine De Ventus before moving to Ljubljana to learn contemporary dance under Kjara Starič Wurst.
After a successful audition, she worked within the D.A.N.C.E. (European interdisciplinary professional program) for two years under the artistic control of Frédéric Flamand, William Forsythe, Wayne McGregor and Angelin Preljocaj, both appearing in dance shows by these choreographers and taking part in creating new shows. In 2009 she worked with Sweden’s Rikstern in cooperation with the Batsheva Dance Company, where she took part in the Kamuyot performance by choreographer Ohad Naharin. In the same year she joined the Batsheva Ensemble, where she, apart from Ohad, worked with Sharon Eyal and co-created numerous dance miniatures in cooperation with the dancers of the Batsheva Dance Company. In 2012 Marija joined the Vertigo Dance Company, where she worked with its artistic leader Noa Wertheim, as well as with Sharon Fridman and post-modern dance pioneer Anna Halprin.
Marija joined Germany’s Tanzmainz this year, where she danced in the performances by Guy Nader and Maria Campos as well as Guy Weizman and Roni Haver.
In the last eight years, she performed in Sweden, Israel, the USA, Italy, France, Germani, Colombia, Panama, Australia, China, v Russia, Georgia, Monaco, Croatia, Spain and England.
Since 2010, Marija has been teaching Gaga (movement language) to dancers and non-dancers.

GAGA DANCERS (16+), level ll

GAGA is not a dance technique but rather a language developed over several years by Ohad Naharin and used in daily practice by dancers of the Batsheva Dance Company. Gaga Language originates from the premise of healing, dynamic and constantly changing power of movement and is still developing. Gaga is a new way of acquiring knowledge and self-awareness through the body.
Gaga provides a framework for discovering and strengthening the body, adds flexibility, endurance and agility through the senses and imagination. Gaga provides awareness of physical deficiencies, awakens numb areas and provides ways to eliminate them. Work improves instinctive movement as well as links the conscious and subconscious movement thus allowing for experiencing freedom and pleasure.
More: gagapeople.com/English:
https://www.youtube.com/watch?v=ZzXhcNFXwYM

!!! Please note that most of the class will be conducted in English, because the terminology for the Gaga language was developed in English!!!

Mickael Marso Riviere

Born in France, Mickael Marso Riviere is an award winning choreographer. In the last 17 years he has established himself as a major force in both the contemporary dance, and Breakin’ (Breakdance) worlds, producing events and touring original works in the UK and abroad.
Founder of Company Decalage, Bboy's Attic and Marso Riviere IMG Photography, he’s an active member of leading Breakin’ Crews MDK and TBB75 UK, judging and competing internationally.
His recent productions include Matches with Guy Nader and Hokiri for Carlos Acosta’s Company “Acosta Danza” which premiered in Havana (Dec 2016). He produced B-Side Hip Hop Festival and Experimental dance concept event KRE8! (2016-2018) for the Birmingham Hippodrome. He co-directed and featured in the Hippodrome Creative’s Dance on Screen commission X-Ray The Unknown Quantity by Hugh Turvey. Marso also appeared in Vogue's 100 years’ Edition for Hussein Chalayan’s Gravity Fatigue choreographed by Damien Jalet. He was shortlisted (as a choreographer) for the Kevin Spacey’s artist of choice award in 2016 and guest lectures for leading institutions such as Rambert School and The Place in London.
More: www.marsoriviere.com

BREAKIN BASICS (8+), level l

https://www.youtube.com/watch?v=i5w_7PDv4_Y 

MIX MOVEMENT (14+), level ll

Based on an experimental and physiological approach to movement, Marso’s signature style of work often evolves and is inspired by Martial Arts, Breakin, Popping, Contemporary Release, Spirals, Yoga and various movement concepts... The class is aimed at developing all professional dancers, from those in professional training through to Bboys and Bgirls/streetdancers wanting to develop their range of movement or simply wanting to take part in a fun and physical dance class.
https://www.youtube.com/watch?v=uw2zfu9E7XE&t=4s

DECALAGE REPERTOARE (16+), level lll 

www.marsoriviere.com

Irène Wernli

Irène Wernli (UK/CH) gained first knowledge in ballet, jazz and tap at the Mignon Ballet in Aarau, Switzerland. A tap whiz kid & numerous tap champion, she started choreographing solos and duets as a teenager. She joined the pré-professional dance course at the conservatory in Geneva, before moving to London to study dance and drama. Since graduating with Distinction in Contemporary Dance from the London Studio Centre in 2005, she has worked as a freelance performer for commercial acts such as Calvin Harris and Agent Provocateur but spends the majority of time combining her skills in music, dance and acting to collaborate as a performances deviser within improvisation and live art. Recent collaborations as a deviser/performer include: Performance Installation Multiplication of Rhythm, Copeland Park London + Alte Reithalle Aarau (May 2018),  NoFeedback – an immersive, socio-politically driven event by No Feedback (London + Budapest), YOU ARE ME AND I AM YOU by Bricolage Dance Movement UK, La Peur qui Dance - von den Farben der Angst with puppeteer Tine Beutel and percussionist Marco Käppeli, directed by Frank Soehnle (co-prodcution by Theater Tuchlaube Aarau), When the stories hit the fan with artists Claire Thill and Soren Envison (coproduced by Kulurfabrik Esch sur Alzette, LUX).
Irène is Associate Lecturer in Choreography and Physical Skills on the Dance and Performing Arts Course at New Buckinghamshire University (UK). She regularly teaches open Contemporary Jazz classes at London’s Central School of Ballet.
More: www.irenewernli.co.uk  / instagramm @irenewernli
https://nofeedbacknow.wordpress.com/
https://www.youtube.com/watch?v=LMZnEWvXaO4

CONTEMPORARY JAZZ (10+), level l

Moving with easy and musicality
Suitable for curious movers of all ages and all the Yogis, who would like to start moving off the matt, into the ground and across the floor.
This class melds the differing dynamics of Jazz Dance, Contemporary Dance and Yoga, reflecting Irène’s broad background as a dance artist and movement pedagogue for people of all levels. She connects established dance forms with contemporary ideas and enjoys dissecting and sharing the functionalities of the moving and resting body: How can we bring musicality into natural movement patterns? How can we actively let go to genuinely strengthen the body and mind? How can we explore and express uniqueness in a unified dance class? An in-depth warm-up, kept at a gentle but flowing pace, allows equal focus on building core strength, as well as finding flexibility through relaxation and awareness of breath. Short movement phrases encourage musicality, coordination and enjoyment of dance.
If you are in the mood for old school inspired new-age shaking, shuffling, twisting, mindful stretching and an occasional hint of funky razzle-dazzle, this class is for you.
Irène provides gentle corrections throughout the class and teaches with enthusiasm and humour to create a nurturing environment for enthusiastic beginners/improvers, who enjoy delving into details.

CONTEMPORARY JAZZ (14+), level ll

Moving with ease and musicality
Suitable for experienced movers, who enjoy slowing down as much as moving vigorously.
This class melds the differing dynamics of Jazz Dance, Contemporary Dance and Yoga, reflecting Irène’s broad background as a dance artist and movement pedagogue for people of all levels. She connects established dance forms with contemporary ideas and enjoys dissecting and sharing the functionalities of the moving and resting body: How can we bring musicality into natural movement patterns? How can we actively let go to genuinely strengthen the body and mind? How can we explore and express uniqueness in a unified dance class? An in-depth warm-up, kept at a gentle but flowing pace, allows equal focus on building core strength, as well as finding flexibility through relaxation and awareness of breath. Short and long movement phrases encourage musicality, coordination and enjoyment of dance.
If you are in the mood for old school inspired new-age shaking, shuffling, twisting, mindful stretching and an occasional hint of funky razzle-dazzle, this class is for you.
Irène provides gentle corrections throughout the class and teaches with enthusiasm and humour to create a nurturing environment for experienced dancers who seek diversity and ease in their movement vocabulary.

Richèl Wieles

Richèl Wieles received a diploma from the Royal Conservatoire in The Hague. He worked in SNG Opera in Balet Ljubljana (2011-2012, 2016-2017), Nederlands Dans Theater (2012-2015) and Luzerner Tanz Theater (2015-2016). As a teacher, he worked in Busan International Ballet Seminar. His ballet is inspired by his professional ballet experience as well as knowledge of various contemporary dance techniques.
More: https://www.youtube.com/watch?v=n7JICZxKyVchttps://www.youtube.com/watch?v=0gKa1z_7myY

BALLET CLASS (16+), level lll

A balanced class based on activating the body and using the technique to move. The ballet class re-evaluates and builds on classical technique, focusing on strengthening the dancer’s awareness.
The class is divided into two parts: the barre and the centre. Exercises at the barre prepare the entire body for more complex dancing sequences in the middle. Body placement becomes fluid and functional, making movement easier and more natural. The second half of the ballet class, conducted in the centre, consists of exercises that vary in quality and dynamics and develop musicality. The class challenges the dancer to use the placement and release discovered as a source of strength and individual interpretation.

Kaja Lin

Kaja Lin is a dancer, choreographer and dance pedagogue who began her artistic career after graduating from the Conservatory of Music and Ballet in Ljubljana. She participated in Kjara's Dance Project (2011, 2015) and the project with MN Dance Company (2016/2017). She attended OPUS 1, the national competition of young dance choreographers where she won the first prize (2006) and the prize for the best performance in 2007 and 2008. She performed at numerous public events and worked with national and foreign choreographers.

In 2010 she moved to Israel where she danced with the Kibbutz Contemporary Dance Company II and Fresco Dance Company, as well as in many of her own projects and projects of other choreographers. She was also accepted into the Excellent Dancers project at Batsheva Dance Company. From 2015 to 2017 she was employed at the ImPerfect Dancers Company in Italy.

She has had her own choreographies presented at the International Festival of Performing Arts in India, at the Suzanne Dellal Theater (Tel Aviv, Israel), teartu Zichri (Kibbutz Ga'aton, Israel), the 6th Dance Nationals (Ljubljana), and the 9th Festival of Contemporary Dance Front@ (Murska Sobota).

Kaja Lin is also a Yoga Teacher (200 hour Yoga Yug International School, India) and the teacher of ReConnect-Mobility movement, which combines floor work, acrobatics elements and animal movement. The purpose of the technique is complete awareness, control and connection with natural, body-friendly movement.

MODERN (8+), level l

In Modern dance class, we will work on the basic qualities of the movement and orientation of the body in space. Certain tasks will help us to relax muscle tension and further explore the movement.

The class will start with a short improvisation, followed by technique exercises and end with time dedicated to choreography.

ReConnect-Mobility (14+), level ll

ReConnect-Mobility is a specific way of moving in interconnected sequences, where a lot of work is based on power, acrobatic elements, yoga elements, but also on fluidity and softness. In strength, we will try to find the essence of softness and the other way around. There will be a lot of hand balance work that will be taught after preparation exercises. During the class we will learn about a wide range of rotations, body lifting and spine movements. But the most important thing is that we will create a playful environment where we can explore more complex but body friendly movements that enable our growth and development.

Marin Ino

Marin Ino, born in Sapporo, Japan, started dancing at the age of 6 with the Chida Toshiko ballet studio. She studied for a short time in Novosibirsk State Choreographic College. At the age of 17, she moved to the Royal Conservatoire in The Hague, where she received her diploma in 2012. During her studies she won several prizes in competitions in Japan and became a semi-finalist in Prix de Lausanne in 2011. In 2013 she joined De Dutch Junior Dance Division where she developed both in classical and contemporary dance over the period of 18 months. In 2014, she became a freelance dancer in The Hague. One of her projects was so successful that she was invited to a festival in St. Louise, Senegal with Korzo. She joined the Slovenian National Ballet in Ljubljana and performed the roles of the "Christmas spirit" in The Nutcracker, "Princess" and "Small swans" in Swan Lake, "Princess Florine" in The Sleeping Beauty, "Tonja" in Doctor Zhivago, "Picko" in Picko in Packo.

More: https://www.youtube.com/watch?v=kZtDiVtqY4o

BALLET (8+), level l

Joan van der Mast

Joan van der Mast (BA / CMA) is an internationally respected teacher, choreographer, lecturer, coach and advisor in contemporary dance and Laban Movement Analysis. She is a Codarts (Rotterdam) graduate and a certified Laban Movement Analyst (New York), studied Choreology (Laban London), Yoga and Stott Pilates. After a too short career as a dancer due to a severe back injury, she became a faculty member of Codarts, Rotterdam Dance Academy, where she has been teaching Modern Dance Technique, Improvisation and Composition, Movement Analysis and Didactics of Modern Dance and started a career as a choreographer. She also became a faculty member of the Royal Conservatory in The Hague in 1997. She is a founder and artistic director of Ex Nunc:Ex Nunc, Center of Modern Dance in The Hague and artistic coordinator of DansPlan, Segbroek College in The Hague. Internationally, she is currently working as a guest teacher, lecturer, choreographer… at the Skopje Dance Academy (Macedonia), Anna Maletic School for Contemporary Dance (Zagreb/Croatia) & University of Warchau (Faculty of dance).

MASTER CLASS FOR DANCE TEACHERS

Joan is a specialist in didactics and methodology in Contemporary and Modern Dance. She has been educating, teaching and coaching contemporary dance teachers for more than 25 years at the Codarts Dance Academy Rotterdam.
During her master classes she will lecture, teach, discuss, move, explore and create under the following topics:

1. What is Modern Dance? What is Contemporary Dance?

2. How to build and create a Contemporary Dance class, based on movement principles instead of exercises.

3. The role of creativity in dance

4. What is a good technique? And how to make it “dancy and juicy”

5. How to make progressions for different levels and children and different age-groups.

6. The meaning of Laban Movement Analysis for teaching and creating.

7. How to apply the principles of New Learning in teaching dance

8. How to master the basic methods of teaching dance

Ida Hellsten

Ida Hellsten started dancing jazz and show dance at the age of 5 and continued exploring dance in different genres (jazz, hiphop, ballet, modern, contemporary, lindy hop etc.) throughout the years. She studied jazz, ballet and modern/contemporary dance in the Kulturama Fria Gymnasium upper secondary school in Stockholm. Between 2005 and 2008, she studied contemporary dance in SEAD (Salzburg Experimental Academy of Dance). After graduation she taught dance in Balettakademien Umeå, and worked as a freelance dancer in Norway and Sweden with choreographers like Maren Wedøe and Christina Tingskog.
In the 2012-2017 period, she was a dancer in EnKnapGroup in Ljubljana, under the artistic director Iztok Kovač, where she danced in works by different choreographers and directors such as Iztok Kovač, Kelly Kopper & Pavol Liska (Nature Theatre of Oklahoma), Guy Nader & Maria Campos, Adrienn Hod, Matjaž Zupančič & Sinja Ožbolt, Guy Weizman & Roni Haver (Club Guy & Roni) and more.
She has taught many classes and workshops for all ages and levels, and has also created her own works together with other dance artists.
Currently she lives in Stockholm and works as a freelance dancer/performer and dance teacher. She is touring internationally together with En Knap Group with the performance Pursuit of Happiness by Nature Theater of Oklahoma.
More: http://www.en-knap.com

CONTEMPORARY FLOOR AND PHRASE-WORK (14+), level ll

The first part will focus on strength-, flow- and efficiency-building exercises and movement material, to try and get the whole body to work as one organism or organization. We work a lot on the floor, but also make our way up and down. We then move on to work with both given and self generated movement phrases, and discover tools of clarifying material and explore the variety of flavours you can give it. In how many different ways can we change, adapt, develop and nuance the same material?

Urša Rupnik

Urša Rupnik holds a BSc in Culturology and a BA in Dance and Choreography. As a freelance dancer, she collaborates with prominent Slovenian choreographers and other artists; as a member of dance collective Benko-Jamnikar-Križič-Rupnik she works on her own original projects; recently she has collaborated with Liza Šimenc on their latest project Medusa. Since 2008 she has been working as an assistant to American dancer, choreographer and pedagogue Joe Alegado (also at ImPulsTanz Festival from 2011 on) and is a member of his international Jalegado Dance Company. Based on his method Alegado Movement Language, she teaches classes and workshops in Slovenia and abroad. Urša is the artistic director at the Studio of Free Dance Style’s Company based in Ljubljana; and collaborates as a choreographer and dance pedagogue with the University of Ljubljana – Faculty of Education, Conservatory of Music and Ballet Ljubljana – Ballet Collage and Alma Mater Europaea – Academy of Dance Ljubljana.
More: https://www.youtube.com/watch?v=9z0Qj5FOhZg;
https://www.youtube.com/watch?v=Ut7xqvLRlbk;
https://www.youtube.com/watch?v=VmyCXsFz0jg

FOLLOW THE FLOW – CONTEMPORARY DANCE TECHNIQUE (12+), level ll

Urša is teaching a synthesis of contemporary and modern dance techniques, enriched with her own dance experience and movement principles. Her work is mostly based on nearly ten years of experience as an assistant of a prominent dancer, choreographer and dance pedagogue Joe Alegado (USA). His method – Alegado Movement Language is characterised by the use of hands as inspiration and initiator of a movement language which searches to connect with energy sources within the body as it projects outward into space.
Urša starts her classes with simple, but dynamic warm-up of an entire body trough somatic work in couples, groups or individually. Warm-up is followed by structured floor work, locomotor phrases within the vertical line and spatial combinations, which are upgraded into a final dance composition or choreography.
The focus of Urša’s classes is on positioning and movement of the spine, complexity of hands, arms, legs and torso coordination; she pays attention to the softness and fluidity of the movement, fluid transitions between vertical and horizontal level and expressive interpretation of a dance material.
In this workshop, Urša invites you catch a wave of fluidity together and take a ride on a dynamic journey trough space and time.

Maayan Danoch

Maayan Danoch (born in Tel Aviv) works a choreographer, dancer and teacher. Devising mental and physical procedures or working with light and other materials, her choreographic interest lies in the multiple ways of accessing an image and movement, highlighting the discrepancy between what is actually occurring and what we perceive of it. Maayan graduated from the Salzburg Experimental Academy of Dance (SEAD) and received her Master of Arts in Dance Dissemination from the Hochschule für Musik und Tanz Köln/Germany. She was the danceWEB Scholarship recipient in 2014 and artist in residence at Kelim Choreography Centre/Israel in 2015. Also, she wrote for publications, such as the 5. Biennale Tanzausbildung and Tanzkongress 2013. Professionally active since 2008, Maayan has created choreographic works of various formats that were presented across Europe and in Israel and collaborated with various artists. She taught dance, choreography and writing seminars at the Academy of Dramatic Arts - Zagreb University, Tanzfabrik Berlin, Hochschule for Musik und Tanz Köln, SEAD Salzburg, Smash Berlin and Ljubljana Dance Academy, among others. Maayan is a fellow of Akademie Schloss Solitude 2017-2019 and is based in Berlin.
More: www.maayandanoch.com

CHOREOGRAPHIC WORKSHOP - Ways of Materialising (18+), level lll

Inquiring into the notions of matter and form, working with sensation, perception and imagination, we will engage in an explorative process of movement materialisation. We will explore various manifestations of an idea in movement addressing various “fields” of movement (i.e. functional – poetic movement), framing of movement (i.e. detail in the body - whole body - body in space) and matters of movement (i.e. movement of an object - body). Observing the materials we produce, we will physically refer and reflect on them. Thus, we will engage with the reversed procedure, in which movement inform us on ideas embedded within it. Opening a range of possible formulations of an idea in movement, as well as the multiple ideas present in a single movement material will enhance our body-mind elasticity, and ways of approaching and expending materials. Looking as well at the interrelations between materials, we will get in touch with the metaphorical relationship between compositional units, and unravel the implicit logic they propose.

Dolma Jover Agulló

Dolma Jover Agulló (ES/AT) is a Spanish Dance Pedagogue, Assistant Choreographer, Director of Transcultural Body Dance Research Project, member of the Spanish Dance Research Association D más I: Danza e Investigación. She graduated in 6 Grado Medio of Contemporary Dance, at Maria Carbonell Dance School Valencia and later continued her studies in Choreography and Interpretation Techniques at the Conservatorio Superior de Danza de Valencia, Spain. She earned her second Bachelor of Arts degree (KBA) in Tanzpädagogik/Movement Studies, at Anton Bruckner Privat Universität Linz, and Austria. At the same university she also earned her Masters of Arts (KMA) (honours) degree in Contemporary Stage Dance – Study Movement Research. She continues her development by attending different workshops around Europe, hosted by the following choreographers and teachers; David Zambrano, Martin Sonderkamp, Kazuko Hibarayashi, Ohad Naharin, Anton Lachky, Joe Alegado, Laura Aris, Sonia Rodriguez, klaus obermaier, Asun Noales, David Hernández, Samar Haddad King, Peter Jasko, Iñaki Azpillaga, Rasmus Olme, Thi-Mai N´Guyen, Hofesh Schecter, Roberto Olivan, Anouk Van Dijk and others.
She developed her professional dance career working as a dancer in the following European dance companies and collectives: Ananda Dansa, Proyecto Titoyaya, Mou Dansa,Maria Carbonell, CODA, Latanz Company, Cia.Off.Verticality, Musik Theatre Linz.
At the same time she has been creating and performing her own pieces at different festivals and theatres around Europe. In her recent projects as a performer and choreographer, Dolma Jover focuses on collaborative and interdisciplinary projects, searching for diverse artistic inputs as a way of improving her knowledge of dance and different artistic manifestations. She has worked extensively assisting teachers and choreographers in Anton Bruckner Privatuniversität Linz, where they focused on the works and modern dance techniques by Rui Horta, Batsheva Dance Company and Hofesh Shechter.
Nowadays, she teaches workshops and lectures about her Transcultural Learning Path coming from her Transcultural Body Dance Research at different Conservatories and Dance Universities, as well as works as a guest dance researcher in the Otra Danza Dance Company Elche, Spain.

TRANSCULTURAL BODY DANCE RESEARCH (18+), level ll

The transcultural term is interpreted as neologism connected to re-discovery of dance knowledge, checking, accepting and transforming the different aspects that we already have. It can mean: getting specific and “new” dance knowledge perspectives.
The main reason for this workshop is to test the origins and topics of research of the Transcultural Body by means of reconsideration, experimentation and joint and individual deliberation, as well as the “theoretical-practical” transformation towards the Transcultural learning path. This dance laboratory reconsiders and opens doors to our own dance knowledge by checking, accepting and transforming the different aspects that we already have, through different dance approaches, reinforced by the cultural interchange, collaborative and significant learning and pre-established codes of movement. The aim is to obtain different cognitive discourses, based on the offered proposals, thus defining my particular method of communication, with the intention of generating a specific formative content, which will receive the name of the method for the Transcultural body.
The first part of the workshop will be to present the meaning and research origins, looking for the understanding of “the transcultural body”. After that we will work in its conclusions, transformed in exercises to be tested. Therefore, the first step is to focus on knowing the information that the body has, so a warm-up shall be carried out, where emotions, perceptions, intuitions, imagination, sensations, voice, writing and constructive criticism are all used.
In this sense, a number of related exercises have been developed based on individual and group listening, question games and acting them out. Afterwards through specific questions, we will continue redefining different approaches about what identity and identification as well as the bodily transformation means to us.
The second part of the workshop shall be the understanding of the body as an object, alongside the study of Transcultural vocabulary, based on reviewing the information learnt, which generated a re-encounter with dances above and below the waist (dances that preceded the codification of flamenco dance from mid-19th century) and the improvisation as a way of delving into the understanding of the codified movement. In order to do so we will use exercises related to decoding, deconstruction and the “new” codification. With the intention of developing aspects of rhythm and rhythmicity in our movements through learning corporal shapes coming from a specific body language, giving also the chance to play with the dancer’s creativity, taking in consideration their “own” individual voice as artists. In other words, we will be re-discovering, exchanging and re-shifting our way of communication between time, space and body. During the workshop we will focus on the way of communicating our personal dance knowledge with the intention of enlarging the project, through different points of view about dance, related to a socio-cultural and educational context. At the end, we will do an individual presentation of the collected material.
MORE INFORMATION Interviews:
https://www.youtube.com/watch?v=pR3DNO3dI9Q&t=2s

https://www.youtube.com/watch?v=RwcBhDkxHY4

https://www.youtube.com/watch?v=0sGY4IBMLso

https://www.youtube.com/watch?v=pR3DNO3dI9Q&t=491s

http://dolmajover.es/en/15-days-dancing-with-my-transcultural-learning-path-alcoy-spain/muestra-deltrabajo

NEWS

http://dolmajover.es/en/transcultural-body-educacion-y-danza/noticias/

LECTURES

http://dolmajover.es/en/transcultural-body-educacion-y-danza/exposiciones/

TRANSCULTURAL BODY BOOK PUBLISHED by

https://www.akademikerverlag.de/

Matej Kejžar

Matej Kejžar (BE / SLO) graduated from the SNDO Academy of Dance and Theatre in Amsterdam, the Netherlands. During his studies, he was invited to join the Trisha Brown Dance Company in New York as a member of a repertoire workshop, where he completed his term. After graduating, he joined the X-Group, a post-graduate programme at PARTS in Brussels. During studies he focused on researching movement and composition. His study partners included Katie Duck, Meg Stuart, Shelley Senter... As a student, he created several performances with visual artists, actors and musicians. He has been working all over the world since 2002. He was invited as a guest choreographer and teacher to work at PARTS, SNDO, SEAD, TSEH, TUNO, Deltebre Danza, Les Subsistance, DejaDone, ZPA, ImpulzTanz ,ADU etc. He moved to Brussels in 2009, where he participated in two original performances and tours as a member of the ROSAS / Anna Teresa De Keersmaeker dance company. In 2014 he took part in the 20 Dancers for the XX Century project by Boris Charmatz.
He cooperated with the Ljubljana-based KinkKonk / Pekinpah cultural organisation, creating in 2009 the Spider Net, a network of independent cultural organisations, working in the field of contemporary dance art. The Spider network organises spider events in the form of platforms, where the main theme is researching dance and combining dance with visual and musical arts (http://www.spiderontheedge.org).
Since 2009, Matej has been developing his practice called Time and Space Re-Mix. Based on his research he created the following projects: Senser 2010, Edge 36.5, Architecture for Better Living, Duet, Hit, Edge Shutting Down, Procedimento 21 + 1, White, True Romance Rave, Club 1 2 and House. His project Rave received in 2015 the invitation of the prestigious Avignon festival.

WORKSHOP: DANCE - NEW OPERATIONAL SYSTEM (18+), level lll

Matej Kejžar’s workshop DANCE / NEW OPERATIONAL SYSTEM workshop will build on the new operative system of Dance, not only choreographed dance, but dance with a capital D. He sees this new system of dance from the viewpoint of Dance representing dance. Representation allows dance to become an active part of its past, present and future not only as dance, art, decoration and fun, but also as an active force and intensity in our society in shaping societal, human, relational, political and economic realities.
The workshop will not delve into the history of choreography or the history of interpreting it. We will dance the Dance, which is not an interpretation of established abilities, but rather experiencing the alphabet of dance/dancing and witnessing/watching. DANCE is a workshop for getting to know dance, so that we are able to see it again and again. It provides an opportunity to transfer subject to dance. Dance in this sense stands for a possibility that we, instead of learning how to dance and how to represent dance, learn from dance itself.

!!! In order to apply for this workshop, you are required to briefly introduce yourself and explain in a few sentences why you're interested!!!

Nataša Tovirac

Nataša Tovirac (SLO), choreographer, dancer, dance teacher, teacher of Shakti Dance and Kundalini yoga.
She has been in love with dance since the dawn of time. Dance as an art form encompasses her life and career. She was educated at the Flemish Dance Academy in Bruges, Belgium. She graduated from the Slovenian Dance Academy. She is the author of 13 dance performances, has authored countless choreographies, and been a co-author of many other creative projects with musicians, actors, photographers, and fashion designers.
She has been working in the field of yoga for more than a decade, which gives her a sense of peace and strength, underlying her actions through the trials and tribulations faced by a busy life.
After 20 years of professional work in the field of dance as an art form, she met Sara Avtar, fell in love with Shakti Dance, and decided to become a Shakti dance and Kundalini yoga teacher.
She has taught this vast and fascinating yoga of dance for several years, and continuously combines her extensive knowledge of contemporary dance into a tool to harness the experience of Shakti dance.
She believes in the power of creative potential offered through dance, which she finds complementary in working with children, adolescents, adults, and people with special needs.
She teaches contemporary dance at the Secondary Preschool Education School and Gymnasium Ljubljana as well as serves as the arts programme and artistic director of the Dance Studio Intakt. As teacher of Shakti Dance, she is teaching workshops at home and abroad (Slovenia, Croatia, Italy). She was honoured to be a co-teacher with Sara Avtar at the Shakti Dance Teacher Training Level 2 in Gallese – Italy.

SHAKTI DANCE – THE YOGA OF DANCE

Shakti Dance® the Yoga of Dance - combining yoga and dance. Shakti Dance is inspired by Kundalini Yoga as thought by Yogi Bhajan and was created by Sara Avtar Olivier from UK based on her life-long dance experience and over 20 years of practicing and teaching Kundalini yoga. Shakti dance offers joyful, graceful and healthy yogic path through the conscious practice of dance.
More: www.shaktidanceacademy.com

Inma Lobato Diaz: FLAMENKO / FLAMENCO, level  l

Inma Lobato Diaz