Workshops & Research

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WORKSHOPS & RESEARCH 19 JULY - 15 AUGUST 2015

Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers.

Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day)

«impressions'15»: 19 July Week1: 20 - 24 July Intensive1: 25 + 26 July Week2: 27 July - 31 July Intensive2: 01 + 02 August Week3: 03 - 07 August Intensive3: 08 + 09 August Week4: 19 - 14 August «expressions'15»: 15 August

Index

3 Artists listed by departments

4 - 134 All workshop descriptions listed by artists

135 - 146 All Field Project descriptions listed by artists

146 - 148 Pro Series descriptions listed by artists

GOLDEN AGE Nicole Berndt-Caccivio | Elio Gervasi | Kurt Mosetter | Mårten Spångberg | Doris Uhlich

MIXED ABILITIES Alito Alessi | Adam Benjamin | Vera Rebl

MUSIC GUEM | Mamadou M'Baye

BUTOH Ko Murobushi

PRO SERIES Ko Murobushi | Mårten Spångerg

3 ImPulsTanz Worshops 2015 19 JULY - 15 AUGUST 2015

This level system is based on experiences in fields important for the Workshop or in related areas. The first Workshop day is the final day of admittance according to the teacher's decision, if your level is considerably different than the level of the Workshop, you are kindly asked to switch to a more appropriate one.

Workshops and their symbols: o (open) - for all levels, people interested in bodywork and movement Beg (beginning level) - providing basic knowledge, no specific precognition required Int (intermediate level) - for dancers with some knowledge, skill-refreshment Adv (advanced level) - for dancers with extended knowledge Adv* (advanced level) - for professional dancers with extended knowledge

Russell ADAMSON Week1: 20 - 24 July Contemporary Jazz Adv 13:50 - 15:35 Urban Styles Beg 18:15 - 20:00

Contemporary Jazz Aesthetic expansion of natural movement

The Contemporary Jazz Class begins with the fundamentals of natural movements leading into the development of the body's technical resources such as the necessary turn-out of the legs from the hip joint. Leg extensions and the formal use of the arms in preparations are incorporated into some of the following exercises and phrases. The basic feeling of wholeness should remain the dominant characteristic of all the movements. There will be body stretches in continuous curves, both convex and concave as well as successional movement phrases as part of the centre work as an aesthetic expansion of natural movement. The technique by itself has the power to stimulate and release energy forces within the students in expressive and conscious application. The class ends with a long combination.

Urban Styles Take it easy as you go!

The Urban Styles Class is aimed at the general and beginner level dancer. The class is based on the street styles of Reggae Dance Hall, Funk, HipHop, and House Dance. The aim of the class is to give the participants a Taste and Feel of the styles in the form of small combinations, which are fused together and explained step by step. The class is highly energetic with the emphasis on the fun factor. Each style has its own natural flow. So let's feel the vibe, feel the flow and take it easy as you go!

Russell Leon Adamson was born in Jamaica and moved to England with his family at the age of 10. He attained three city and guild certificates in electronics and engineering at Gloucester City College. His athletic abilities lead him to the Gloucester Youth Gymnastics team and to amateurs as well as Thai boxing. He carries the black belt status in various Martial Art Techniques. With this physical background he was granted a 4-year scholarship at the London School of Contemporary Dance. At the same time he took classes in Classical Ballet at the Central School of Ballet in London. He studied Ballet with Marian Lane and Laura Conners of the Royal Ballet School and 4 Company (UK) and Jazz with Deirdre Lowell and Wayne Babeist (Alvin Ailey Company), Daniela Lorenz (Matt Mattox Company), Charles Augins (USA) and also Claude Paul Henry (London) and Max Stone (New York). He also studied Modern with Bill Louther (Martha Graham and Alvin Ailey Company), Carolyn Carson and Jorma Uotinen (Helsinki City Theatre, Finland), Viola Farber from the Merce Cunningham Company, Jane Dudley and Robert Cohan from the Martha Graham Company.

Russell Adamson is an innovative teacher, motivating his students to focus on their work, so they can do more than they expected. With his support many young dancers have chosen dance as their profession. He has also created many choreographies, which received a lot of recognition in Finland and abroad. During the last years he has worked as a performer for the National Ballet of Estonia, the Gala for the 6th International Baltic Ballet Festival (Riga, Lithuania) and for Marimekkos 50th birthday (2001 - 2004), amongst others. In addition he has worked with the Black Dance Festival in Vienna (2002 & 2003) and the Estonia Art and Culture Gala Night in Tallinn (2004). As a choreographer he has created his own work including: "Spirit of the Landscape" (Finland, 2005), a solo and duet with Rodney Williams for the Black Dance Festival (Vienna, 2005), "Flow" a solo (London, 2006), "Terrain" (Finland, 2006), a choreography for the opera La Traviata (Finland, 2006), "Episodes" for the Rainbow Jazz Festival (2007, Estonia), a choreography for the Higher Ground Gospel Concert (Finland, 2007), The Live Orchestral Music and visual effects show at the Estonia Concert Hall (Tallinn, 2007), a Funk & HipHop choreography for the Urban Culture Tour (Helsinki, 2007) and lately a choreography for the jazz opera Manon with the world premiere (Estonia, February 2008). In 2009 Russell created four big productions, which have been shown in London, Tallinn and Vienna.

Conny AITZETMUELLER Week1: 20 - 24 July CIRQUE TEENS (14-17J) 10:30 - 12:00 Contemporary Pole o 13:50 - 15:35

Contemporary Pole WANNA GO UPSIDE DOWN? WANNA DANCE?

This class is open to dancers beginning Pole Dance and is still a challenge for intermediate Pole Dancers who want to dig deeper into the art of movement and understand the foundations of body alignment and expression. Either previous experience in dance or in Pole Dance is required. The use of bodyweight and different dynamics for spins, different grips, pressure points for poses, getting upside down, will be explored. We use the poles as props to expand our movement repertory and fuse it with contemporary dance to get loads of variations of the basic moves.

Learn the basic principles of Pole Dancing. Learn the basic techniques of spins, dance moves, climbs and inverts and how to vary them. Find out how to get into spins with momentum and spirals and how to incorporate the Pole into your movement style. Expand your repertory and work with momentum and dynamics. Fuse your style with Pole Technique and put the moves into short sequences.

The focus is on is on spins & climbs, floor work and AcroPole , Showgirl-Moves vs Contemporary-Pole.

CIRQUE TEENS (14-17J) See you at the Pole!

Do you like to dance to Pop / Rock & RnB Hits and want to combine this with acrobatics at the Pole? Popstars such as Pink! or Rihanna have discovered the air acrobatics. We can see them swing on silks through the air, sing in Aerial Hoops or be cool at the Pole. After a warm-up and some funky jazz dance sequences, we get directly to Pole. Here you will learn first Spins and Climbs, Floor Moves, as well as figures at the top of the Pole. Even upside down figures. We combine the learned figures with trendy Dance Moves and learn a little choreography each day to some favourite songs. A cool and energetic dance class with conditioning training and which really is a lot of fun!

Conny Aitzetmueller, a versatile artist and educator, started her career with competitive sports - Rhythmic Gymnastics - where the foundation was laid for her musicality and creativity. She is originally from Upper Austria and lives in Vienna. She graduated from the Vienna Conservatory Private University under the direction of Nikolaus Selimov (Contemporary Dance Pedagogy), received an MA in Music and Dance Education (postgraduate) from the Mozarteum in Salzburg, supplemented these studies with Jazz Singing at Prayner Vienna Conservatory and took Musical Master Classes at the Performing Arts Studios Vienna . In 2003 she received a scholarship for her dance training at the Broadway Dance Center in New York, specialising in Commercial Styles (Commercial Jazz, HipHop, Contemporary Jazz, Theatre).

Since then, Conny worked as a choreographer, dancer and pole artist in international stage and film productions, including collaborations with a.o. David Hasselhoff (The Hoff is Back Europe 2011 tour, concerts 2010-2014), Placido Domingo (Theater an der Wien: Luisa Fernanda), she worked for television productions of the ORF (Austrian Broadcasting: Austria rocks the Song Contest Eurovision 2012, Helden von Morgen, Die Große Chance), SAT 1 (a movie: "The Woman in Me"), MTV England (Ministry of Sound: Scape "Be My Friend"), VIVA Germany (The Pussycat Dolls "Jai Ho"), GoTV Austria (Austin Howard , Global Djs, Mauracher, Core ...), RTÉ Ireland (Eurosong 2010) as well as for Musical productions (Musical Rocks!, Dinner Fantastique, The Rocky Horror Picture Show, Evita, Godspell, Cabaret). As a choreographer and coach, she creates concepts for bands and musicians, collaborating for concerts and music videos.

In addition to her artistic creative activities Conny Aitzetmueller's years of practice include teacher trainings and activities in the field of fitness: she holds a degree in aerobics, has a fitness trainer diploma, is Pilates Professional Coach, Ballet Workout Coach, Thai-Bo Trainer and Pole Dance Master Trainer.

2009 her interest in the fusion of Dance with Artistry led her to Pole Dance. She received her first training at Polebatics© Germany, followed by Pole Dance Master Classes in Vienna, Milan, Sydney, London and New York and many more with Pole legends like Cleo The Hurricance, Marlo Fisken, Michelle Stanek, Rebecca Starr and Marion Crampe. As a dance and fitness expert she is since 2012 in charge, among other things, of the CAve25 Pole and Dance Education, and thus the first Pole Dance Teacher Training in Europe, which combines Pole Dance Artistry and professional Dance Technique. She created a unique movement system, which includes training, theory, technique, creativity and methodological concepts.

6 Since 2012 she is also the Artistic Director of the CAve25 Aerial & Dance Company, merging Commercial Dance, Contemporary Dance and Aerial Artistry. www.cave25.at

Joe ALEGADO Week2: 27 - 31 July ModernTechnique Int 11:40 - 13:55 Startup Modern Beg 14:25 - 15:55 Week3: 03 - 07 August ModernTechnique Int 11:40 - 13:40 ModernTechnique Adv* 13:50 - 16:20 Week4: 10 - 14 August ModernTechnique Adv* 11:40 - 14:10 Startup Modern Beg 16:35 - 18:05

Startup Modern Our relation to the earth

All my teaching reflects a dedication to establishing our relationship to the earth and to the roots necessary to anchor our freedom of movement. My desire is to have the students’ experience how this connection can influence how we initiate and attack our movement as well as how we can discover the very important transitions of weight, so important in our dance training. Coordination, rhythm, focus and, above all, honesty in movement, will be some of our goals.

Modern Technique high performance level

The principles of movement, which we begin to explore in my beginning levels, are taken to a higher, more complex level of coordination of hands, arms, legs and torso as well as rhythmic changes, weight shifts and dynamic transitions. Embracing the search for a connection to the earth, allows us the possibility, the potential to reach upward to heights always necessary when our goal is to achieve high performance level dance training.

Joe Alegado has been a member and soloist of the Ballet Hispanico of NYC, Alvin Ailey Repertory Ensemble and the José Limón Dance Company. He is one of the original faculty members of ImPulsTanz Workshops (formerly International Dance Weeks Vienna). His work in over three decades of working in Europe has been reflected in his evolution here in the ImPulsTanz Festival. From the early years of teaching Limon Technique, his movement language has metamorphosed into a unique expression of the principles of Limon's work. His work is characterised by his 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.

He has taught extensively throughout Europe teaching and choreographing in diverse festivals, studios, institutions and dance companies. He has made his home in Barcelona, Vienna and Prague (where he created Jalegado Dance Company). He is presently living in the United States.

7 Alito ALESSI Week2: 27 - 31 July DanceAbility o 09:00 - 11:30 Intensive2: 01 + 02 August BodyWork o 12:10 - 14:10 & 17:30 - 20:00

DanceAbility Moving On

DanceAbility is a unique dance methodology founded in 1987 by Alito Alessi and Karen Nelson and has been under the exclusive leadership of Alito since 1989. DanceAbility uses improvisational dance to promote artistic expression and exploration between people with and without disabilities.

Through experiencing movement together, misconceptions and/or prejudices that able- bodied or disabled people might have about them selves and each other are uprooted. DanceAbility workshops provide a supportive atmosphere for attitudes to change, and for people to learn about the beauty and joy of communicating through movement. The intention of DanceAbility is to cultivate a common ground for creative expression of all people. The material is drawn from the group present in a given situation and isolates no one. The method supports self-empowerment by offering ways that all individuals can participate fully in expressing their creative choices, including respecting one’s own limits. Following one’s own interest and desire, and applying that to the benefit of one’s community, is a basic DanceAbility teaching.

The class will consist of foundation exercises introducing basic concepts of movement improvisation to people of all abilities based on things that all participants can do. This class will provide an introduction to the unique language of each person’s body and how to communicate non-verbally with a partner and in larger groups. This will result in work in self- directing small groups to shape short dance pieces. The integration of “Contact Improvisation” will result in learning to improvise using physical contact.

Bodywork Deepen YOUR intuition!

Alito Alessi, choreographer, dancer, and Licensed Massage Therapist, will teach bodywork preparation, application, and integration, including techniques for alignment of the shoulders, neck, spine and pelvis combined with cranial sacral work. Breath and movement will be used as a physical awareness preparation for hands-on partner-work moving towards the balance of structural, energetic and muscular expression. We will increase our understanding of strength, stretch, release and our ability to listen to our bodies’ messages, and deepen our intuition. We will use a hands-on approach to cultivate a responsive, listening attitude to identify our own healing qualities and to assist others in identifying that, which inhibits the physical, mental and emotional aspects of alignment. Together we will become aware of what our bodies are telling us but often ignore.

8 Alito Alessi is the artistic director and founder of the Joint Forces Dance Company and teaches and performs DanceAbility and Contact Improvisation internationally for more than 20 years. Both Joint Forces as well as DanceAbility are considered to be the most important pioneer-projects in the field of "mixed-abilities dance“. This project for performers and teachers with and without disabilities achieved international appreciation for its artistic vision and the unique method in widening variety in dance. Over several years Alito Alessi received scholarships for his choreographic works from American National Endowment of the Arts. As one of the pioneers of integrating Contact Improvisation into choreographic work, collaborations with artists include Steve Paxton, Nancy Stark Smith, Andrew Harwood, Karen Nelson amongst others.

Kristina ALLEYNE & Sadé ALLEYNE Week3: 03 - 07 August Dynamics, Rhythm and Texture Adv 13:55 - 15:55 Afro-Fusion o 18:00 - 20:00 Intensive3: 08 + 09 August Devising Techniques Adv 12:10 - 14:40 & 17:30 - 20:00 Week4: 10 - 14 August Afro-Fusion o 16:05 - 18:05

Dynamics, Rhythm and Texture

This is a physical Contemporary Class, which will involve strong, complex and technical sequences in and out of the floor, focusing on performance/stamina and commitment throughout the session, improvisation will also be explored as part of self development.

The significant factors for the workshop are to develop the dancers' creative mind, drive from passion, determination, strength, musicality and most importantly an intention/honesty in whatever choice they make throughout the session.

Our style has been inspired and developed from working with the likes of Akram Khan (fusion of Kathak and Contemporary Dance), Retina Dance Company (Release and Contact Work), Gregory Maqoma (Afro-Fusion Dance) and Henri Oguike (Classical Contemporary Dance based on Forsythe and Cunningham techniques).

Afro-Fusion African Dance fused with Contemporary Styles

This workshop blends several styles of energies to create a unique style of Afro- Fusion. From influences of Zimbabwean, Nigerian and South African traditional forms and Western Dance Styles, it is a fun motivating aerobic dance class syncopating movements to various styles of music.

In this class you will develop creative expression, improve mobility, strength, flexibility, coordination and sense of rhythm. The use of isolation of the body, articulation and undulation of the spine will be explored. You will learn phrases based on the exercises developed from the warm up that will challenge and form movement interpretation and accuracy. Music and rhythm is an important aspect of the class. We believe music can inspire the heart and soul.

9 Our style has been inspired and developed through working with the likes of Gregory Maqoma (Afro-Fusion Dance), Bawren Tavaziva (Zimbabwean choreographer), Vincent Mantsoe (Afro-Fushion from Soweto, South Africa), Vocab Dance (London based African, Contemporary, Urban Dance) and Frititi (Founded by Nigerian Nii Tagoe).

Devising Techniques

This class will give you the time and space to explore different possibilities to create unusual and unpredictable movement. Giving participants the opportunity to discover and challenge ones own interest / style and develop into set movement. This workshop will involve different tasks to stimulate and challenge the creative minds. We will play with the art of intention / honesty of the movement and how emotions can transform material or be used as stimuli. This class is for participants discovering their personal styles in movement, self-development to improve in auditions and creative processes, young choreographers who want to test their creative methods and teachers who need inspiration for generating material. In these sessions the participant will explore many ways to devise onto others / own solos / group explorations and partner work.

Kristina Alleyne is born in London and originally trained as an athlete. She trained at the BRIT School of Performing Arts and Technology (BRITS) 2003-05 and Northern School of Contemporary Dance (NSCD) based in Leeds 2005-08.

Kristina's dance experience started through Hip Hop where she joined such companies as Boy Blue Entertainment and international company Dance2Xcess. After Kristina completed her postgraduate Diploma with postgraduate dance performance company Verve 2009, Kristina moved on to work/tour with such companies/choreographers as Tavaziva Dance 2009-2011, Arthur Pita 2010, Ijad Dance and Technology Company 2011, African Company Fritti 2011-2013, Retina Dance Company 2011-2012, Henri Oguike Dance Company 2011- 2012, Helen Parlor 2011, ACE Dance and Music 2012, Chisato Minamimura (sign language 2014) and Micheal Thomas Voss (Tango) 2014. From 2011 Kristina joined Akram Khan Company for his production "iTMOi", performed at the London 2012 Olympics Opening Ceremony in the section choreographed by Akram Khan and has lead workshops internationally as part of A.K.C.T. 2014-16 Kristina begins to tour the remounting of "Kaash".

In 2014 KRISTINA & SADÉ ALLEYNE Company for Education was launched. The Company has worked with The Brits School of Performing Arts and Technology, UK CAT schemes, Hot House Dance, Turnstyles, Vocab Dance Company and London Studio Centre’s Saturday Associate Programme.

KRISTINA & SADE ALLEYNE led sessions at The Birds College, Get Better Leisure, Runway House, London Studio Centre's Saturday Associate Programme, Vocab Dance Company, Sanjuta Banerjee Youth Groups, Aakash Odedra, Aditi Mangaldas, GDA Professional Class and will be returning to Vienna’s ImPulsTanz Festival 2015 as well as their debate sessions at The Henny Jurriëns Foundation Summer Intensive in Amsterdam and London's The Place Summer Intensive.

Sadé Alleyne formally trained as an athlete for Enfield and Haringey. Her first experience of dance was with Hip Hop companies Boy Blue Entertainment and Dance 2Xess. Sadé trained at the BRITS School (London 2004) and at the Northern School of Contemporary Dance (Leeds 2008). Since graduating Sadé has worked with Tavaziva Dance, IJAD Dance and Vocab Dance Company, both UK and international performances. Sadé has worked as a Performer and Rehearsal Director for companies like Ace Dance and Music (Birmingham) and State of Emergency (London) and with choreographers Vincent Mantsoe, Luyanda

10 Sidya, Andlie Sotyia, Douglas Thorpe, Akiko Kitamura and Gregory Vuyani Maqoma.

She joined Akram Khan Company in 2012 on the "Vertical Road" tour and performed with the company at the London 2012 Olympic Games Opening Ceremony, the 2013 production of "iTMOi (in the mind of Igor)". Since 2014 she is touring the remounted production of "Kaash". Sadé also leads many workshops internationally as part of A.K.C.T. and is also a dancer of Antoine Marc's Award Winning Independent Film "Descent" and the 2015 production "EssE".

KRISTINA & SADÉ ALLEYNE led sessions at The Birds College, Get Better Leisure, Runway House, London Studio Centre's Saturday Associate Programme, Vocab Dance Company, Sanjuta Banerjee Youth Groups, Aakash Odedra, Aditi Mangaldas, GDA Professional Class and will be returning to Vienna’s ImPulsTanz Festival 2015 as well as their debate sessions at The Henny Jurriëns Foundation Summer Intensive in Amsterdam and London's The Place Summer Intensive.

Adriana ALMEIDA PEES Intensive3: 08 + 09 August Gyrokinesis® o 09:45 - 12:00 & 15:00 - 17:15 Week4: 10 - 14 August BMC – Sliding the Matrix o 09:30 - 11:30

BMC – Sliding the Matrix Re-pattern, refresh and create new potentialities

The Sliding the Matrix workshop will be a journey from the embryological developmental perspectives addressing our connective tissue in forming our different structures that support and mobilise our locomotor apparatus. We will dive in our connective tissues to embody our skeleton, muscles, fascia etc. in order to amplify our quality of movement in our support/mobility skills and relationships. Thus we create and reinforce the wide communication from these systems through our attention, intention and action in the micro-macro structures and their influence on the way we move, as well as on our movement patterns. We will move from the matrix of the connective tissue as a way to re-pattern, refreshing ourselves to create new potentialities to act and move with balanced inner/outer consciousness in the world. This workshop will be based in the Body- Mind Centering method.

Gyrokinesis® Stimulate the nervous system

In the classes of Gyrokinesis® the various body structures are systematically promoted, with due consideration to the spine, a greater range of motion in flexion, extension, rotation and spiral. Each movement follows a regular pattern of breathing, which stimulates the nervous system. The exercises can be extended to the hips and knees, which leads to relaxation and reorganises the demands of muscle strength.

11 Gyrokinesis® is based on flowing, harmonious sequences of movement that are further enhanced by specific breathing techniques. This trains the flexibility of the spine and strengthens the entire musculoskeletal system.

Dr. Adriana Almeida Pees is a Body-Mind Centering® teacher, practitioner, infant- developmental movement educator (IDME), an ISMETA registered movement therapist and educator and teaches in different BMC Programmes. She is a Gyrotonic® master trainer and a Gyrokinesis® pre-trainer and Cranio-sacral therapist. Since 2008 she has been co- director of the South American Body-Mind Centering Training Programme in Brazil. She received her PhD at the Universidade Estadual de Campinas-SP (State University of Campinas – Unicamp) at the Institute for the Arts, specialising in dance, research field: the technical-poetic foundations of the performer. She has been working as a dancer, choreographer and guest teacher in various productions by the directors Frank Castorf, Christoph Marthaler, Christoph Schlingensief, at the Volksbühne am Rosa-Luxemburg-Platz (Berlin), at the Berlin Ensemble, Schauspiel Hannover, Tanzquartier Vienna, ImPulsTanz, the Conservatory of Vienna Private University and K3 Hamburg.

Laura ARÍS Week3: 03 - 07 August Ultima Vez Vocabulary Adv* 11:40 - 13:40 Partnering Adv 14:50 - 17:20 Week4: 10 - 14 August Playful Body Adv 09:30 - 11:30 Ultima Vez Vocabulary Adv* 14:50 - 16:50 The Courage To Create Adv 17:00 - 20:00

Ultima Vez Vocabulary – Space, conflict and catastrophic imagination

"In the performances of Vandekeybus the body is at stake in a world of conflict. It's is an arena of tensions and contrast: horizontal/vertical, high/low, hard/soft, virtuosity/vulnerability, active/passive, man/woman, body/mind, man/animal, order/chaos, intellect/instinct, nature/civilisation... On the basis of these types of contrasts where formal, physical and existential categories overlap." – Erwin Jans

This workshop will approach the work of Ultima Vez from Laura’s personal experience with the company. We will study body mechanisms that allow us to reach physical extremes protecting the body at the same time. We will explore some creation process ideas and some physical, energetic movement vocabulary; a flavour and tone of Ultima Vez’s work.

Partnering

Technical exercises and games will be the starting point for group and partner work. We will work with set up situations to explore and practice different partner-contact tools that will help us to fully trust the other, to act under risk, speed, power, etc. We will use recognisable human relationships that will help us to create images, to define energies and invent stories. Participants will explore some given elements and steps but will be invited to play with their own material within a defined context.

12 The Courage To Create A time for reflection and questioning

Looking at the senses, the imaginary, and different vocabularies around the creative process. We examine the bodily self in the process of making, through which we unveil the "personal knowledge" from within. My goal is to try to enhance the expressive ability of each participant. We will be working on the ability to present ideas, to make decisions, accept errors and dive into the unpredictable. How can we fuel our imagination? We will be sharing working sessions during which we will listen to and observe the others. Participants will experiment with some given task, then slowly will have to make choices, to show their own concise propositions and become an involved audience to each other’s practice.

From my personal experience in the field and without any pretension to give answers neither methods, I will share thoughts, words, some of my wonders, inspiration, video material, games that will help us to create the convenient ambiance and the generosity necessary to dare to do, to show and tell, to communicate and think about the creative process. I can’t deny the fact of having a short period of time for such a broad matter. This workshop proposal could have a special tempo and dynamic as we will be in a group, at times working alone, so expect to gain knowledge from observing others and from sharing talks rather than just "only" be working physically all the time.

The Courage to Create is a title taken from a book by Rollo May, an American humanistic and existential psychologist, and author of many influential books. "Courage is not a virtue or value among other personal values like love or fidelity. It is the foundation that underlies and gives reality to all other virtue and personal values." – Rollo May

Playful Body Body Training For Dancers

This workshop will consist of body training sessions to help improve awareness, to awaken our playful bodies and spirit, rediscovering, exploring and using different games, exercises, lead improvisations, proposals or tasks. We will be working in couples, individually or in groups.

I have an eclectic mind and often I question my habits, capacity and determination to maintain discipline and perseverance in my professional training. During the week we will be questioning different training methods, our own habits or myths around the work of keeping fit, ready and prepared (physically and emotionally) to be able to join into different creation processes, attend auditions and similar activities.

Nowadays I train myself in a very different way than I used to when I was younger. I catch myself contradicting my own truths regarding the proper training and maintenance of the dancer's body, and engage in the freshness and the body-mind-spirit connectivity.

Laura Arís was born in 1977 in Barcelona (Spain). She followed dance and choreography training at the Instituto del Teatre in Barcelona where she was awarded with the Prize for Extraordinary Student in 1996. Between 1996 and 1999 she was part of Lanònima Imperial Dance Company (awarded with the prize Lladró to the Best Performer at Festival de Valencia 1999) and associated with General Electrica collective in Barcelona (Spain).

13 Since 1999 she lives in Brussels and has been a member of Ultima Vez/Wim Vandekeybus for the creations and touring of: "Inasmuch as life is borrowed", "Scratching the Inner Fields", "Blush", "What the body does not remember" (reprise 2002), "Sonic Boom", "Puur", "Spiegel", "Menske" and in the dance films: "Blush", "Here After" and the short film: "Inasmuch as Life is borrowed".

She regularly teaches workshops related to the Ultima Vez dance vocabulary and contemporary technique lessons worldwide.

In 2009 she founded the artistic platform Ember together with Jorge Jáuregui, an artistic platform that holds their works and collaborations. www.emberprojects.blogspot.com

Ziya AZAZI Week4: 11 - 15 August Dervish in Progress o 17:00 - 20:00

Dervish in Progress Pushing bounderies and reach a higher awareness

This Workshop suggests a space for the participants where they can challenge their limits through whirling, stimulate their ability for the thrift of bodily energy, and through these abilities reach their goal movement within their own genre, spending less energy, with a higher level of awareness.

Whirling is not the main objective of this workshop. The greater goal is to improve one’s physical, emotional and mental awareness through whirling and the exercises prior to that. It leads the participants to perceive and accept what is befalling throughout whirling, and reach an innovative movement by means of whirling.

The Workshop consists of the following steps:

Warm up: stretching and breathing in order to enhance concentration preparing the body and mind to gain strength to push mental and physical limits.

Awareness: This step includes floor work, body part and upside down exercises, basic acrobatics and improvisation on various levels. It aims to strengthen the awareness of senses and systems in preparation for meeting the unknown arrangements to be encountered while whirling.

Whirling: Further developments of physical, emotional and mental awareness are to be obtained in this step. Whirling first starts at the vertical level. At the further steps repetitive movements are to be experienced on both, vertical and horizontal levels. This step helps the participants to feel and record the conditions of their perception of space and body; thus the awareness improves. This is a step where the participants in various aspects confront conditions that are not usual or accustomed. By accepting the unknown, the knowledge concerning awareness and ability for the thrift of bodily energy will expand.

Ziya Azazi was born in 1969 in Antakya (TR) and is based in Vienna since 1994. From the late nineties up to the present, Ziya Azazi’s dance practices have been primarily based on experimental whirling and repetition, which reflect his personal, artistic, conceptual and motional analysis of traditional Sufi dance. He searches for the simultaneous representation of contradictory perceptions of physical awareness and a high

14 state of ecstasy, experimenting the intensities of speed and tension made possible through whirling. He aims at transforming the usual whirling dervish image and the classical Sufi dance into a spectacular form, thus proposing possibilities for personal ritual, that do not rely on the boundaries of existing belief systems. His work searches for the Dervish at a high level of speed, tension and emotion, and creates a space for the viewer to encounter and experience these moods. Through his performances, Ziya Azazi seeks to represent the moment of realisation when the Dervish begins to enjoy his/her achievement through the joyful and ecstatic repetition of whirling: the looping and spinning which leads to trance.

Ziya originally studied mining engineering at Istanbul Technical University and practiced gymnastics. Between 1990 and 1994 he worked with the State Theatre of Istanbul where he created his first choreographic works. Between 1994 and 1998 he worked at Tanz Atelier Sebastian Prantl (TAW), Tanz*Hotel, and Willi Dorner besides few other companies. In 1999 he was awarded the danceWEB scholarship and received the honourable mention in the Ballett Magazine as "The Most Outstanding Dancer of the Year in Austria".

Since 1999 he creates his own choreographical work, which tours worldwide, a.o.: "Dervish in Progress" (2004 / Barcelona), "’Azab" (2005 / São Paulo), "Dervish" (2006), "Icons" (2007 / Grenoble) in collaboration with Serge Adam (FR), the solo "Ember" (2010 / Valladolid). His latest work "Energy" has been premiered in 2012 at Théater Liberte in Toulon (FR). Since 2004 worked with a.o. Jan Fabre/Troubleyn, Compagnie Thor, and collaborated with Cem Ertekin, Aydin Teker, Sebastian Prantl, Philippe Arlaud, Anne-Marie Gros, Ismael Ivo, Marcia Haydee, Yoshi Oida, Thierry Smits, Nona Ciobanu and Mehmet Balkan. Beside the performances Ziya Azazi shared his experiences and knowledge with public in academic and non- academic settings, a.o. at the International Choreographic Training Programme titled Choreographic Collision (organised by Ismael Ivo, within the framework of Venice Dance Biennale, IT), at the Modern Dance Department of Istanbul Mimar Sinan University (TR), Carolyn Carlson Roubaix National Choreographic School (FR), Performance Making Programme at Goldsmiths University, London (UK), the Faculty of Arts at Klaipeda University and the dancers of Samsun & Antalya State Ballets (TR).

Iñaki AZPILLAGA Week2: 27 - 31 July Contemporary Technique Adv 09:30 - 11:30 Partnering – Horizontal and Vertical Bodies Adv 11:40 - 13:40 Intensive2: 01 + 02 August Physical Dialogues o 12:10 - 14:40 & 17:30 - 20:00

Contemporary Technique energy & the imaginary

This workshop is directed to people interested in dance as an art of expression. The class will turn around one or two themes per day including warm up, floorwork and dance evolutions in the space. From high-voltage to lazy-looking forms, where energy and the imaginary are the rulers of the rhythm. The participants are encouraged to appropriate the given material and to "stage" it in the shortest delay of time.

Partnering – Horizontal and Vertical Bodies Movement originating out of emotional reason

Partner and floor work with high doses of energy and dynamic changes will centre the attention of this workshop. Sharing and communication are very essential aspects in our daily life. We will

15 frame a universe where dance expresses those issues through partner work and other collective activities. The key theme will be the world of horizontal and vertical bodies applied to partnering. During the workshop we will learn given phrases and explore movement originated from necessity, urgency, limitation, emotional reason, etc.

Physical Dialogues Energetic, dynamic, physical

This Workshop is addressed to dance amateurs with athletic training background interested in dance as artistic form of expression. Physical Dialogues’ main content is partnering and communication. The subject for this workshop will be: Life-sized dolls. With partnering I refer to people wishing to communicate, searching for sharing intentions and trying to establish new codes for dialogue in movement. We will frame stories, work with specific types of manipulation and tune the physical intentions until moulding the image of dealing with our „inanimate friend“. We will have to consider the frontiers of cooperation, sense of existence and our surroundings as well as many other aspects related to partnering techniques and performing such as trust, weight, sharing timings, leaders and followers etc. Movement is the key tool of the workshop and the spirit will be energetic, physical and dynamic.

Born in Spain Iñaki Azpillaga is now a dance teacher based in Brussels leading workshops all around Europe. His dance studies are based on Basque folk dance, ballet, jazz, modern and contemporary dance. He has danced with Mathilde Monnier, Bocanada Danza, National Ballet Company of Spain besides many other companies. For over twenty years he has been connected with the work of Ultima Vez/Wim Vandekeybus in one way or another. Since 1994 he has danced with the company, participating in the creation of the famous pieces: "Mountains made of Barking", "Alle Grössen decken sich zu" and "Bereft of a Blissful Union". At the same time he danced in "What the body does not remember" and "Her Body doesn't fit her soul". Since 1999 he has been the choreographical assistant and at times tour coach to several Wim Vandekeybus' productions including his creations "Radical Wrong" and "Oedipus / Bêt Noir". Since 1997 he has been leading workshops related to the work of Ultima Vez and last year reproduced the Repertory of the company in the piece "Blik Opener".

Eleanor BAUER Week4: 10 - 14 August Skills, Tools, Practices, Criteria o 11:40 - 13:40 Dancing, Not The Dancer Adv 17:00 - 20:00

Skills, Tools, Practices, Criteria how to learn from anyone

What is "good dancing" today? What kinds of skills are applicable to the broad range of movement styles and forms that are relevant and available for the dance practitioner today? What kinds of tools can we use to sharpen those skills, what practices do we need to maintain their availability, and what criteria do we use to inform and evaluate our own practices? A guide to becoming your own best dancer and your own best teacher: Skills, Tools, Practices, Criteria is a workshop for developing technique, perspective, discipline and focus within a vast and mercurial artistic landscape. A space for serious study for the 16 serious student or dance professional. Working in open level format allows us also to work on how we can use and include each other in our own work and path, and namely, how to learn from anyone.

Dancing, Not The Dancer

Through a handful of scores and practices, we will work on how to get out of the way of our own dancing, how to learn from our own dancing, how to individually each be our own best audience members and performers at the same time. Working on the balance between making it happen and letting it happen, and using everything at our disposal to feed the dance: thoughts, observations, skills, senses, sensations, histories, ideas, memories, impulses, imagery, imagination, intuition, interpretation, emotion, fantasy, joy, judgement, questions, meh, blah, pow, boom, bang, the present moment, "reality," experience, analysis, synthesis, mechanics, momentum, completion, interruption, distraction, desire, and discipline are the tools and ingredients of Dancing, Not The Dancer.

Eleanor Bauer is a performance-maker and performer working at the intersections of choreography, dance, writing, music, comedy, and performance art. Born in Santa Fe, New Mexico, she studied at Idyllwild Arts Academy in California, New York University's Tisch School of the Arts, and at P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels. Bauer is currently based in Brussels and is an artist-in-residence at Kaaitheater. Bauer's pieces "ELEANOR!", "At Large", "The Heather Lang Show by Eleanor Bauer and Vice Versa", "(BIG GIRLS DO BIG THINGS)", "A Dance for the Newest Age", "Tentative Assembly (the tent piece)", "Midday & Eternity (the time piece)", and "BAUER HOUR" have toured internationally to critical acclaim. She is currently working on a new piece called "Meyoucycle", with live music by Belgium's renowned Ictus contemporary music ensemble, to premiere in Spring 2016. As a performer, Bauer has worked with David Zambrano, Mette Ingvartsen, Trisha Brown, Xavier Le Roy, Anne Teresa de Keersmaeker/Rosas, Boris Charmatz, Matthew Barney, Emily Roysdon, Ictus, The Knife, and others. Bauer also frequently teaches, mentors, and writes about dance and performance. For more information visit: www.goodmove.be.

Adam BENJAMIN Intensive3: 08 + 09 August Teaching Integrated Dance Adv 12:30 - 18:30 Week4: 10 - 14 August Through the Senses o 11:40 - 14:10

Teaching Integrated Dance

This is an improvisation workshop open to disabled and non-disabled participants, and will be of particular interest to those interested in developing insight and skills in leading integrated classes. In addition to the practical work there will be time each day to reflect on the methodology of integrated work, to question and interrogate what we do, how and why we do it. The workshop will provide an opportunity to reflect on our own practice, to develop new skills, share knowledge and of course, to immerse ourselves in improvisational scores that are both open and challenging.

Through the Senses

Through the Senses is a journey that begins with our senses, and opens us to trust, to laugh, to risk and ultimately to be surprised by the unknown. A sensitive research on eye

17 level with a wide-ranging group. An improvisation workshop that explores integrated dance through awareness of self, sensation and breath, through partnering, contact improvisation and onto temporal and spatial scores.

"Attention to breath and to the senses, to what is seen, heard, felt, sensed, touched connects us not only to each other but to the physical space we move in. Our breath connects us to the air that breezes in from the open windows, to the sounds of the city, police sirens sounding, birds singing, a dog barking somewhere down on the street below, our practice brings us into ‘being’ rather than ‘acting’ and from this sense of being in the space, we begin through the simplest of scores to recognise and work with the beauty of human beings in relation, in flow and flux.." These words from a workshop participant in Berlin last year, summarise this simple but profound journey, a journey that begins with our senses, and opens us to trust, to laugh, to risk and ultimately to be surprised by the unknown.

Adam Benjamin is one of the pioneers of integrated dance, author of the seminal text Making an Entrance, Theory and Practice for Disabled and Non-disabled dancers. (Routledge 2002). He was co-founder and artistic director of CandoCo Dance Company (1990 - 1998) and has since worked in Asia, Africa and across Europe. An award winning choreographer, he has created pieces with companies such as Vertigo, StopGap and Scottish Dance Theatre, and has collaborated as an improviser with artists such as Kirstie Simson, Rick Nodine, Russell Maliphant and Jordi Cortés. Adam currently teaches dance at Plymouth University where his work was recognised through the award of a National Teaching Fellowship (2013).

Susanne BENTLEY Week1: 20 - 24 July Embodying Text Adv 11:40 - 14:10 Contemporary Technique - Remixed Release Beg 14:50 - 16:50

Embodying Text Improvised physical play with words for dancers and movers

Using the body as our instrument is the daily practice of a dancer, but how to add vocal expression to our performing? How to feed voice or text back into our bodies as inspiration for movement? This workshop opens the toolbox to the use of the voice in improvised performance, for dancers or movers in the performing and circus arts: skills that can also be transferred to the creation of set performance material.

Inspired by Al Wunder’s Theatre of the Ordinary, Ruth Zaporah’s Action Theater and the work of Andrew Morrish, this workshop promotes an experiential way of learning. Participants discover what they like doing, what they like seeing and take responsibility for developing their own style of theatrical self-presentation. We start warming up the body and voice using a variety of images and exercises focused towards certain themes for each day. This moves into performances for other participants where we learn by doing and watching. The experience of creating with a public present is an essential part of the process. Feedback sessions help both, the performer and the audience, to evaluate their preferences, strengths and foci and to further improve the experience from both angles.

18 Contemporary Technique - Remixed Release enjoy - otherwise why dance?!

This contemporary class is based on Release Technique and Floor work and includes Contact and other forms of Improvisation. Aspects of Yoga, Alexander Technique, Pilates and Skinner Releasing are also often part of the class. The focus is on the body’s alignment and on working economically in movement through emphasis on direction, sequencing, impulse and fluidity. Part of working economically is the use of the centre and internal musculature, hence reinforcing and learning to access that power is a major objective.

The classes usually start by warming up at ground level: strengthening the centre and upper body for taking weight by travelling across the floor with set material or improvisations. With a strong centre we can move fluidly and economically on all levels. We then move into verticality: alignment (incl. Alexander Technique exercises), thoroughly working feet, legs, arms and spine, learning Release Technique through specific set material. Contact Improvisation or other improvisational material is often introduced at this point: working on specific techniques or images (incl. Skinner Releasing) with which to improvise together. Lastly we make a transition into movement, which travels farther through space: changing directions and levels, using impulse, sequencing and flow, learning set material which builds up to a final phrase that will end the class. Attention is always given to stretching afterwards to prevent injury.

"I teach participants to work with partners, give feedback and take charge of their own education. The most important for me, however, is the enjoyment factor - otherwise why dance?!"

Susanne Bentley is a contemporary dancer, improvisor, teacher, coach and choreographer. She has been working with others and on her own projects in New Zealand and Europe since 1996. In NZ she worked with companies such as Touch Compass, Opera NZ and Weta Productions (Peter Jackson- film), and was a founding member of Curve Dance Collective. In 2000 she was a danceWEB scholarshipholder at ImPulsTanz (Vienna). Since then she has performed with companies such as SUPERAMAS, Cie. Fabienne Berger, Les Ballets C de la B, Maria Clara Villa Lobos, Poni, Bal Moderne a.o.

She has created her own works since 1994, either choreographed or improvised. From 2002 - 2009 she made music and performances with electronic musician Peter Van Hoesen as Bent Object. She is also a founding member of SoloConversations Dance Collective, performing improvised pieces since 2007. She established the organisation Expansive Being in 2012, dedicated to encouraging, supporting and promoting artistic expression in all its forms.

She teaches contemporary dance and performance improvisation for companies, universities and studios such as: Ultima Vez, Charleroi Danses, Danscentrum Jette (Brussels), Tanzquartier & Impulstanz (Vienna), Tanzfabrik & Marameo (Berlin), University of Waikato & Otago University (NZ). She is also a qualified life coach with Consciousness Coaching, and offers individual artistic coaching/mentoring as well. http://susannebentley.com/

19 Nicole Berndt-Caccivio Week1: 20 - 24 July Contemporary Technique – Back to the Basics o 13:50 - 15:35 Inspirationen (55+) 16:15 - 18:00 Intensive1: 25 + 26 July Full Presence Ahead o 09:45 - 12:00 & 15:00 - 17:15

Contemporary Technique - Back to the Basics Basics with wicked music!

When I was a dancer with CH-Tanztheater in Zurich (1983-86) and at the Tanzfabrik Berlin (1986-88) Contemporary Dance as we know it today was defined at that time. In my work with the Company ljada, which I headed together with Roberto Galvan (1988-94) in Switzerland, I specifically concentrated on the emancipated form of Partnering. Contemporary dance became more and more physical and nowadays most of the dance institutions teach contemporary technique to young students.

This workshop leads us to the basics of this raw, sportive, authentic and physical way of moving and is addressed to beginners willing to take some risks and for advanced dancers wishing to re-visit the basic technique. We will engage in: rolls on the floor with different physical aspects, jumps with and against gravity, challenging partnering sequences in different roles (lifting and being lifted) etc. – all of this will be accompanied by very energetic and motivating techno music!

Inspirationen Set free your imagination!

After a gentle warm up and some fruitful bodywork we will delve into a choreographic workshop, where new talents can be discovered, conceived and cultivated. Through improvisational images, present tasks, coincidences and – of course – spontaneous ideas, many choreographic puzzles will culminate – if requested – in a visionary and self- developed whole by the end of the week. Thus participants will experience – alone and within the group – a self-taught and stress- free dance and theatre approach to movement/dance, as well as find a non-verbal expression of their bodies.

"The suggestion and wish to work with people of 55+ of age are rooted in my work with the Age Company which I direct since 2009 in Vienna, with dancers aged from 55 to 80 years."

Full Presence Ahead Already a thought is a movement

This Workshop is not about "doing" something, but rather about the principle of "letting" it happen! Through a mindful approach we will link biodynamic craniosacral bodywork to contemporary dance. Through guided bodywork with partners and experienced knowledge of anatomical structures, such as the connection between "head & tail" (lat. coccyx - occipital, the connection between tailbone and atlas) and the flow of the LCS (the cerebrospinal fluid, the fluid around and inside the brain, as well as the spinal cord) we are going to move into dance improvisations. As the energy is following our awareness, we will tune into the quality of craniosacral touch, letting this lead us smoothly into body-and mind-improvisations out of different tides. All is happening in the same moment: stillness and movement!

20 PLEASE bring your resources with you as well as comfortable clothes, pencil and papers. No previous knowledge of craniosacral bodywork required.

Nicole Berndt-Caccivio was born in Biel (CH) and lives in Berlin. After her classical dance education, several further education at the Cunningham Studio in NYC a.o. she started freelancing as a dancer in 1983 (Tanztheater Zürich, Tanzfabrik Berlin, Elio Gervasi) and headed the Company Ljada in Switzerland (1988-1994). In 1992 she won the two first prizes at the Suzanne Dellal Center in Tel Aviv, together with Ricochet (UK) and toured successfully throughout Europe. Since 1995 she created several performances and taught at a.o. ImPulsTanz, Ials in Rome, National Theatre Sarajevo, OMC and LSU Baton Rouge (US), Yildiz University Istanbul and MDT Ankara (TR), Academy for Performing Arts/ZUKT-Frankfurt am Main (DE), Conservatory/Private University Vienna (AT), Forum for Music and Movement Lenk (CH), Kientalerhof (CH).

2004 she started to work as biodynamic Cranio Sacral Therapist. Since 2008 she is the artistic director of the Age Company Vienna and since 2012 of the Company Goldrausch in Bern/Biel (CH), both contemporary Zeitgeist dance projects with protagonists over 55 years of age.

2014 she headed the training for the project Phase3/SMAH Berlin and was the director/choreographer in the last stage of the working process for the piece "Verknallt" of the Swiss dance company FANTA5 in Bern (CH). For the season 2015/16 she will return to the stage with a Solo in collaboration with the musician Rupert Huber (Tosca a.o.) showing the Performance in Vienna, Berlin and Bern. www.cranio-ort.de www.agecompany.at

David BLOOM Week4: 10 - 14 August Sex and Space Adv 17:30 - 20:00

Sex and Space A Workshop on Dance, Desire, and Performing the Erotic Body by David Bloom

A dance consists of Bodies in Time and Space. Traditional dance training and artistic research often set limits as to how much sexuality is allowed into a "serious artistic process". BDSM and tantric practices often focus on the body, its emotions and sensations, and pay less attention to structures of time and especially space. However, a group ritual or play party has all the makings of a performance, one where the roles of performer and audience member are constantly shifting.

In this Workshop, David brings together his professional background as a dancer/choreographer/teacher with his experience of practicing conscious sexuality to bridge the gap between artistic and personal process. His film "Quintet - a choreopornographic experiment", which explored the connection between sex and art, premiered at the Berlin Pornfilmfestival in 2013.

Being a Performer with a capital “P” (to borrow a term from Grotowski) is not (only) about entertaining people or representing stories or images, it is about developing a global embodied awareness of situations. The greatest performers are capable of simultaneously being completely lost in trance and analysing the situation from the outside.

21 We will work with simple solo and group improvisation exercises that expand our consciousness to perceive temporal and spatial relations in a variety of ways. We will then deal with desire and erotic energy to generate material and work with these heightened states consciously as parts of a composition. We will work not only on actions, but also on the spaces between, observing and listening. We will negotiate scenes not only from personal taste, but also according to artistic and aesthetic criteria.

The idea is not to constrict freedom and spontaneity, but to allow new possibilities to emerge through structure, that can eventually lead to another level of subtlety and beauty in our play. An expanded consciousness of how we perceive time and space can create an enhanced understanding of each other and the world we live and play in.

David Bloom was born in Heidelberg, Germany, to a family from New York, NY. He has been playing the piano professionally since he was 16 years old, including a brief stint at the bar Marie's Crisis in New York. He received his dance training mainly at the Academy of Music and Performing Arts in Frankfurt, Germany and also studied with William Forsythe, Kirstie Simson and Benoît Lachambre. He was a member of the dance ensemble at Staatstheater Darmstadt, and has collaborated on projects by Marco Santi, Michaël d'Auzon, Nir de Volff/Total Brutal, Micha Purucker, Ingo Reulecke, Canan Erek, Friederike Plafki & Felix Ruckert. He has taught contemporary dance in a variety of contexts, and is also a graduate of Barbara Carellas’ Urban Tantra Professional Training Program. He has studied BDSM and Tantra with teachers such as Joseph Kramer, Felix Ruckert, Osada Steve & Midori. Since graduating from the M.A. Choreography at the Inter-University Center for Dance (HZT) Berlin, he has been focusing mainly on his own choreographic work, including "Die Heilige und die Hure", a solo for Felix Ruckert, and "enemy", an interactive sauna dance piece. He also regularly curated the Berlin play party/choreographic installation "Friends & Lovers", which inspired a short film, "Quintet", that premiered at the Pornfilmfestival Berlin in October 2013. David is a recipient of a 2012 danceWEB Scholarship. http://davidbloom.info

Andrea BOLL Week2: 27 - 31 July spirals circles serpentines Adv 09:30 - 11:30 spirals circles serpentines

We practice spiralling, circling, and serpentine movements in order to move economically, healthy and joyful. We train to use centrifugal and gravity forces to organise complex motions. We treat the floor as a partner, involving breathing dynamics and the release of energy throughout the body as a motor of movement. Sequences build up during the entire class in order to train and improve awareness, alignment, strength, flexibility and stamina to expend boundaries. In the course of the class we sometimes work with a partner to deepen the proposed material and practice and enhance giving and taking stimulating feedback. The last part of the class is a liberating, challenging playground of dance material, sensations, space perspectives, deconstruction, enlargement and reduction.

Andrea Boll is artistic leader, choreographer and dancer of bollwerk and works internationally as a guest choreographer and guest teacher. This year she was a jury member of the Cinedans Festival 2015 in Amsterdam and is Swiss facilitator of the LEAP / IDOCDE network. As a freelance dancer, she danced for various dance companies and

22 productions in the Netherlands, Belgium, France and Germany (a.o. Cie. Nadine Ganase , Arthur Rosenfeld, Ted Stoffer, Jan Pusch and Ives Thuwis). Between 1996 and 2008 she was artistic director, choreographer and dancer of the Hans Hof Ensemble in the Netherlands. With HHE she created numerous internationally successful pieces and was awarded with several prizes. From 2011 to 2014 she was artistic director of the Tanzhaus Zürich. Andrea choreographs with bollwerk since 2008 in Amsterdam and since 2014 in Switzerland. bollwerk-andreaboll.com

JERMAINE BROWNE Week2: 27 - 31 July Street Jazz / HipHop Beg 14:45 - 16:15 FemFunk Adv 16:30 - 18:00 Intensive2: 01 + 02 August Street Jazz / HipHop Int 12:30 - 14:30 & 18:00 - 20:00

Street Jazz / HipHop A sensual remix

These classes are a unique fusion of Jazz, HipHop and Funk full with Jermaine’s electrifying combination of strength and sensuality. His hard-hitting style combines clean lines with sensuality. The teaching will focus on enhancing the participants’ natural abilities. Students will be guided to be versatile dancers and – in the advanced workshops they will be prepared for performance skills and auditions. "Find your own style and create your own language" – Jermaine Browne

FemFunk Femme fatale

This new workshop of Jermaine has a strong "femme energy". The style he brings is sensual, hard-hitting and sexy while combining the use of clean lines and precision. Jermaine pushes the dancers beyond familiar technique in order to find the connection between music and movement on a deeper emotional level.

Captivating the attention of the entertainment industry Jermaine Browne’s work is a unique combination of strength and sensuality. His passion for dance continues to evolve and inspire artists in music, fashion and even charity. Today, Jermaine is cultivating an international career as an innovative choreographer alongside his list of international clients including Greek superstar Anna Vissi, the British Music Awards, pop group Infernal, Conor Maynard and DJ Fresh to name a few.

Jermaine’s career took off when he was discovered as a performer in a Blockbuster/Visa commercial with Cindy Crawford. This led to commercial work with Gap, Nike and Toyota and later came video creations for Christina Aguilera’s “Genie in a Bottle” and Jennifer Lopez’ music video “Love Don’t Cost a Thing.” Success in music videos allowed Jermaine to contribute to the 2005 European MTV Music Awards, including the holographic performance of the Gorillaz and Borat.

Since then, Jermaine has choreographed films for the global fashion house Louis Vuitton and the designers Marc Bouwer and Rachel Roy, which earned him an accolade for best film at La Jolla Fashion Film Awards. Jermaine is known for his signature style and cultivates unique projects like a dance for The Heineken “Green Synergy” campaign. He has

23 been Movement Coach for actress Emily Blunt, dance curator for Hotel Yotel and further works on expanding his unique approach to creative dance. Crafting greater success in his genre Jermaine collaborated on Leona Lewis’ Labyrinth tour in the UK and in the last four years has developed choreography for the Victoria’s Secret Fashion Show, including performances from Justin Timberlake and Nicki Minaj.

In 2011 Jermaine Browne collaborated with fashion designer Dominic Louis to develop a fashion line inspired by dance. The 15-piece capsule collection is an extension of Jermaine’s inventive attitude towards a life full of dance, movement and creativity. The collection is sold privately on www.jermainebrowne.com and includes a limited edition of leotards, jumpsuits, and soft knits.

Jermaine continues to open doors for future success and thus, Spring 2012 anticipates the launch of Respect My Step, his newest project set to connect the dance and art communities via viral video. Respect My Step will be recognised as an online community where dancers and non-dancers alike can come together to share ideas in dance, culture, and innovation.

Jermaine Browne is an international choreographer and teaches at Broadway Dance Center in New York City. For more information about Jermaine Browne please visit: www.jermainebrowne.com

Julia BURGER Week1: 20 - 24 July RitterInnenRunde (8-11J) 10:00 - 17:00

RitterInnenRunde (8-11J) A world full of dragons, magicians and knigths!

Did you ever wanted to pull out a sword from out a stone and to become the king or the queen? Did you ever dream of living in a world full of dragons, magicians and knights? Together we will dive into the story of King Arthur and become the Knights of the Round Table. We will learn how to fight with a sword and safe a damsel from the high towers. We won’t use cutlery for our feasts and the search for the Holy Grail will be a piece of cake for us. Through games we will search for King Arthur and the Round Table.

Julia Burger is director and was born in 1984 in Munich. After her Theatre Film & Media studies she worked at the Schauspielhaus Zurich with Daniela Löffner, Barbara Frey und Sebastian Nübling a.o. She introduced the Brinkmann Project "Dieses Gedicht hat keinen Titel" ("This poem doesn’t have a Title") at Schiffbau/Foyer, produced an audio walk for the 10th anniversary of the Schiffbau and directed the Christmas Salon "Through a Glass, Darkly" by Jostein Gaarder at the Matchbox. As a freelancing director she directed several plays at DSCHUNGEL WIEN such as "Maximal Medial (AT)" with teenagers, the Christmas piece "Die Schneekönigin" (a theatre play and dance piece for kids 6+) and the theatre & objects play "Ein Akkordeon auf Reisen" ("A Travelling Accordion") for Children 2+. Since 2014/15 she is heading the ensemble at DSCHUNGEL WIEN.

24 Archie BURNETT Week1: 20 - 24 July Waacking o 16:20 - 18:05 Voguing o 18:15 - 20:00 Intensive1: 25 + 26 July Voguing o 12:15 - 14:30 & 17:30 - 19:45

Waacking Back to the 70ies!

"I was not allowed to go out and dance except at school so the television became my teacher. We didn't have YouTube then and I wasn't allowed to travel so I had to catch what I could in that one hour Soul Train show every Saturday. I watched the show on the sneak! That's how I got hooked into Waacking. This was the dance I loved but nobody did it here. This was strictly a West Coast Dance from L.A. I met Tyrone Proctor, a Soul Train Dancer in 1980 then, Shabba-Doo in 2001, then Ana Sanchez in 2007 and Toni Basil in 2009. This dance scene was a social gathering in the seventies and eighties. I continued with Waacking until today. In this class we will emphasise on rhythm, organic musicality, emotional connectivity, self awareness and being in the moment. Waacking has its roots in the nightclubs of the 1970ies. The club is a lifestyle not a pastime. Life is the Club."

Voguing Strike a pose!

"In 1980 I was introduced to Vogue by accident. I met Willie Ninja in Washington square park after coming from the LOFT, (Club founded by David Mancuso). We all back then just danced in the street after the party was over Sunday afternoon. David Mancuso took me to my first Gay Club. The dancing was real electric and I said to myself: 'I gotta learn this shit!'. And I've been Vogueing ever since.

Life is the Club. The Club in my day was the safe haven for all us 'misfits' that just didn't fit in society's mould. I was fortunate to realise that you can be 'In' the scene, but not 'Of' the scene. All urban Dance is important and relevant. It is the voice of today's youth as it was generations before. Because it is real, it will have real perils if one doesn't pay attention. My quest, so to speak, is to share a little of my life with you and hope that one will enjoy the beauty of being connected in the spirit of being free. The focus of this class will be on proper posture, correct body vocabulary, motivation (meaning indivdual characterisations), the control of being in the moment, and organic musicality. I will introduce old way vogue (male vogue), new way vogue (beginner) and vogue femme (beginner)." Voguing is a style developed in the 1980ies and is characterised by poses, similar to the ones of photo model poses with some influences from the Harlem ballrooms of the 1930ies. Characteristics are formation of lines, symmetry, and precision in the execution of such formations and graceful, fluid-like action. Since the founding of Vogue Evolution in 2008 in New York, Voguing became very popular.

Archie Burnett is a highly respected underground club dancer in New York City who was one of the prime dancers during the late 70s and 80s, becoming well known for his individual freestyle of Waacking and Voguing. He was a close friend and assistant of the grandfather of Voguing, the legend Willi Ninja, and is up until now a striving force in the NYC dance scene. He is invited as a judge for battles, such as for the "Funky Stylez" 2009 a.o.

25 He appears in the documentary film "Check Your Body at the Door" (2001) by Dr. Sally Sommer, (Professor of Dance at Florida State University), that explores the movement vocabulary of legendary NYC house dancers, including Archie Burnett, Willi Ninja, Ejoe Wilson, Marjory Smarth and Conrad Rochester. Made possible in part by contributions from the National Endowment of the Arts, Dr. Sommer interviews dancers from the local NYC scene and captures now-vintage footage from the late 1980s and early 1990s. "Check Your Body at the Door" now stands as an historical document and testament to the early years of NYC’s house dance culture.

"I've travelled all over the world doing what I love to do best: that's spreading the house vibe that lives and thrives in NYC. I have a documentary produced by Sally Sommer, "Check Your Body at the Door", that chronicles the lives of some of the dancers that are the life's blood of this underground scene. We began filming in 1991. Now I'm happy and proud to say it has become a historical record of that moment in time. Dancing has always been my voice, my body, my instrument and music my passion. May the music never die. It's not over till it's over!!!"

Jonathan BURROWS & Elisabeth LÖFFLER & Conny SCHEUER Intensive1: 25 + 26 July Conny, Elisabeth and Jonathan explore the incredibly slow speediness of wonderfully different bodies o 11:00 - 17:00

Conny, Elisabeth and Jonathan explore the incredibly slow speediness of wonderfully different bodies How ever long it might take!

Cornelia Scheuer, Elisabeth Löffler and Jonathan Burrows lead a workshop looking at different perceptions of time in relation to dis/or so-called abled bodies, with the thought to set off at whatever speed towards the heart of how choreography flips our sense of time, however long that might take.

What is timing for a differently abled body? What perception of time might a disabled spectator bring to a show? What does all this tell us about that old good boring or boring boring argument? How does duration affect our ability to remember? And what are we remembering?

Cornelia Scheuer and Elisabeth Löffler are dance artists based in Vienna, who work together under the name lizart. Their last piece, "I move like a disabled person" was directed by Yosi Wanunu in 2013. Jonathan Burrows is a dance artist based in the UK, who performs regularly with the composer Matteo Fargion, as well as leading workshops worldwide.

26 Johnathan BURROWS Week1: 20 - 24 July Writing Dance Adv 14:20 - 16:50

Writing dance

Choreographer Jonathan Burrows leads a two day intensive investigating choreographic and compositional process, performance and philosophies, questioning how a dance can be made and what it can communicate to someone watching. Practical work will concentrate on short task-based exercises looking at how to find material and work with time, to hold the attention of an audience and make them care what happens next. Days will be punctuated also with viewpoints on other mediums and ways of working, asking all the time what dance can do and what it can't do.

This workshop is for dance and performance artists, students and professionals with experience of performing and making, who are interested in re-examining and extending their own process and practice.

Jonathan Burrows was born in 1960. He danced with the Royal Ballet for 13 years, rising to the rank of soloist, before leaving in 1991 to pursue his own choreography. After touring with his own company for some years he decided in 2001 to concentrate on one to one collaborations with other artists, who would share the conception, making, performing and administrating of the work.

His first collaboration was "Weak Dance Strong Questions" (2001), made with the theatre maker and performer Jan Ritsema, which toured to 14 countries. This was followed by a series of duets with Matteo Fargion, beginning in 2002 with "Both Sitting Duet", followed by "The Quiet Dance" (2005), "Speaking Dance" (2006), "Cheap Lecture" (2009) and "The Cow Piece" (2009). The two men have now given over 200 performances across 28 countries. "Both Sitting Duet" won a 2004 New York Dance and Performance 'Bessie' Award, and "Cheap Lecture" was chosen for the 2009 Het Theaterfestival in Belgium. In 2010 he also made "Dogheart", with the dancer Chrysa Parkinson. Other high profile commissions include Sylvie Guillem and William Forsythe's Ballet Frankfurt, and in 2008 he was Associate Director for Peter Handke's The Hour We Knew Nothing Of Each Other at the National Theatre, London.

Burrows has been an Associate Artist at Kunstencentrum Vooruit in Gent, Belgium (1992- 2002), London's South Bank Centre (1998/9) and Kaaitheater Brussels (2008). In 2002 he received an award from the Foundation for Contemporary Performance Arts In New York, in recognition for his ongoing contributions to contemporary dance. He is a visiting member of faculty at P.A.R.T.S., and is also Visiting Professor at Royal Holloway, University Of London, Hamburg University and the Free University Berlin. He holds an Honorary Doctorate from Royal Holloway University of London. 'A Choreographer's Handbook' (2010) by Jonathan Burrows is available from Routledge Publishing.

27 Bruno CAVERNA Week2: 27 - 31 July Liquid Body – Dancing Like Water Beg 09:45 - 11:30 Becoming Animal Adv 11:40 -14:40 Intensive2: 01 + 02 August PLAY-FIGHT o 09:45 - 12:00 & 15:00 - 17:15

Liquid Body – Dancing Like Water Grooving in the rhythm of the fluid

Liquid body is a dancing philosophy that proposes the development and articulation of movement in innovative ways. The premise is that the architecture of the human body is a heritage from an evolutionary process of oceanic origins. Under this prism there is a notion that our bodies carry a constant “inner sea”, having the spine as this most expressive ancient memory.

The workshop is inspired by the science of water flow. In the midst of flowing movement forms arise. Our dancing will be crafted following the understanding of wave-spiral motions, grooving in the rhythmical expression of our fluid nature.

Liquid body is an invitation to rethink human biomechanics by favouring the fullness in the use of the bodies with a minimum of physical, energy and mental wear. We consider an intimated yielding relationship with gravity so there is a cultivation of readiness in the nervous system for adaptability.

Becoming Animal exploring uncharted territories

In the previous years Becoming Animal was structured in two intertwined segments: play- fight and floor work. Still following a similar framework, this year the workshop will move on into a deeper line of movement investigation and self-empowerment. What I find strikingly fascinating upon observing animals is the display of tremendous physical tenacity and inner clarity whenever engaged in challenging situations. They seem to not have any concept of themselves and therefore there are seemingly no expressions that are not true and accurate. As opposed to merely provide a set of new ideas, movements and techniques within a familiar playground, Becoming Animal’s overall aim is to lead participants safely to explore uncharted territories.

Any conceptual framework has the potential to empower with limitations since the body- mind connection, conceptually moulded, can only be safely operated within the given preconceived ideas and believes. In this workshop the conceptual mind will be aimed to deconstruct its dominance over the primordial instinctual intelligence that lies dormant inside most of us. The thinking-process shall be used as a means to retrieve heightened states of utter sensitivity that stand beyond the limits of the intellectual aspect of the mind. This is an invitation to dwell into a constant state of not-knowing, paradoxically enough, the safest guide to navigate through the unknown without bias. Although not- knowing is the "source" of knowing and of all creativity, it remains a virtually unrecognised principle in our culture. Becoming Animal requires not only a strong body to cope with the highly physical challenges but an enduring open-minded attitude to question our taking for granted conditionings and programs.

28 PLAY-FIGHT the learning of unlearning

Humans like all animals are playful by nature. Play is a process most conducive to improve motor skills, in the acquirement of new abilities, and underlies all creative responses. Play- Fight is an open invitation to retrieve a bodily intelligence often compromised as we move towards adulthood. Our practice will be developed through improvisational partner work embedded in principles of martial arts, such as Capoeira and Russian Systema, and Contact Improvisation. Mutual trust will pave our way to enter into zones wherein confrontational situations will be safely permeated by a collaborative group mind-set. Partners are not to be confronted but useful to show our own limitations and possibilities. Ultimately Play-Fight is an invigorating self-knowledge road orchestrated by utter sensitivity of body-feelings, which only become possible in each encounter. Meet the other, find yourself and let your body teach you.

Born in Rio de Janeiro and based in Europe since 2000, Bruno Caverna has always been strikingly fascinated by human bodies in motion and its latent potential to be explored and extrapolated. At the age of 10 he began practicing Capoeira, which led him to work at a circus as an acrobat in 1993. The year after Bruno "fell into" contemporary dance, a landmark in his professional development for realising that dancing was the missing link. Over the past 18 years, Bruno has been moving through a thread of uncompromised dedication in the art of integrating his visions and expertise from various dance modalities and distinct disciplines such as Capoeira, Contemporary Dance, Contact-Improvisation, Qi Gong and Russian Systema, into a corporal language of his own. His movement approach has strongly been fostered by the investigation of our primal instinctual spatial perception as well as the science and studies of water flow.

Alice CHAUCHAT & Clemens VON WEDEMEYER Week3: 03 - 07 August In the future, we will have too much time on our hands o 17:00 - 20:00

In the future, we will have too much time on our hands vital and luxurious: Time

Dance is a way of spending time. It is a way of being in time, and with time. Dancing with other people is a way of making time a shared event, and of filling time with our being there together. It is vital and luxurious, an elaborate form of leisure. We don't know what time will be in the future, any more than what we will be in the future. Let's imagine that most of the work will be done by computers and machines, some artificial intelligence system, leaving us with far too much free time. If human productivity becomes less important, with which occupations will we spend this wealth? Will we be indebted to productive machines, or develop a new code? Could that be an organic code?

For this workshop we will project ourselves in a speculated future, devising dances and practices that fill no other function that alleviating an absence of time pressure, yet without the guarantee of continuity. We will invent ways of engaging in time and with each other under conditions that have little to do with what we experience nowadays, balancing between utopia and dystopia; between boundlessness and shapelessness; between intimacy and anonymity.

This workshop proposal stems from an encounter between choreographer Alice Chauchat and film-maker Clemens von Wedemeyer, and is an invitation to join their conversation about social relationships, the activity of dancing and what those might turn into. Interested

29 participants can take part in a shooting on the Saturday of the same week, for Wedemeyer's upcoming science fiction movie in Vienna.

Alice Chauchat lives and works in Berlin as a choreographer, performer and teacher/lecturer. She danced in performances by a.o. Xavier le Roy, Jennifer Lacey, and Mårten Spångberg and created performances in collaboration with a.o. Anne Juren, Frédéric Gies, Alix Eynaudi.

She has been working mostly in collaborative set-ups, developing numerous choreographic projects and platforms for knowledge production and exchange in the performing arts (everybodystoolbox.net, specialissue.eu, praticable etc.). 2010-2012 she was in the artistic co-direction for Les Laboratoires d'Aubervilliers, a centre for artistic research in the Parisian suburbs. Teaching and leading research processes is also part of Alice's artistic practice (New York, Stockholm, Berlin, Vienna, Giessen, San Sebastian, Zagreb etc).

Clemens von Wedemeyer was born in 1974 in Göttingen, Germany and lives and works in Berlin. The artist creates films and installations poised between reality and fiction, reflecting power structures on architecture and social relations. Recent exhibitions: "Every Word You Say"; Kunstverein Braunschweig, (2014), Hirshhorn Museum Washington, (2014), MAXXI, Rome (2013); dOCUMENTA(13) (2012), "Metropolis, Report from China", Frankfurter Kunstverein, Frankfurt (2011)

Alice CHAUCHAT Week4: 10 - 14 August Confusing Agency Adv 13:50 - 16:50

Confusing Agency

During this class we will practice some scores for dancing together. Strategies or goals for these scores include: bypassing negotiation in favour of acknowledging alterity as a given of the situation; locating a sense of "self" within a narrative that makes it less central to the dance (luring it somewhere rather than allowing it to overpower the situation); approaching empathy as a technical issue that demands tools and practice; using fiction ("as if") in order to release unnecessary tensions connected to the task of achieving difficult or vague goals. We will train approximate unisons, followship, telepathic collaboration and other forms of companionship between ourselves, our dances, our sensations, our thoughts etc., in order to gain mobility in our understanding of agency in a dance situation. Another technical focus will be on releasing our wish for verification, which might allow for a greater, more generous commitment to otherness.

Alice Chauchat lives and works in Berlin as a choreographer, performer and teacher/lecturer. She danced in performances by a.o. Xavier le Roy, Jennifer Lacey, Mårten Spångberg and created performances together with a.o. Anne Juren, Frédéric Gies, Alix Eynaudi. She has been working mostly in collaborative set-ups, developing numerous choreographic projects and platforms for knowledge production and exchange in the performing arts (everybodystoolbox.net, specialissue.eu, praticable etc.). 2010-2012 she was in the artistic co-direction for Les Laboratoires d'Aubervilliers, a centre for artistic research in the Parisian suburbs. Teaching and leading research processes is also part of Alice's artistic practice (New York, Stockholm, Berlin, Vienna, Giessen, San Sebastian, Zagreb etc). Since September 2013 she studies for her MA in Choreography in Amsterdam.

30 Gabriella CIMINO Week3: 03 - 07 August Pure Pilates o 09:45 - 11:30

Pure Pilates Physical well-being enjoying life

The purpose of this course is to inspire people interested in Pilates to learn how to keep the body in shape and healthy through exercise and how to develop strength and flexibility in order to prevent injuries during one's dance career or any other sport. You can learn the fundamentals of a simple work-out programme useful after mastering it to practise it at home. Following good instructions at the beginning is the best approach! By introducing more advanced exercises it may become more challenging and complex for those who want to work more and improve their skills.

The focus is to strengthen the abdominal area, which is called 'the Powerhouse'. Mr. J.H. Pilates always used to stress the importance of exercising in order to improve your mental and physical well-being enjoying life. If you have any injuries or back problems, it is recommended to inform the teacher. You will discover that Pilates can be very therapeutic.

Gabriella Cimino, born in Italy, has a rich background in Contemporary Dance, Ballet, Yoga, Acrobatics and Sports, which she mainly practiced at the Sports Institute at the University of Vienna. After her studies of True Pilates with Romana Kryzanowska in New York, she became certified Pilates Trainer in 1998. In 2003 she opened the Pilates Center Vienna, where she also offers certified Pilates Teacher Trainings. Since 2005 she teaches at ImPulsTanz and since 2009 at the Conservatory of Vienna. In 2011 she was a coach for the artists and acrobats of the "Cirque du Soleil" for their tour in Austria, Spain and France.

Marta CORONADO Week3: 03 - 07 August Rosas Repertory – Drumming Adv* 11:40 - 13:40 Intensive3: 08 + 09 August Release Technique - Enjoying the Laws of Motion Adv 09:30 - 12:00 & 14:50 - 17:20 Week4: 10 - 14 August Release Technique - Enjoying the Laws of Motion Adv 09:30 - 11:30 Tools for a Thinking Body Adv 18:00 - 20:00

Rosas Repertory - Drumming

"Drumming" is a dance piece created by Rosas in 1998. During 14 years it toured all over the world and in the season 2012 Rosas presented a retake.

During the week we will be working with learning material of "Drumming" to be able to dance it and transform it in a personal and unique way. I will teach the vocabulary and phrases from the piece and once we will master them I will give different tasks and parameters to transform those phrases and to help to create your own vocabulary and way of expressing it. I explain and teach tools we use in Rosas Company to generate material. We will talk about how to to apply it in space, the idea of spirals, maximum versions, minimum versions, rhythmical and speed alterations, loops, video scratches...

31 The final result should be a playful approach and give you the chance to experience Rosas material with your own body and help you understand the work of Anne Teresa De Keersmaeker.

Release Technique- Enjoying the Laws of Motion Enjoy the intensity of movement

The workshop is based on the main premises of Release Technique. The terms verticality and gravity are introduced from the very beginning of the warm up to develop the relationship of the mover with the floor and gain awareness of total alignment. The focus is on the head-neck connection as initiation for any action. The importance of using the real weight of the extremities, pelvis and thorax will be explored. Self-perception of movement is the main goal in changing previous physical habits, in order to use new perimeters that will help us renounce extra muscular force. We will delve into active integration of mind and body and the investigation of your own thought process to open new ways of communication with other bodies in space. This class is an approach to the body as an open system, a physical machine that endures the laws of motion. The three golden laws of Inertia, Reciprocal actions and Impulses are there to help us dance and enjoy the intensity of our movements.

Tools for a Thinking Body

After working more than a decade with and for the same choreographer I realised that I had to challenge and reinvent myself each time we would be involved in the creation of a new piece. If we visualise the creation of a dance piece as a puzzle – and if as a dancer you would like to be an active piece on the board – you need to be a thinking body that changes, transforms, translates the basic material and is able to surprise herself/himself. During this week of work we will deal with Space and Time alterations. The first few days we will learn a basic phrase that will be the vocabulary used to build all the changes.

The first transformations will be related to time: How can we create the reverse of a movement phrase? Are we able to play with suspensions, to freeze the time on stage? Do we dare to make radical change of speeds and create endless loops that bring our dancing to other quality levels?

The space alterations are divided in two different groups: the vertical and the horizontal space. In the vertical space alterations, we need to be aware of all possible levels our dancing can achieve. We will talk about the parameters to create a floor version of the material. A version that can interact harmoniously with other levels, like a jumping version, another subject we will also deal with.

In the horizontal space alterations we will amplify our research and create duos, trios and quartets with the different notions of two dimensions and three dimensions. We will be challenged to create ground patterns with our dancing that can interact with the ones of other dancers and construct a geometric figure all together.

The last day of work we will summon all the material created and try to make the skeleton of a dance piece to give the participants the chance of performing it to each other and have the sense of continuity this work should have.

32 The final goal of the workshop is to share the base of my own experience as a dancer and give different guides and suggestions to the participants of when and how to use these principles of transformation and composition.

Marta Coronado, born in Spain, studied ballet technique and graduated as a ballet dancer from Escuela Oficial de Danza del Gobierno de Navarra. She was part of the contemporary dance company Yauzkari until she moved to Brussels. She attended the two years dance program of P.A.R.T.S. first cycle. In 1998, she became a member of Anne Teresa De Keersmaeker's company Rosas.

She danced and participated in the creations of Rosas such as: "Drumming", "I said I", "In real time", "Rain", "April me", "Bitches Brew", "Kassandra", "Rain", "Raga" and "D' un soir un jour". In the season 2002 she was awarded a Bessie (New York Dance and Performance Award) for sustained achievement as a performer. She has been dancing and contributing to the creation of Rosas pieces for more than a decade and nowadays she co-directs the Rosas repertory graduation projects at P.A.R.T.S. In 2011 and 2014 she taught the Rosas repertory piece "Rain" at the Paris Opéra. In 2015 she teaches "Drumming" at the Opera de Lyon.

She had the opportunity to teach Rosas Repertory and composition workshops at Vienna worldwide. She has been invited as a guest choreographer to La Salle Singapore and CDC Toulouse and Compañia Fueradeleje. She teaches technique for the Rosas Company, Les ballet C. de la B. and the Ballet de Marseille, P.A.R.T.S. Ultima Vez Company, ImPulsTanz Festival, Charleroi/Danses, Thor Company, La Raffinerie and Conservatorio superior de Madrid and Theater School Amsterdam. Nowadays she free-lances for Rosas and is part of the new dance collective House of Bertha. Their first piece "White Noise" premiered in MDT Stockholm in 2011.

Franz Anton CRAMER Week4: 10 - 14 August Archive as tool – the work of the archive o 11:40 - 14:40

Archive as tool – the work of the archive

Archive is a widespread concept in contemporary art both as resource for creation and as documentary tool. However, a lack of precision seems to prevail within current archival discussions: how do collection, stock, registry, system, entity, or time-line enter this nexus, and what are specific crafts and features of archival bodies? Does anything that happens to get collected automatically fulfil the functions of an archive properly? But even on a more pragmatic level, archival practices and strategies are key to dance and performance making. After the production of a piece / performance / show, usually comes its afterlife. Everyone has bits and pieces that connect to the preparation, production, presentation, and valorisation of their own work. Not all of it necessarily needs to be kept; other material might be useful, but lacking. The Workshop will offer a space for reflection and understanding concerning the organisation of material and its meanings, as well as possible contexts to feed them in.

Franz Anton Cramer has been working on dance archives since 2003. He currently conducts the research project "Records and Representations. Media and constitutive systems in archiving performance-based art" at the Inter-University Centre for Dance (HZT) Berlin where he also co-directed the BA course "Contemporary Dance, Context, Choreography" from 2007 till 2010, together with Gisela Müller and Boris Charmatz. Between 2003 and 2008 he collaborated with the Leipzig Dance Archives, the Centre

33 national de la danse and the Bibliothèque-Musée de l’Opéra de Paris in a project investigating dance in the 1930s and 40s. He has also been part of an initiative to federate several German dance documentation centres between 2008 and 2012 as part of ›Tanzplan Deutschland‹, resulting in the online tool www.digitaler-atlas-tanz.de. Together with Barbara Büscher, he is co-editor of the special-interest magazine ›MAP Media—Archive— Performance‹ (www.perfomap.de).

Valentina DESIDERI & Raimundas MALAŠAUSKAS Wee4: 10 - 14 August Polygraphy Adv 09:30 - 11:30

Polygraphy

The Polygraphy Workshop is about ways of writing without a pen and without typing, the way a liquid would disperse in a liquid or time would write in time. Diverse forms of graphos are brought upon in conversation: cosmography, choreography, holography, hypnography, etc. Registers of truth are discussed using a polygraph (a lie detector) as a method. The Workshop builds itself like an oyster forms around a grain of sand, employing movement, scores from literature and art, fiction, images and encounters. Please bring your favourite pen.

Valentina Desideri was best defined by a friend who called her a 20 year old on tour. Although this was meant as a reproach she found this definition more suiting than performance artist or anything like that. Lately she has also been called a psychic, which, if added to the previous description, makes of her a psychic 20 year old on tour. She trained in contemporary dance at the Laban Centre in London, she did a MA in Fine Arts at the Sandberg Institute in Amsterdam, she does Fake Therapy and Political Therapy, she co- organises Performing Arts Forum in France and she writes biographies by reading people's palms. She writes other things too but mostly she’s around.

According to friends Raimundas Malašauskas wasn't the best yoga teacher. He had a voice worth the membership fee, but he improvised all his Asanas on the spot. Sometimes his arms and legs would tangle up during a class and he'd fall flat on his face.

He was so far ahead of everyone. Well before we realised that scents can be coded he was already working on a machine that could take random pages from google books and convert them into custom perfumes. Page 21 from François Jacob's Logic of Life was his first experiment. An instant classic.

His curating? A joke. He couldn't tell a Rembrandt apart from a Rimbaud.

Recent curatorial projects: In My Previous Life I Wanted to be a Tablet_, Instituto de Vision, Bogota (2015), _Tomorrow night I walked into a dark black_ star, Universidad Di Tella, Buenos Aires (2014), and _Oo_, Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013).

34 Sybrig DOKTER Week2: 27 - 31 July body in question Adv 14:50 - 17:20 body in question

This workshop will be in the field of movement, video and producing text, focusing on how the portrayal of conflict and the building of opinion is manipulated by the way of inquiring into it. We will look at the way questions are asked and answers are given and how that affects our physicality by a series of (physical) tasks, scores and exercises. Belonging to a minority and the questioning of oneself and others about ones own responsibility in situations of conflict and war are subjects that come up in the workshop sessions. We will investigate the questioning body or the body in question.

One element of the workshop is the interviews that are conducted among and by the participants themselves and possibly of other people outside of the workshop. The interviews that will be done by the participants of the workshop will be filmed with simple handheld equipment like mobile phones. The interviews will be a starting point of playing with taking on other people’s identities or opinions as well as forming an archive of physical and mental attitudes. Memory and re-telling can be upholding the current narrative. We will dance as a way to remember. We will look at things from another position- literally. We will be the object and subject

This workshop is for dance and performance artists and professionals with experience of performing and making, who are interested in re-examining and extending process and practice in relation to this subject.

Sybrig Dokter works as a choreographer and performer in and around the field of contemporary dance, visual arts and contemporary theatre. Although she has her base in the physical, choreographed body her works manifest in a variety of materials. Her performance work and teaching has taken her amongst others to the Baltic countries, Moldova, Serbia, Ukraine, France, Bulgaria, Russia, Scandinavia and Great Britain. With Benno Voorham she founded LAVA-Dansproduktion in 1997. In recent years Sybrig collaborated with various artists both in the role of choreographer and as a performer in various cross-disciplinary projects. During participating in the Weld Company project in Stockholm the focus returned to the body, which was both challenging and inspiring.

Sybrig was educated as a dancer at Codarts, Rotterdam as well as in London and New York. Currently she lives in Stockholm, Sweden. Studies of release-alignment technique with Nancy Topf, amongst others, and the studies of Alexander technique lead her to looking at the body that is created by a certain practice and what that can mean for a choreographic process. At present she is working with "Archaeological Bodies" in Novi Sad, Serbia and Lviv, Ukraine. Her works include: "I believe (something is happening)", at Festival:Display, Stockholm; 4 video works, "Circulation I – IV", Lviv (collaboration with Ingrid Cogne, Sergiy Petlyuk and Vlod Kaufman) shown at Dance <3 festival, Stockholm 2013; "White on White", dance film with 10 performers presented at Supermarket Artfair 2010; she performed in "For Your Eyes Only" in Berlin, Vienna, Stockholm and Estonia, by Peter Stamer; in "Trafo", a short film by Paul Horn, Vienna; for Weld Company (Stockholm) in works by Rebecca Stillman, Litó Walkey, Efva Lilja and Michael Kliën.

"Archaeological Bodies" Ukraine in Lviv, is a project that has at its core capacity building workshops in the field of movement, video and text production. Interviews with youngsters will be held on the subject of the situation of today and form an archive of ideas and opinions. The interviews will be a starting point for discussion during the workshops and will lead to the production of texts as a critical commentary on the issues we are addressing. The concrete outcome will be an installation with video, text and physical performance. www.sybrigdokter.com

Drew DOLLAZ Week2: 27- 31 July Introduction to Flexing Beg 16:20 – 18:05 Flexing o 18:15 – 20:00

Introduction to Flexing Stretch the limits of your body & mind!

Flexing is a style of dance that ascended from a Reggae / Dancehall background. On Madonna's MDNA Tour in 2012, Flexing was featured in the Interlude "Bestfriend/Heartbeat" in which the routine was co-choreographed and performed by Drew Dollaz. Drew, as one of the pioneers of this dance form, will give an introduction into Bone Breaking, Gliding and Footwork. Bone Breaking is a process that take more than a day to learn. In this Workshop I will explain the different stretches needed to achieve different types of Bone Breaking positions as well as body awareness and knowing your limits. My techniques include standing on pointe so I recommend sneakers with good ankle support and hard soles. All participants must bring a towel or sweat rag for training.

Flexing

Flexing today is totally different from what it was 10 years ago. Ever since Youtube many dancers sought out to other dance styles for inspiration and nowadays everyone’s style varies. Even myself have looked into other styles of dance for inspiration like HipHop, Contemporary Dance and Ballet.

Dancing is the art of moving rhythmically and to music. With that being said there’s no way that anyone can say Flexing isn’t a form of dancing. Flexibility - not only in the body but also of the mind - is important in Flexing in many ways. It means: being able to test your body’s boundaries and achieve new limits. Elements of Flexing like Bone Breaking may be difficult to achieve without a natural flexibility but it’s not impossible. I was lucky to be born flexible but I have encountered in my years of dancing, people who learned how to Flex by dedication and training. My aim with this Workshop is to not only spread the knowledge of Flexing but to also help expand the mental and physical limits of as many dancers willing to know more about this art form.

I will explain the different stretches needed to achieve different types of Bone Breaking positions as well as body awareness and knowing your limits. In addition I will introduce Gliding and Footwork. My techniques include standing on pointe so I recommend sneakers with good ankle support and hard soles. All participants must bring a towel or sweat rag for training.

36 Drew Dollaz is a professional Street Dancer and a pioneer of the Brooklyn Street Dance style called Flexing. He was born and raised in Brooklyn, New York, and is best known for his former role as King Of The Streets Champion of a competition called Battlefest, as well as back up dancer for the iconic Madonna. On Madonna's MDNA Tour in 2012 he was featured in the Interlude "Bestfriend/Heartbeat" in which the routine was co-choreographed and performed by him. Drew Dollaz has, throughout the years, been featured in music videos, commercials, clothing campaigns, and TV shows such as Topman, Red Bull, Diesel, Metro PCS, Nurse Jackie, Superbowl Halftime Show, Sam Roberts Band, Liam Bailey, ASAP Ferg, and Madonna. Drew Dollaz currently teaches Flexing and Commercial Dance with Quest Intensive nationally in the US and is this year at ImPulsTanz for the first time.

DD DORVILLIER Week4: 10 - 14 August a.k.a. Moving with Eyes Closed o 09:45 - 11:30 Touch Move Talk Write Adv 11:40 - 14:40 a.k.a. Moving with Eyes Closed (a.k.a. Authentic Movement) A simple premise of spending an active or not-so-active period of time with eyes closed while being observed by a partner, combined with a simple premise of spending a somewhat still period of time with eyes open while observing a partner in action, moving and/or making sound, or not. The participants have the opportunity to direct and follow their own learning and self-reflection both in movement and in the witnessing of others moving, on a daily basis. Various partnering and time structures will be implemented. Please bring a notebook and something to write/draw with every day.

Touch Move Talk Write: Open Studio Practices

The workshop will be devoted to four basic practices that are implemented, deliberately or inadvertently, in most contemporary dance and choreography workshops – touching, moving, talking, writing. By applying the rule that each be practiced for the same amount of time, certain implicit structures begin to show themselves. We discover our own expertise, habits, and or fresh ways of doing things. By stating who does what for whom, and for how long, rather than specifying too much "how to", these practices start to reveal different angles of possibility. We can invent a studio practice, whether temporary, playful, fake, or very very serious... It's the experience that you bring and your own curiosity that incites the proliferation of new forms, and excites new questions to pursue. Please bring a notebook and something to write/draw with every day.

Choreographer and performer DD Dorvillier has been developing her work and practice in New York City since 1989, and in Paris since 2010. In 1991 she and dancer/choreographer Jennifer Monson created the Matzoh Factory, in Brooklyn. Their home and studio was a legendary site for experimentation where artists congregated for low-tech shows, rehearsals, parties, and readings. She has worked with many artists in different contexts including: Zeena Parkins, Katerina Andreou, Sébastien Roux, Walter Dundervill, Jennifer Lacey, Heather Kravas, Elizabeth Ward, Amanda Piña, Yvonne Meier, Sarah Michelson, Ishmael Houston-Jones, Karen Finley, Deuffert/Plischke, Jefta Van Dinther/Frédéric Gies, Annie Dorsen/Anne Juren. Honours include The Doris Duke Performing Arts Award (2013), a Guggenheim Fellowship (2011), and a Foundation for Contemporary Arts Award (2007), as well as Bessies for the choreography and creation of "Dressed for Floating" (2002) and for her performance in "Parades & Changes, replays" (2008).

Dorvillier has presented her work at venues such as PS 122, The Kitchen, Danspace Project, ImPulsTanz, Kaaitheater, Rencontres Internationales Chorégraphiques de Seine St Denis, L'Atelier de Paris/Carolyn Carlson, STUK, DeSingel, and Hau/Hebel am Ufer, among many others. In 2014, Danspace Project commissioned Platform 2014: "Diary of an Image" by DD Dorvillier, a four week platform which focused on her work and practice, including the premieres of two new works: "Diary of an Image" and "A catalogue of steps", and a publication entitled "Diary of an Image", a collection of images and writings about her work by invited scholars and artists connected to her work. In 2008 Dorvillier was the danceWeb Scholarship Programme coach, along with choreographer Trajal Harrell.

Daybee DORZILE Week4: 10 - 14 August Urban Dance Styles Int 12:50 - 14:35 Party Social & Funky Styles o 15:05 - 16:50 Urban Style 13+ 10:00 - 11:30

Urban Dance Styles HipHop/Urban Style Mix

This workshop mirrors the diversity of a professional dance career! It is the mix of House, Waacking, Salsa, Hype, New Style and even some Jazz. It is an opportunity to get a flow within a variety of steps and moves, which is crucial for a dance career or simply an eye- catcher in the HipHop scene. Daybee has experience in these dance styles, having shared stage with an endless amount of artists and touring with them.

"Dancing is to experience and express thoughts, feelings and with maximum intensity the human relationship with space and the society. Dance is an extension of the life and of daily actions. Dance is worldwide seen as an all-in-one symbolic story, a form of meditation, a performance art, a fun hobby, a game, a sport, a lifestyle, a way of expression, a universal language, a dialogue of civilizations and therapy. Practiced in groups, my "dance of life" reflects my human relations, communication, develops sympathy, lets me be on a par with everyone, conveys emotion, transmits energy, combats shyness, complexes and blockages etc.

A varied and exciting programme developed in my classes, will show my singularity, formed from the merger of my cultural background, as a Franco-Caribbean native (Paris/Guadeloupe) and my 30 years of dance experiences as a multi-styles teacher, performer, coach and music lover: Zouk, Funk, Disco, Hype, Hip Hop, Jazz, Ragga, African dances, Latin dances, Cheerleaders, background stage Performer, House dance, Waacking... "

Party Social & Funky Styles Shake shake!

This Workshop is open for everyone and is a mix of basics of several dance styles practised on Funk & Soul, Disco, High-Energy and Jazz Music. I will explain development and evolution of Social Party Dance Styles from the time between 1970 and 1990. The term "social" is used in that case, because this was the dance styles that everyone would be dancing together, at a party, at a wedding, in the streets, in a youth club, in the disco-clubs, where everybody shared times together to celebrate, like Boogie-Funky-Swing

38 movements to jam together. It´s also a dance style for Soul & Music Lovers. No specific technique skills are required. This is a feel good class for every level and for having lots of fun!

Urban Style 13+ Step by step!

Daybee Dorzile’s teaching method is based on social interaction and play. The best way to learn HipHop Dance is by re-enacting daily events, stories and characters, hence the most playful way to learn even difficult steps! Get acquainted with the cultural history of HipHop, step by step: "The Robocop", "The Fila", "The Roger Rabbit", "The Rambo" and many more! Increase body awareness, find the rhythm, pimp your self-confidence and most of all: have fun through Daybee’s Urban Style Workshop!

Daybee Dorzile professional dancer and choreographer, has many years of professional experience from sharing stage and touring with many singers and bands of numerous musical genres in Europe since 1996. She grew up in the suburbs of Paris and works as a dancer for Music Videos, Concerts, Galas, TV-shows and other events since 18 years. Her style ranges from Old school, Hype, New school, Street-Jazz, House, Samba, Salsa, Oriental & African dance styles, Dancehall and Ragga.

She danced for the TV-promotion of Mariah Carey in Paris and London, the TV show "Fame Academy" in Paris, "The Xfactor" TV show in Germany 2010, and for many other singers, artists and bands like: Craig David, Flo`Rida, Maria Carey, Sarah Connor (tour), Kesha, Seeed (choreographer for the European tour), Miss Platnum, Jan Delay, Tarkan, a.o.

In Paris she worked as the personal trainer and Artistic Director of the Music Videos, TV shows and concerts for singers like: Organiz, Vibe, Jalane, Tarkan, Tragedie, "Fame Academy", Kassav, Bob Sinclar, David Guetta, Booba, Wallen, Larusso, Laam, a.o. She has been dancing for three years for a Latino-Carribean Revue at the Champs-Elysées on a daily basis and gained experiences in Latin dance styles: Salsa, Samba, Mambo, Merengue, Soca, Ragga, Zouk.

39 Defne ERDUR Week2: 27 - 31 July Every Body Knows o 15:45 - 17:45 Intensive2: 01 + 02 August Embodying Time o 12:10 -14:40 & 17:30 - 20:00

Every Body Knows find your own resources for strength!

There is nothing new under the sun! And yet what is already there invites us to dive deeper into the layers of our presence; to seek a conscious yet liberated and sovereign place to dance from. Together we will be zooming into our physical, emotional and mental foundation. With the aid of more analytic, anatomical images and various artistic tools (i.e. writing, drawing, sounding etc.) we will be working with our bodies, discovering relations between our feelings, thoughts, postures and movements.

Building awareness of our perception system in action, gradually allowing habitual patterns to change, we will find our own resources for strength, flexibility and endurance. Principles from Experiential Anatomy, Developmental Movement, Authentic Movement Expressive Art Therapies and Contact Improvisation will be at our guidance to relate to our own unique self and reach out to dance with others.

Let's fly out together (dancers, non-dancers) into an elevated flow, experiencing self- sufficient, self-satisfied and effortless bodies as we dance.

Embodying Time Dance in the 4th dimension

"We can measure time, but this gives us no guarantee that we understand what time is." – Umberto Eco

Let alone understanding; let’s sense, reflect on and play together in & around time. Let’s see if we can define what it is, how it passes through our mind, our bodies and through space as we share it? Diving deep into the field of sensory experiences let’s work on grasping it, i.e. seeking ways of embodying time as we meet in the dance of 5 senses. The flow of the intensive proposes: - Sinking in our ‘skinesphere’s –to find out informed, liberated & sovereign places to move from - Easing into a flow with explorations in the ‘kinesphere’ –to let go of our controlling mind and start trusting the playful mind & knowing body - Allowing individual pathways to meet as we utilise different focuses and qualities of reading & listening physically

Improvising to trust our perception and movement qualities to be eventually informed then & there, in body time! If you want to get lost in the 4th dimension of our dance, join in.

Defne Erdur is a dance artist and a sociologist working in the fields of performing arts, therapy and education.

She studied sociology (MA) and worked with pioneers in Contemporary Dance & Somatics. She then completed the Intermodel Expressive Art Therapy & Creativity Programme. Since 2008, she is also a certified Body Therapist actively practising multitude of techniques

40 towards a deeper understanding of the body as a psychophysical whole. Currently she is finalising her PhD; researching ways to integrate art therapy tools & techniques into the creative processes of dance artists.

She currently teaches at the Performing Arts Department of State Conservatory & Elim Sende Association in Istanbul, works for WINPeace and gives workshops in many countries, for different populations - i.e. actors, dancers, non-dancers and disadvantaged populations from different age groups. She is also the co-founder & editor of IDOCDE website dedicated to the documentation of contemporary dance education.

Artistically, she is mainly interested in instant compositions and site specific performances. She is part of the improvised music & dance ensemble KAROSRI. Besides she has an on- going solo performance called "in between prayers" that seemed to have significant impact on an artistic intervention called "standing man" during the recent socio-political revolts in Turkey. This work and her dedication to non-violent communication took her to Thailand in 2014, as she was selected among 400 artists for "I Meditation Artistic Retreat" to collaborate with 19 other artists towards creating the Samadhi Santi Collection for peace.

The primary prospect of all her work is to mediate people to relate to their own self; reflect on their needs, means, environment and ideas. Working with the sensations and anatomical make up of their body, directing awareness to responses for inner and outer stimuli, utilising tools of various art disciplines she aims to assist people in their physical, mental & emotional processes.

In sum, she is curiously dancing on the transitive line between art and life.

Alix EYNAUDI & Mark LORIMER Week3: 03 - 07 August The Highjacking of the "dance-without-speaking" Adv 17:00 - 20:00

The Highjacking of the "dance-without-speaking"

The Highjacking of the "dance-without-speaking" project is a group choreography created with incremental instructions revealed throughout the week for a choreography made chronologically with no going back. Situated somewhere between deliciously precise dance writing and mindful moments of improvisation this piece will have no rehearsals but rather earlier/shorter versions performed throughout the week. As well as allowing the creature to evolve organically, each day we will try to focus on a specific choreographic theme (possibly: time-constellations/casting-space- styles/vocabulary-setting an end) and all information will be passed via instructions - projected on the wall or snuck individually in your pocket. There will be the minimum of talking (mime, sign language or face-pulling), if you didn’t completely understand or feel there are different options then participants are strongly encouraged to use their intuitive skills and to go with what they think it might be, what they think the piece needs, what someone else seems to be doing and looks good, doing all options at once. There is a conscious blur between interpreter and choreographer as there is between rehearsal and performance - Vive l’ambiguité! At the end of each day there will be time for participants to "hijack" the dance with ideas of how to continue. These can be presented in writing to the committee (Alix and Mark) to be considered for incorporation for the following days.

As we are performing every day, if ever you can’t make it you must send along your understudy.

41 Alix Eynaudi was trained as a ballet dancer at the Opéra of Paris. She worked in various ballet companies before entering P.A.R.T.S. when the school first opened. In 1996, Alix joined Anne Teresa De Keersmaeker's company Rosas where she worked for 7 years, participating in the creation of 6 pieces: "Just Before", "Drumming", "I said I", "In real Time", "Rain", "April me", as well as to the re-take of repertory pieces such as "Woud", "Achterland" and "Fase".

Since 2005 Alix has been creating her own pieces: "Crystalll", in collaboration with Alice Chauchat (2005), "Supernaturel" (2007), "Komposition" (2008) in collaboration with Anne Juren, Marianne Baillot and Agata Maszkiewicz, "The Visitants" (2008) and "Long Long Short Long Short" (2009), both in collaboration with Agata Maszkiewicz. In 2011, following a research on the benefits of sleep and rest, Alix created, together with Kris Verdonck, "Exit", a solo in which she puts the audience to sleep. In 2012 she created a dance duet with Mark Lorimer: "Monique", which found its inspiration in bondage. Alix is currently preparing a new piece, "Edelweiss", which will premiere on the 8th of October 2015 Kunstencentrum Buda in Kortrijk, Belgium.

Besides creating her own work, Alix makes a point of continuing to develop projects with other artists, both as a collaborator and a performer. She took part in projects as a performer with a.o.: the collective Superamas ("BIG3 happy/end", "Empire arts/politics)", Kris Verdonck (I II III IIII), Anne Juren (Tableaux Vivants) and she is currently touring with Boris Charmatz in his new piece (premiered in September 2014 at the Ruhrtrienale), Manger. Alix’s artistic practice also involves teaching workshops a.o.in PARTS, Brussels, ImPulsTanz, Vienna, Reykjavik, Panetta Movement Centre, New York, Skolen for Moderne Dans / The Danish National School of Contemporary Dance and SEAD, Salzburg.

Since graduating from the London School of Contemporary Dance in 1991, Mark Lorimer has worked as dancer, choreographer, teacher and rehearsal director. His main collaborations as a dancer have been with Rosas/Anne-Teresa De Keersmaeker (1994 - present) and with ZOO/Thomas Hauert (1997- 2005). Alongside these he has worked on many projects with (among others) The Featherstonehaughs/Lea Anderson, Bock and Vincenzi, Mia Lawrence, Jonathan Burrows, Deborah Hay, Alix Eynaudi and Boris Charmatz.

As a choreographer he has made two full-length evenings "To Intimate" with cellist Thomas Luks and fellow Rosas mainstay Cynthia Loemij, and "Dancesmith - Camel, Weasel, Whale" again with Cynthia plus graphic artist and dancer Clinton Stringer. He has also made works with students of the Laban Centre, London and a duet with Chrysa Parkinson - "Nylon Solution".

As a rehearsal director he has worked on several creations with Rosas and continues to tour with "Vortex Temporum" while dancing in Boris Charmatz's most recent work "Manger".

This year he works on a second collaboration as a dancer with Alix Eynaudi on the piece "Edelweiss". And next year Mark will create a work for the Bhodi Project at SEAD, Salzburg.

Aside from ImPulsTanz Mark teaches regularly at P.A.R.T.S., and later this year for the first time at Manufacture, Lausanne.

42 Alix EYNAUDI & Mårten SPÅNGBERG Week2: 27 - 31 July non-haptic exorcism - affect - non-haptic eroticism (dancing duets) Adv 11:40 - 14:10 non-haptic exorcism - affect - non-haptic eroticism (dancing duets)

We are obsessed with dance and dance obsesses us. We are unable to stop and we dance in order to come to an end. Exorcise us. Dance is our lover and our deep deep sex, and yet dance continuously withdraws, slips away and vanishes as we come together. We dance to not know and we crave getting to know dance. We die when we dance and dance makes us stay alive. And still there is nothing accidental, nothing hocus-pocus, it’s all prepared and rational. Who knows how?

We like partnering, such an overlooked story. We like narrative dance, so neglected. We consider love, duet and love-duets irresistible, but gosh we bleed when thinking about love represented in dance. Composition bangerz great, such a gift. We deep dig improvisation, but not for our sake. We like to stay in touch but our dance has nothing to do with touchy feely. Fuck no – non-haptic. We dance together without becoming a group. Just you and the dance, duet and a lot of love, all of us. Wonderful.

Two and a half hours of dancing with Alix and Mårten. Bring an open mind and we’ll play the cutest music. We know a lot of exercises and in-between we can experience a lot. It’s pretty advanced but not at all complicated, a little bit like devotion and whatever at the same time. Looking forward.

Alix Eynaudi was trained as a ballet dancer at the Opéra of Paris. She worked in various ballet companies before entering P.A.R.T.S. when the school first opened. In 1996, Alix joined Anne Teresa De Keersmaeker's company Rosas where she worked for 7 years, participating in the creation of 6 pieces: "Just Before", "Drumming", "I said I", "In real Time", "Rain", "April me", as well as to the re-take of repertory pieces such as "Woud", "Achterland" and "Fase".

Besides creating her own work, Alix makes a point of continuing to develop projects with other artists, both as a collaborator and a performer. She took part in projects as a performer with a.o.: the collective Superamas ("BIG3 happy/end", "Empire arts/politics)", Kris Verdonck ("I II III IIII"), Anne Juren ("Tableaux Vivants") and she is currently touring with Boris Charmatz in his new piece (premiered in September 2014 at the Ruhrtrienale), "Manger". Alix’s artistic practice also involves teaching workshops a.o. in P.A.R.T.S., Brussels, ImPulsTanz, Vienna, Reykjavik, Panetta Movement Center, New York, Skolen for Moderne Dans / The Danish National School of Contemporary Dance and SEAD, Salzburg.

43 Mårten Spångberg is a performance related artist living and working in Stockholm. His interests concern choreography in an expanded field, something that he has approached through experimental practices and creative process in multiplicity of formats and expressions. He has been active on stage as performer and creator since 1994, and since 1999 he has created his own choreographies from solos to larger scale works, which has toured internationally. He has collaborated with Xavier Le Roy, Christine De Smedt/Les Ballets C. de la B., Jan Ritsema and Krõõt Juurak a.o. Mårten Spångberg initiated with the architect Tor Lindstrand the International Festival, an interdisciplinary practice merging architecture and choreography/performance. From 1996 - 2005 Spångberg organised and curated festivals in Sweden and internationally and initiated the network organisation INPEX in 2006. His experience in teaching both - theory and practice - is thorough. Mårten Spångberg was director of the MA programme in choreography at the University of Dance in Stockholm.

Matteo FARGION Week1: 20 - 24 July 'Crossing the Stage' and other scores Adv 11:40 - 14:10

'Crossing the Stage' and other scores

A 5-day composition Workshop focusing on what happens when ideas, techniques and structures, which come primarily from music are translated into movement. The sessions will consist of numerous "quick-fire" exercises, often using extreme reduction of possibilities to stimulate the imagination. Questions about how to find material, how to keep something going, what makes a strong or a weak change and other compositional 'problems' will be discussed. This Workshop is suitable for anyone interested in making performance work.

Matteo Fargion is a composer, performer and teacher. He has worked in dance and theatre for over 20 years, collaborating with leading choreographers and directors in the UK and abroad. For the past 15 years he has worked closely with Siobhan Davies, writing music for and performing in some of her most significant recent work.

Together with Jonathan Burrows, he has made a series of 8 duets conceived, choreographed, composed, administrated and performed together. "Both Sitting Duet", "The Quiet Dance", "Speaking Dance", "Cheap Lecture", "The Cow Piece", "Counting to One Hundred", "One Flute Note" and "Show & Tell" are all touring, and the two men have now given almost 200 performances across Belgium, Germany, UK, Canada, Japan, Portugal, Italy, Austria, France, Sweden, Norway, Switzerland, Spain, Croatia, Ireland, USA, Finland, Lithuania, Brazil, Latvia, Estonia, Poland, South Korea, Greece, Romania, Hungary, Turkey, Slovenia and Australia. "Both Sitting Duet" won a 2004 New York Dance and Performance 'Bessie' Award, and "Cheap Lecture" was chosen for the prestigious 2009 Het Theaterfestival in Belgium.

He has also written a lot of music for theatre, especially in Germany, where he has collaborated several times with Elmar Goerden (Stuttgarter Staatstheater, Residenztheater Munich, Bochum Schauspielhaus and twice Theater in der Josefstadt, Vienna) and with Thomas Ostermeier at the Schaubühne Berlin.

44 Matteo is also a long-time visiting member of faculty at P.A.R.T.S., the school of Anne Teresa De Keesrmaeker in Brussels, where he has worked on a new approach to teaching composition to young choreographers, within a framework of music practice but built also on his wealth of experience as a performer. He has also made 3 pieces for dance students recently, 2 at LABAN, London, one with MAPdance in Chichester and at Bedford University.

Libby FARR Week1: 20 - 24 July Ballet for Contemporary Dancers Adv 09:30 - 11:15 Introduction to Ballet Beg 11:40 - 13:25 Week2: 27 - 31 July Introduction to Gyrokinesis® o 09:45 - 11:30 Introduction to Ballet Beg 18:15 - 20:00

Introduction to Ballet Natural movement potentials

Introduction to Ballet is a class for people beginning ballet or for dancers that are interested in revisiting the basic principles of what ballet has to offer: placement and alignment; the folding, articulation and rotation of the joints, coordination, and the natural push and pull movements we use in our everyday lives. The class itself is set up as a normal ballet class: we will use the barre and work on the vocabulary in the centre. We will also start on the floor at times with a simple floor exercise to help find an understanding of the body before it comes to a standing position in order to assist all of the above. The idea is to use ballet as tool to enhance the awareness of a person’s own natural movement potentials and widening the perspectives about the body, while at the same time tasting the joy of Ballet.

Ballet for Contemporary Dancers easier, more joyful, and more human

The ballet class re-evaluates and builds on classical technique, focusing on strengthening the dancer’s awareness of his or her own natural alignment. The class is divided into two parts: the barre and the centre. Exercises at the barre emphasise on isolating and releasing the joints in order to strengthen the dancer's centre and support proper body placement. Body placement becomes functional and fluid, rather than stiff and held, making movement easier and more natural. The second half of the ballet class, conducted in the centre, continually challenges the dancer to use the placement and release discovered at the barre as a source of strength and individual dynamics. Training in the centre relies on shift of weight, motivation and flow of movement and momentum rather than on form to allow the dancer to move with a greater sense of freedom and expression. The dancer then gains a stronger sense of confidence to take space and go beyond technique.

Introduction to Gyrokinesis® Sensitation of the senses & stimulation of the nervous system

A beginner class in GYROKINESIS® starts with self-massage and simple breathing patterns, to awaken the body. It transitions to focus in on the spine and pelvis. Seated on low stools, the teacher guides the class through a series of arching, curling, bending, twisting and spiralling movements. This is done to mobilize and to articulate the spine. A GYROKINESIS® class encompasses not only sitting but also laying and standing positions. The movement patterns are expanded to release the hip and knee joints and to target specific muscle groups, such as the hamstring and quadriceps. These patterns are

45 performed in all possible directions; to the front and to the back, to twist and to turn. The movements have their own breathing patterns, which stimulate the nervous system, open up the energy pathways and oxygenate the blood.

Libby Farr studied at the School of American Ballet in New York and has been performing with several Ballets in the USA and Europe. She has been heading Die Etage in Berlin for four years. She has been ballet mistress of the company Pretty Ugly in Freiburg (Germany). For many years she has been dedicated to teach ballet and body awareness. Libby Farr is now a regular guest teacher at P.A.R.T.S., SEAD and the London Contemporary School, Henny Jurriens Stichting, Texas Christian University, Tanz Fabrik, Balance Studio One, Copenhagen Dansens Hus and for Companies including Rosas, Ultima Vez, Charleroi Danses, Batsheva Dance Company, Pina Bausch Dance Company, Ballet Preljocaj, Cristina de Châtel and Cullberg Ballet and is a regular guest teacher at ImPulsTanz Vienna a.o.

Frey FAUST Intensive2: 01 + 02 August The Axis Syllabus - Empowerment, Respect, Freedom of Expression o 09:30 - 12:00 & 14:50 - 17:20 Week3: 03 - 07 August Moving You Moving – Axis Syllabus Beg 09:45 - 11:30 WARP SPEED AHEAD – Axis Syllabus Adv 11:40 - 13:40

The Axis Syllabus - empowerment, respect, freedom of expression Rather than a single technical or methodological approach, the AS is a potential resource for all those who work with the human body: artists, athletes and healers. In this session, we will study the current status of the AS lexicon, and discuss the biomechanical, empirical and medical resources that form the bulk of the AS information bank. We will compare past and present assumptions, newer and older training approaches, and review evidence for strategic modality changes. We will also spend time considering the practical applications and the ethical questions that this knowledge engenders for teachers, therapists, project leaders and participants.

Moving You Moving – Axis Syllabus the best ride ever

Fun is the objective, minimizing danger while working with potentially dangerous forces is the adventure. Small changes in the way we do things can make for big differences. Lets start with a look at the way you walk, get to the floor and back, the way you lean, pull, push and get into the air. Then we can work with some models for expanding potential strength, suppleness and choice.

WARP SPEED AHEAD – Axis Syllabus knowledge is power / invitation to think while dancing

Understanding basic physics and the working parameters of the body, we can develop superior technology for safely surpassing previously assumed limitations. This class is for people with a minimum basis in anatomy and physics who are ready and willing to roll, dive and fly, but who are also interested in deeply reconsidering or revising habits.

The Axis Syllabus - is an open source information resource on the human body in motion. It consolidates knowledge from clinical trial, established and cutting edge anatomical science and biomechanics, as well as empirical data from martial arts, various dance dialects, ancient and allopathic medicine. The AS is continually reviewed revised and

46 updated by an international group of teacher-researchers, who contribute information from their respective fields of expertise: acrobatics, various forms of dance, juggling, horse- riding, physiotherapy, etc. Our current participant list is in the thousands, come join us! Please consult our website portal for more information: www.axissyllabus.org, or visit us on facebook.

Born in 1960, Frey Faust began performing at the age of 8 with his family as a traveling troubadour. He is a second-generation contact improviser and an alumnus of the 80´s New York dance scene. Some of his more important early influences came from: Shekhinah Mountainwater, Nita Little, Pavel Rouba, Rene Bazinet, and Janet Panetta. He has worked with and for a number of artists (order of appearance): Ohad Naharin, Donald Byrd, David Parsons, Gina Buntz, Howard Katz, Merce Cunningham, Meredith Monk, Randy Warshaw, Bob Een, Stephen Petronio, Danny Ezralo... to name a few. He founded or co-founded three dance companies, and has created or co-created over 40 choreographic solo and group works. Following an independent study of anatomy, biomechanics, and physics, he has been able to build a pedagogical approach that has made him a sought after teacher, personal coach and technical counsellor. Following the last fifteen years of research, he has consolidated his findings in a book, "The Axis Syllabus - human movement lexicon", which he continues to edit, with the help of the Axis Syllabus International Research Community, a rapidly expanding group of experts from many related fields in the human movement and education sciences that he founded in 2009. Recently, his work on the AS has been focussed into the construction of a symbol set with the potential to streamline movement documentation and analysis. He also makes shoes, speaks 4 languages, continues to create and perform dances.

Salim GAUWLOOS Week3: 03 - 07 August Contemporary Jazz Int 16:30 - 18:15 Contemporary Jazz Beg 18:25 - 20:10 Intensive3: 08 + 09 August Contemporary Jazz Int 12:15 - 14:30 & 17:45 - 20:00 Week4: 10 - 14 August Contemporary Jazz Adv 14:45 - 16:30 Contemporary Jazz Beg 18:15 - 20:00

Contemporary Jazz New and unconventional movements

A fusion of Modern, Jazz, and Ballet, Slam’s unique style explores a wide range of organic, often angular movements and syncopated rhythms with a base in classical technique. His Contemporary Jazz class emphasises artistry and musicality, while it challenges the dancer to move in new, unconventional ways. Beginning with a warm-up of Modern-influenced, Ballet-based exercises that focus on proper execution of the movement and alignment, the class evolves to the learning of Slam’s original choreography, broken down and demonstrated for clear understanding.

For Intermediate and Advanced levels the understanding of the classical vocabulary and previous experience with Jazz and/or Modern dance are helpful.

SalimGauwloos' career started when he began training in his native Belgium, at the Koninklijke Balletschool - S.I.B. in Antwerp. At the age of seventeen, He auditioned in Belgium for a scholarship to a prestigious Dance School in New York City. Out of the 2,000 dancers that auditioned, he was one of the two dancers who were awarded the scholarship.

In 1990 he began his association with Madonna. He is most famous for his performances in "The Blond Ambition Tour", the documentary film, "Truth or Dare", and he is also the Face of her infamous "Vogue" iconic video. In addition, he has performed artists like George Michael, Aretha Franklin, Toni Braxton, Taylor Dane and Britney Spears, to name a few. He has worked with Mia Michaels' company R.A.W and with Margo Sappington's Company, The Daring Project, where he performed with Valentina Kozlova. He performed in New York City Opera's productions of Salome, Daphne, and Candide. His Broadway credits include Elton John and Tim Rice's "Aida" on Broadway, and "Mambo Kings, The Workshop".

Salim has acquired a reputation as not only an extraordinary dancer, but also as an exceptionally gifted choreographer. He was selected to showcase his choreography in Ballet Builders 2002, 2004, and 2006 showcases. His work choreographing the number for the Aida cast's performance at Broadway Cares Equity Fights Aids won Gypsy of the Year in 2003. He also presented two world premieres set on Orlando Ballet under the Artistic Direction of Fernando Bujones, which received rave reviews —"His synergy of forms is so fresh"—"This dance is as cerebral as it is visceral"—by Diane Hubbard Burns for the Orlando Sentinel. His work "I Breathe You In" was performed at Orlando Ballet’s production "A World of Dance" under the artistic direction of Bruce Marks. The contemporary solo titled "Coming of Age" that Salim created for Joseph Gorak (ABT soloist and winner of the Youth America Grand Prix 2006 in New York City) was performed at the Gala Stars of Today meet the Stars of Tomorrow, held at City Center.

Salim has taught workshops throughout the world, for Ballet de Monterrey in Mexico, ImPulsTanz in Vienna, Amsterdam Dance Center in Holland, Concepts in Motion in Bermuda, and Arena 21 in Zurich Switzerland. He was also invited to do residencies at Bucknell University in 2008, 2013, and 2014. Salim created works in Buenos Aires titled "Between Hope and Fear" and "10-10-71" which where part of Argentina’s Mozarteum Program 2007 and 2010. His piece "10-10-71" was also performed in a tribute to Argentina’s famous Dancer called Jose Neglia, where his son Sergio Neglia, also performed his father’s famous roles, along stars such as Cecilia Figaredo. He has also set a work on the Houston Metropolitan Dance Company titled "11:11". Slam won the choreography award at the YAPG 2008 in South Carolina.

His Fashion credits include choreographing a Revlon commercial with supermodels, Cindy Crawford, Helena Christensen, and Claudia Schiffer, shot by Bruce Webber, a Gianni Versace Campaign shot by Herb Ritts, a Philip Morris Campaign shot by David Lachapelle, featuring Slam & Rochelle Aytes, the Wella Trend Vision ads shot by Alexi Lubomirski, as well as the Sebastian Trilliant ads featuring Charlotte Ronson, he choreographed two advertising campaigns and video commercials for Longchamp, featuring supermodel Coco Rocha, and a Cover and editorial spread with Anne Hathaway as a face of One Billion Rising, the global movement to end violence against women shot by Alexei Hay for Glamour Magazine. Salim was also invited to make a guest appearance in an episode of the new reality TV show called "The Face" featuring supermodels Naomi Campbell, Karolina Kurkova, and Coco Rocha, hosted by Nigel Barker. Most recently Salim was recently featured alongside Chita Rivera, and Paloma Herrera in an article for New You Magazine. In April 2015 Salim worked on the new Longchamp campaign, featuring Alexa Chung, shot by Max Vadukul and video directed by Paul Barulis.

48 Elio GERVASI Week3: 10 - 14 August Moderner Tanz (55+) 11:40 - 13:25

Moderner Tanz (55+) great fun, pleasure and sweat!

"The goal of this workshop is to enjoy yourself and try out steps and movements, that will bring you in touch with the harmony and energy of your body. What I offer in this class is quite simple: exercises for warming-up, relaxing and strengthening your muscles, exercises to get you moving. An important aspect is sensitisation for pace, steps that get you moving, get you into space and stimulate your pleasure and fun for doing more. It is easy for me to discover the secret of dance: it is enough to try - and enjoy moving in the moment. My class is not just an opportunity for people 60-plus, but also for all those, who would like to try to dance, or to start again to explore their own energies. Having fun, pleasure - and sweat – the three big goals we set ourselves in this class.

In 1987 Elio Gervasi founded the dance company Gervasi in Vienna, which has since presented more than 50 productions in Austria and abroad. In the last 25 years Gervasi received numerous choreographic awards from the Arts Department of the Federal Ministry of Culture, including the Austrian Dance Award. Gervasi was a guest choreographer with a.o. P. L. Dance Company, Bühnenwerkstatt- Company Graz, the Saarland State Opera Ballet as part of the "Off-Ballet" series and for the Ballet School of the Vienna State Opera. Among his best-known pieces: "Spazio Sei" (1991), "Il Cortile" (1994), "Der Feigenbaum" (1997), "Crash Control" (2001, 20012), "12- seny-6" (2003), "Fuga-Ce" (2003), "7Interiors" (2004), "Exit-2-4-1" (2007), "F" (2010) a.o. He has participated in numerous international dance festivals.

Zvi GOTHEINER Week3: 03 - 07 August Ballet for Contemporary Dancers Adv 09:30 - 11:30 Ballet for Contemporary Dancers Beg 18:00 - 20:00 Intensive3: 08 + 09 August Ballet for Contemporary Dancers Int 09:45 - 12:00 & 15:00 - 17:15

Ballet for Contemporary Dancers Beginners Respect the body!

Zvi Gotheiner has created an internationally acclaimed teaching method, inspired by the work of Maggie Black, under whom he studied for many years. Combining different traditions of ballet, with emphasis on placement and movement efficiency, this method is respectful of the human body and the specific needs and abilities of each individual. The class consists of slow and thorough barré work, followed by simple exercises in the centre and is a good introduction to the ballet form for modern dancers and definitely lots of fun!

Ballet for Contemporary Dancers Intermediate & Advanced Placement and movement efficiency

As a ballet teacher Zvi Gotheiner, whose choreographic work is rooted in contemporary movement, has been inspired by Maggie Black. He has created an internationally acclaimed teaching method with the emphasis on placement and movement efficiency. This method respects the human body and the specific needs and abilities of each individual.

49 Characteristic for Zvi's teaching at the barre is the essential simplicity of the exercises that – in combination with slowness and repetition - allows thorough work. His exercises across the floor are well-known for their musicality and spaciousness. The advanced level classes will conclude with a sequence of jumps, both intricate and fluid.

Zvi Gotheiner is of Israeli origin, where he started an early performance career both as a musician and a dancer. He worked with Joyce Trisler Dance Company, Feld Ballets and Batsheva Dance Company a.o. In 1987 he founded his own company, which has successfully toured through the US, Europe, and Israel. As a teacher, Zvi Gotheiner has an exceptional international reputation. He has been teaching master classes to top companies all over the world and is sought after as a guest teacher by numerous renowned festivals and schools.

Silke GRABINGER Week3: 03 - 07 August Urban Contemporary o 18:15 - 20:00

Urban Contemporary Urban Styles/Breakdance meets Contemporary Dance Technique

Want to move? Here you will find Urban Styles/Breakdance meeting Contemporary Dance Technique! This class is very physical and consists of fragmented movement logics and expressivity known from Urban Dance as well as anatomical know-how of Contemporary Technique. Silke Grabinger/B-Girl Silk has an energetic and powerful style, which stems from her experience as choreographer and her past as a B-Girl. You will not only learn some skills, but expression and musicality as well. The focus is on the expansion of movement vocabulary, identity as a dancer and the play with repetition. Another focal point is the authenticity on stage. Participants should have some previous knowledge of either one or all of these dance forms: HipHop, Breakdance, Contemporary Dance.

Silke Grabinger/B-Girl Silk is a performer, choreographer and visual artist. She won international Battles and floated as a leading actress at Klangwolke 2010 (Linz, AT) on the banks of the Danube with a helicopter. She danced at Cirque du Soleil and founded her own Companies SILK Cie. and SILK Fluegge, which are presented at international festivals worldwide. www.silk.at

Jared GRADINGER & Angela SCHUBOT Intensive3: 08. + 09. August On Becoming... Adv 12:30 - 18:30

On Becoming... There are countless ways of existing with each other, if we assume our body does not end with our skin. How can the other inspire me to enter spaces that are not occupied by a ’You' and an 'I'?

Since 2009 Gradinger and Schubot's topic has been the de-bordering of the body. In their work, they have attempted to reorganise the relationship between the 'I' and the 'You', in the search for other forms of co-existence. The next chapter in the work seems to be

50 pointing our attention towards renegotiating 'the I and the We'. With this Field Project we aim to create a performative sphere that can effortlessly shift between the (un)familiar constellations, where 'I am You' can become 'We are You' or …'I am We'…

We start with a training that aims to undo the habits of the body and perception and expands its current comfort zone. By exploring and widening inner and outer spaces we will find a mutable body full of vibrations, sensations and fantasies and discover the realities and performative potential that such a body does create. Through partnering work based on extreme physicality (breath, exhaustion, duration, full-dropping) we will test how imagination can become real and how our reality can literally be transformed.

This work searches for a freedom from a habituated, implicated self, through the creation of a new body which enables the conditions for being in a state of constant 'becoming'. In the end of the week we will place our experiences in a more performative context and question, how those experiences can be lived, performed and shared with and in front of the eyes of an audience. What kind of artistic settings are needed? How will being watched change our presence? Do we allow that change? Do we invite it?

Jared Gradinger and Angela Schubot's starting point is the search for an unconditional togetherness to escape from one's own identity. Since 2009, they have created four full- length works circling around the dissolution of the self. Trying to reach other forms of co- existence. Fluently the pieces seem to melt into each other: The relentless exhaustion of the 'I' in order to make it disappear in "what they are instead of" becomes the symbiotic, faceless hybrid-creature in "is maybe", becomes a 'dying together' as the ultimate impossibility of being together in "i hope you die soon", becomes a double-creature that dies for a third in “all my holes are theirs“. Their work has been presented throughout Europe, South America and Australia, in many different contexts internationally often combined with teaching and research.

Jared Gradinger is a performer and artist living in Berlin since 2002. He is a founding member of Constanza Macras / Dorky Park whom he worked with for eight years. In 2006, he began his ongoing collaboration with Pictoplasma (contemporary character design) creating stage works and interventions for their festivals and exhibitions. In 2008, he began his curatorial relationship with Les Grandes Traversees in Bordeaux; creating his three part festival about a community called "How Do You Are". In 2008, he also started his long-time work relation with Jeremy Wade. Since 2009, he has been developing work and teaching with Angela Schubot. Together they have created a cycle of four full-length works, which are touring internationally. Their topic is the de-bordering of the body. The starting point is the search for an unconditional togetherness to escape from one's own identity. Currently he is developing the Social Muscle Club in Berlin with Emerson/Rothmund/Savoldelli. Jared has begun working with Nature to create a garden in the Uferstudios Berlin. He has worked with William Forsythe, John Zorn, Liz Rosenfeld, Margret Sara Gudjonsdottir, Laurie Young, Meg Stuart and Lynn Shapiro a.o.

51 In 2016 Robert Steijn and Angela Schubot plan to premiere their first collaboration duet- work. Angela Schubot is still interested in Solo works based on intensive phases of movement research, which are the core of her collaborations. In 2015 her Solo "Körper ohne Macht" will premiere in Hebbel am Ufer, Berlin. Schubot is teaching movement research and is coaching a.o. at DOCH/University of Dance and Circus in Stockholm, ImPulsTanz Wien, HZT-Berlin and SMASH Berlin. In 2013 she started her education in fascia-therapy according to the method of Danis Bois and will be working as a healer/ health practitioner soon.

GUEM Week4: 10 - 14 August African Dance Beg 14:20 - 16:05 African Percussion Int 18:15 - 20:00

African Dance Diversity, Joy, Well-Being & Stress Relief

The African dance class will provide an introduction to traditional African dances from different countries. The origin and meaning of dance movements will be explained. Many steps and dance moves are natural movements and based on daily activities. Images related to the dance movements facilitate to memorise them with ease. GUEM accompanies his dance classes with his own CDs or plays the African Djembe. By the end of the class he invites the participants to explore their creativity in free improvisation to his new compositions "Danse de la foret" and "Danse de la ville" ("Dance of the forest" and "Dance of the city"). Dancing with GUEM reduces stress, brings joy and well-being. http://www.youtube.com/watch?v=D8ErSQh8QhY

African Percussion Soul Vibrations

"In order to make sounds hover, one must proceed step by step, tame the instrument, get to know it little by little, as we do with human beings." In his percussion classes, GUEM teaches the rhythm coming from deep within, which then travels through the body to the hands and leads to the vibration of the soul. His classes are an expedition through the world of drumming, full of new discoveries for everyone. GUEM explains the dance movements accompanied by the rhythms, which makes it easier to memorise the rhythms.

The musician and dancer GUEM felt a vocation to teach, next to his creative-artistic activities: "because one must share his/her passion!" GUEM is an internationally acclaimed teacher, who passes on his rich wisdom with patience and humour. He is a teacher who encourages, supports and inspires his students.

GUEM, percussionist, composer and dancer was born in Batna, Algeria, and grew up in an environment of traditional music and trance rhythms. At the age of 16, he moved to France. He played for the Crème de la Crème of American Jazz musicians in Paris. The legendary album "Guem & Zaka" was his first success as a solo musician. The "man with the golden hands" took part in many international tours and wrote more than 200 music compositions. His virtuosity and the wide range of rhythms he can play earned him a high reputation and fan community. Organising a series of concerts with Congas, Djembes and Daraboukas at the heart of the programme, GUEM proved his drums could bear melody as well as rhythm.

In 1978 he scored his first great success, "GUEM and Zaka", invited to Brazil in the early 1980ies GUEM recorded "O universo rítmico". The album "Couleurs pays" (2007) represents rhythms from 17 countries, for example Egypt, Mexico, Senegal, Algeria and Niger, the country of his ancestors. In 2011 he recorded the album "Mon Paris", which is dedicated to the city of Paris where he lives.

Not content with only being an artist, GUEM discovered his vocation to teach percussions and dance: "a passion is something that should always be shared". He has passed on his rich knowledge in thousands of dance and percussion lessons all around the world. GUEM is an inspiring teacher, whose purpose is to wake up hidden or "sleeping" skills. www.guem-guem.com

Miguel GUTIERREZ Intensive2: 01 + 02 August Ineffable Intangible Sensational Adv 12:10 - 14:40 & 17:30 - 20:00 Week3: 03 - 07 August What is this Class Adv 09:00 - 11:30 Red Leather Yellow Leather o 11:40 - 13:40

Ineffable Intangible Sensational What does movement do?

In this workshop I share my bifurcated practices. One is a methodical research of the senses – primary, esoteric and "invented" – that addresses the perceptual mechanisms we engage in performance. The other is a more irreverent and immediate practice that resists a traditional thought-to-action matrix.

Throughout the week we will switch between introspective and exhibitionist modes, hammering away at our restrictive physical and performance patterns to find expressive possibilities that are mysterious and poetic yet direct and unaffected. Working from the proposition that dance is a mode of perceptual inquiry, and working against the idea of dance as a non-verbal "language" I am interested in movement explorations that prioritise sensation, non-rational action, and that trigger automatic, unprepared physical response. What does movement "do" and how does it operate as a framework for complicated, nuanced, embodied meaning?

Red Leather Yellow Leather (A vocal workshop) pliable, relaxed and expansive voices

Miguel Gutierrez’ recent works have been notable for their expressive use of the voice. In this workshop, Gutierrez will lead the participants through simple exercises to help them to discover pliable, relaxed and expansive voices, ready for an array of approaches to sound- making in performance. Influences include Linklater Technique, Alexander Technique and Body Mind Centering. This workshop is open to anyone!

What is this Class Old school technique class with new school questions.

This is a warm-up for being a contemporary dance artist whatever that means. Real techniques, invented techniques, practising presence, practising hope, "releasing",

53 sweating, thinking, feeling, moving for no reason and finding out how. I aspire to offer you ways of approaching dancing without fucking your body up. Each day will begin with a Feldenkrais Method Awareness Through Movement lesson. Then standing things. Then a phrase. You know how this goes. Exercises can be boring so let's make them important. Phrases can be patriarchal so let’s make them fun. Any way you look at it: smart movers make good art. I am the teacher and I will do what I can.

Miguel Gutierrez, a dance and music artist based in New York, has been called "one of our most provocative and necessary artistic voices" by Eva Yaa Asantewaa of Dance Magazine. He makes solo and group pieces with a variety of artists under the moniker Miguel Gutierrez and the Powerful People. His work, characterised by the immersive quality of the attentive state that it imposes on the audience, centres around enduring philosophical questions about desire, longing and the search for meaning.

His work has toured internationally at several festivals and venues and has received support from Creative Capital, Jerome Foundation, Rockefeller MAP Fund NYFA, NEA and NPN. In 2010 he received fellowships from the Guggenheim Foundation, the Foundation for Contemporary Art, and United States Artists. He is the winner of three New York Dance and Performance Bessie awards. "When You Rise Up", a book of his performance texts, is available from 53rd State Press. He also invented "Deep Aerobics", an absurdist workout for the radical in all of us. For his new project he is researching the overlapping and divergent conceptions of "mind" in the fields of neurology, embodied philosophy, somatic practices, improvisation and the paranormal. www.miguelgutierrez.org

Ákos HARGITAY Week4: 10 - 14 August BodyParkour (11+)

BodyParkour (11+) Heroes in overcoming obstacles!

BodyParkour is a new urban art and dance related form of movements. Akos created this word combination out of the word body and the street art form Parkour. Influences of this particular style are: Parkour, Tricking, HipHop & Breaking, Capoeira and the Circus, but most of all Contemporary Dance. During the workshop we will make specific movements to prepare ourselves for the physical movements, creating dance combinations, some small body-stunt moves and easy acrobatic dance movements. The movement quality has a touch of reference to our great comic action hero Jacky Chan. We will use our body as obstacle. And we will use a specific cube assembled out of scaffolding. Everyone who always wanted to try out a challenging & trendy dance style including all these elements, is WELCOME!

Bring comfortable shoes (sneakers), knee pads and if possible elbow pads!

Ákos Hargitay was born in Budapest and is living in Vienna since 2006. Since 1988 he danced in the field of contemporary dance with various local Hungarian, Austrian and international dance groups and choreographers such as Eszter Gál, Willi Dorner, Sebastian Prantl, Tanz*Hotel, Sasha Waltz & Guests, David Zambrano for the Ballroom Project in NYC, Scott Wells in San Francisco, Vicky Shick/Joanna M. Shaw/Alan Good from NYC.

54 Currently he is an artistic director at LYMA / learning for life / Vienna for a contemporary dance education program called CONdance www.condance.wordpress.com, where he is teaching Contact Improvisation & partnering, contemporary dance techniques. He has been teaching dance at Anton Bruckner Private University Linz, SEAD Salzburg, Tanzquartier Vienna, Conservatory of Vienna, Company Willi Dorner, MMS Budapest, Dance Conservatory Györ and the City Ballet Company Pécs, Workshop Foundation Budapest, L1 DanceLab Budapest, Call Arts L.A. a.o. In 2000 he has established the first weekly Contact Jam in Budapest together with Michaela Hargitay.

The Company Two in One was founded in 1996 by Michaela Hargitay and Ákos Hargitay. Their work has been presented at various festivals and theatres such as Susan Hess Studio (Philadelphia), Aerowaves (The Place, London), Dance Theater Workshop (NYC), Judson Church (NYC), Mains d' Cuvres (Paris), Opening Doors Wales (UK), Tanzquartier Vienna, Imagetanz Vienna, dieTheater Wien, Tanzsprache and Neuer Tanz (Vienna/WUK), Unidram Festival Potsdam, Tanzfabrik Berlin, Wagon Halle (Marburg-Germany), Contemporary Dance Festivals in Luxembourg, Poland, Latvia, the Ukraine a.o. Their full-length evening production "free fall" was premiered in 2003 in cooperation with Tanzquartier Vienna and Szene Bunte Wähne Festival. Prizes and residencies include: 1999 ArtsLink Award (USA) and Suitcase Fund, Residency at the DTW in New York, 2001 Artist in Residence at the Mains d'Oeuvre in Paris, 2005 Artist in Residence at the CCL Linz, 2009 Artist in Residence at SEAD, 2006 Budapest Fringe Award for the Best Performance and in 2010 Freerunning & Bodyparkour nominated for Stella10 - Performing Arts Prize for a Young Audience. WEB: www.bodyparkour.wordpress.com

Andrew de Lotbinière HARWOOD Week1: 20 - 24 July Awkwardness, Failure and Redemption: Adventures in Contact Improvisation Adv 11:40 - 14:40 Seize - Improvisation for Performers Int 14:50 - 17:20

Awkwardness, Failure and Redemption: Adventures in Contact Improvisation

An advanced laboratory for teachers, performers, experienced students and passionate practitioners of Contact Improvisation. A strong grasp of Contact fundamentals is essential. A final showing will be presented at the end of the last session.

At its origins Contact Improvisation combined moments of incredible beauty and flow with moments of incredible awkwardness, clumsiness and disorientation. As Contact has evolved and experienced dancers have developed amazing capacities for creating flow there has been a tendency to try to eliminate as many of the bungling moments as possible. This often leads to running through the gamut of known physical techniques and making the same choices over and over, again and again. The freedom Contact Improvisation offers doesn’t come without the courage to accept what is already taking place in our bodies and in the space, to use all our known and unknown resources, to embrace the ever-present making-a-fool quality, and willingly turn even the most awkward circumstances and risky situations into brilliant creative adventures. The unknown becomes a friend, absurdity is worn well and the tyranny of trying to be interesting is overcome. We will seek to reinvigorate the form and challenge ourselves to embrace all aspects of the dancing even when it seems clumsy or strange.

55 Material: - finicky dances - precarious weight - pushy contact - holding your own train of thought - saying no! - obscure dances - provoking change - disrupting flow - using conflict as a resource - praising bad dancing - disappearing duets - rediscovering disorientation

Helpful Hints: - consider everything an experiment - start with a fresh approach every day - pull everything out of your fellow students - you can fool the fans, but not the players - nothing is a mistake, there is no win and no fail, there is only make and do - do not try to create and analyse at the same time, they are different processes - to be disciplined is to follow in a good way, to be self-disciplined is to follow in a better way - be happy whenever you can manage it, enjoy yourself and others, it is lighter than you think

SEIZE – Improvisation for Performers the decisive moment in instantaneous choreography (for professional dancers, performers and experienced improvisers)

Can we seize the moment, harness our habits and use them wisely, truly care for our dances and take them to another level? Do we recognize we are part of a bigger picture and be attentive to everything all at once? Can we do less and accomplish more? Can we expand our comfort zone and survive clumsy moments converting them into artistic material? Can we sustain a duet or a solo or an ensemble dance for a long time or just as easily leave it all of a sudden? Through the awareness of visual and non-visual perception, can we tune into our inner and outer world as we observe and awaken the imagination for composition?

These are some of the questions this workshop will investigate. What is so wonderful about instantaneous choreography is that suddenly the elements erupt before you, just like that, and it is essential to seize them… That’s what poetry is! You must not think. The rest of the time, yes, you do have to think but at that moment, you must throw caution to the wind and dive in.

Andrew de Lotbinière Harwood is a leading international teacher, performer and creator in the field of instantaneous choreography and Contact Improvisation since 1975. He is the artistic director of AH HA Productions, a project oriented company based in Montreal and dedicated to improvisation as a practice and a performing art.

Andrew studied extensively, taught and performed with Steve Paxton, Nancy Stark Smith and Nita Little, the founding members of Contact Improvisation. He also has a background in gymnastics, athletics, Yoga, contemporary dance, Release Technique, somatic studies and Aikido. His work has been presented in numerous international festivals since 1980.

56 Andrew danced for the companies of Fulcrum, Jo Lechay, Marie Chouinard and Jean-Pierre Perreault, and with the improvisational ensembles The Echo Case and Discovery Bal. He has also collaborated in performance with Marc Boivin, Peter Bingham, Lin Snelling, Benoît Lachambre, Chris Aiken, Kirstie Simson, Ray Chung, Lisa Nelson and Paula Zacharias among many others.

Additionally, Harwood has taught advanced workshops and performed at many major Contact Improvisation festivals in the past few years: Freiburg Contact Festival (Germany), Moscow Contact Festival, Israeli Contact Festival, Zip Contact Festival (Italy), Kontact Budapest (Hungary), Trans Contact Festival (Romania). He has also taught classes to the world renowned companies of O’Vertigo and Marie Chouinard in Montréal as well as the fabulous Montréal Circus group called Les Sept Doigts de la Main. He is the recipient of the Canada Council’s Jacqueline-Lemieux award for the year 2000.

Keith HENNESSY Week2: 27 - 31 July Shamanic Improvisation Potential o 14:20 - 17:20

Shamanic Improvisation Potential

An experiment to investigate the relationship between improvised dance, performance and shamanism. Exercises and experiences in presence, transformation, breath, altered states of being, trance, awareness, healing, ritual, and performance. Fake healing and pretended rituals will be used to provoke real experiences beyond our naming and knowing.

I have been studying ritual, both ancient and contemporary, for over 20 years. I recognise the many continuations and disruptions between religious practice and the Western concert stage. Shamanism, in a general usage, refers to the ritual/spiritual practices of working with unseen forces of energy, of transforming space and time, of shifting meaning and perspective, of communicating with the dead or not human. Performance often engages the same intentions. Each day we will, in action and conversation, question the potential of energy, ritual and magic. What is it? How do we experience it? Can it be choreographed? What can we learn about presence through improvisation? What is magic? What is the role of presence in making magic, provoking transformation, or sensing the other worlds?

Keith Hennessy is a performer, choreographer, teacher and activist. Born in Canada, he lives in San Francisco and tours internationally. His interdisciplinary research engages improvisation, ritual and public action as tools for investigating political realities. Hennessy directs CIRCO ZERO, and was a member of the collaborative performance companies: Contraband (with Sara Shelton Mann), CORE, Cahin-caha, and cirque bâtard. Recent awards include the USA Kjenner Fellowship, a NY Bessie, and two Isadora Duncan Dance Awards. Recent works include "Turbulence (a dance about the economy)", "Almost a duet" with Jassem Hindi, and "Negotiate" a collaboration with dancers from Togo, Senegal and DR Congo. Recent teaching includes Ponderosa (Germany), ImPulsTanz (Vienna), AEx- Corps (Dakar), UBC (Kelowna), UC Davis, Texas Women's University, Sidestep Festival (Helsinki), and La Alternativa (San Francisco). Hennessy is a PhD candidate in Performance Studies at UC Davis. www.circozero.org

57 David HERNANDEZ Week4: 10 - 14 August Bust a move! A cardio experience o 09:30 - 11:30 Visual Polyphony (A Mover's Approach to Music) Adv 14:50 - 17:20

Bust a move! A cardio experience Don’t stop!

Bust a move is an all inclusive physical experience. Drawing on my beginnings as a HipHopper, go-go boy and social dancer I developed an aerobic non- stop dance session that gets the heart rate going while working rhythm and opening the body through moving. I serve as the guide through this hour plus process as we improvise around simple yet specific modules that I will teach and explain beforehand to some great beats from today and yesteryear. We take the energy of a night out in the club and fuse it with some contemporary dance know how to create an experience that is both fun and works the body in specific and beneficial ways. We will pull from the roots of social dances ranging from HipHop, Pop and Lock, Salsa, African, et al and borrow qualities each can offer! The main rules - don't stop til you get enough and enjoy!

Visual Polyphony (A Mover's Approach to Music)

In my choreographic research I use many tools garnered from music. I see my work as a kind of visual polyphony, independent yet collaborative weaving melody lines. Each dancer not only becomes an important collaborator in the process through the building and interpretation of their particular melody line, but becomes a voice in an optical fugue. For this Workshop I would like to expose the participants to several of the compositional processes that I use when I create. I plan to do work to establish a basic group understanding and use of rhythm as a description of time. The participants will also be exposed to some basic material from my repertory with which to play, with the intention of creating interaction between the different dancers/melody lines. We will also approach a score from some early polyphony and use it as a compositional tool. We will investigate the subject of musicality of movement with a playful and curious spirit and explore the role of interpretation.

David Hernandez, born in Miami FL, studied Studio music, Jazz and Opera at the University of Miami and Dance at the New world School of the Arts before moving to New York, where he worked as an apprentice for a time with the Trisha Brown Dance Company. In 1993 he moved to Europe with Meg Stuart to help her start Damaged Goods in Belgium and worked with the company for almost five years as a performer, collaborator, training the company and often assistant to Stuart. He left the company to return to building his own body of work in Brussels under the name Edwardvzw.

He developed the improvisation project "Crash Landing" (1996-1999), in collaboration with Meg Stuart and Christine De Smedt. Further improvisation projects were developed for festivals such as Klapstuk, Springdance, Sum of the Parts and many more and have danced as an improviser with many artists such as Katie Duck, Steve Paxton, Vera Mantero, a.o. He teaches regularly in Belgium and internationally and has been a regular professor at P.A.R.T.S. for more than a decade and developed and directed the Performance Education Program (PEP) in Leuven in residence at the Klapstuk festival. He has received grants from the Flemish government and many other production houses for the realisation of his work. Additionally, Hernandez is serving as partner in the private dance studio initiative Dance Centrum Jette, with Roxanne Huilmand, which recently received subsidies from the Belgian government as a "werkplaats".

58 He has been collaborating on projects with Rebecca Murgi (IT), Laborgras (DE), Anouk Van Dijk Company, Anne Teresa De Keersmaeker and Rosas. He danced in the new creation of Rosas "Cesena" to premiere in 2011 at the Festival D’Avignon, Cours D’Honneur and created his own choreographic oeuvre with a new project, working title "Thirst" which premiered in early 2012. He continues to work as a writer in music, dance, visual art, multi media, events, pedagogy and experimental theatre worldwide and is a much sought after pedagogue, performer and creator/director.

Claudia HEU Intensive2: 01 + 02 August Presence & Aikido & Improvisation o 09:30 - 12:00 & 14:50 - 17:20

Presence & Aikido & Improvisation

The focus of this Workshop is the work with self-perception helping us to experience vital movement. The morning sessions consist of Aikido and improvisations with alignment and lines enhancing us and our partners to move in maximum ease and freedom. We explore the interplay of breath, gaze and clear intention and practice the meeting of unpredictable impulses of our environment.

Through this increase of our presence we recognise individual patterns of perception as well as of what moves us from the outside. This is backed up by an intensive inner alertness or clear awareness of the self and the outside, which provides for confidence to let things happen instead of actively producing it.

In the afternoon sessions we ultimately develop these experiences in a playful manner and question through improvisations principals of time, kinaesthetic awareness and relations to the space.

Claudia Heu currently lives in Vienna and works as a choreographer, performer and teacher in Austria and abroad. She worked (2003-2011) as artistic co-director together with Jeremy Xido under the collective of artists Cabula6, whose work included site-specific performances, films and installations in public spaces. The work has been developed and shown in Europe, the US, China and South America. In Austria they have been part of the Advanced Performing Arts Festival, ImPulsTanz Festival, Wiener Festwochen, Szene Salzburg, TQW Vienna a.o. From 2012 to 2014, she collaborated with filmmaker and choreographer Gerhard Fillei and the choreographer Enkgherel Dash Yaichil and developed the performative installation "Alga Bolokh" which dealt with the social and urban reality of Ulan Bator / Mongolia and Berlin. Invited by tanzbuero Salzburg, she initiated in 2014, the artistic research "Wir sind unsere Zeit" and visited places in which art and life, ecological management, solidarity and resistance merged together. The research "Wir sind unsere Zeit", was presented together with Roland Schmidt in October 2014 at SEAD.

As a teacher and mentor, she has taught at various national and international festivals in refugee homes, schools, prisons and universities. She currently teaches at the Max Reinhardt Seminar, at the Vienna Conservatory, University of New Mexico and the Centre for Contemporary Dance in Cologne. Claudia's class work is mainly based on her years of experience in Aikido, and on the ViewPoint work of the SITI Company (NYC) derived group improvisation. http://courage.cabula6.com/ www.cabula6.com

Jassem HINDI Intensive1: 25 + 26 July The Concept and the Idiot o 12:10 - 14:40 & 17:30 - 20:00 Week2: 27 - 31 July Ghost Dancer o 11:40 - 14:10

The Concept and the Idiot

The idea behind this workshop is a general introduction to the manipulation of concepts - specifically the ones generated by contemporary philosophy.

Our landscape is the historical tension between the concept and the body. It is a history threaded by knowledge and violence - but there is more to explore.

We will be accompanied in this workshop by the idea of a glorified idiot - a character traveling the world of concepts while holding on to the queerness of her/his/their body.

We will navigate through these capricious waters using the following lines: - "The laws of hospitality - a strategy" - "Witchcraft, friendship and science fiction: what is experimental knowledge?"

We are continuously using displays of concepts to justify our work, or as "choreographic" tools. We are pressured into concept related questions and ideologies. The purpose of this workshop is to consider theory as a practice by itself.

This is an open research for us all. We will draw maps, play games, talk, time travel, and make micro dances. Bring some pencils and some idiotic ideas.

Bibliography (no need to read anything before!): Levi Strauss / Lacan / Phelan / Derrida / Butler / Merleau-Ponty / Bourbaki / Heidegger / Jameson / Michelet / Spinoza / Min-Ha / Haraway /

Ghost dancer

Sound is the ghost dancer of a performance, haunting everything, shadowing every gesture. It is a political marker. It is the friendly push towards high physical states. It is also a gateway to visual art and cinema in performance. In this workshop, sound is considered in its materiality, as a texture, as a dancing body and not as a simple ornament to frame dance. It is a simple political and poetical position which supports the idea that the practice of sound points at the invisible and tenuous relation between bodies and other (im)materialities, contaminated by images, sketches of choreography, videos, texts, persons.

My proposal is to dive into all this at the same time. Play "music" and think about how to use sound in a performance, build a collective sound installation and learn how to listen. Reclaim dance and sound as burning physical desires. And then subvert and complicate that idea.

This is not a technical workshop. You don’t need to be a musician or a sound maker to come. Rather, this workshop is addressed to makers and choreographers in the making, hybrid art makers who want to explore and question the place of sound in performance - this thing that is between the body, the object and the poetical/political speech.

60 Of course, we’ll get our hands dirty and play with dangerous objects, building sound sculptures, exploring the extremes of sound making - from deep low bass frequencies to lo- fi pop and broken objects to singing and physical trance techniques. We’ll also dance on things we don’t usually dance to and things we’ve always danced to. We’ll also have a conceptual practice/open reflection. We’ll have listening sessions. We’ll try to steer in the horizon of the following questions: How can sound subvert, sustain, comment on a performance? How to introduce sound as a ghost dancer, and not as an ornament? What are the ideologies conveyed by music "styles"? How to keep it simple and not too nerdy?

We’ll also keep a historical line open, to see what has been made with sound in performance, and vice versa. We’ll try to learn from each other. We all hold this knowledge together.

Listening sessions will include field recordings from Vietnam, Greek music, doom, electro- clash, Indian death prayer chanting, "nouvelle vague" cinema voice overs, West African disco and much more. Making sessions will include the use of lo-fi material such as tapes, contact mics, rough dj, field recording, destroyed electro music, group singing. Concept practice will include techniques coming from structural philosophy, experimental video, queer political art.

Bring your toys if you have any (piano, dildo, bells, gameboy, rocks, water boiler). Bring pens and paper if you want. Anything for less than 2 euros from a flea market (walkman, tape, voice recorder, keyboard) is welcome. If you have a smartphone, bring it.

Jassem Hindi was born in Saudi Arabia and studied philosophy at the Sorbonne, Paris. He is working in the fields of sound, performance and temporary objects / installations. As a musician, he is using mainly broken objects, diverted machines, lo-fi field recordings, feedbacks, in the spirit of experimental music influenced by noise hardcore, image editing techniques and older masters in the likes of Alvin Lucier or Bellini.

Jassem's working method extends to the fields of visual and performative arts, by derivation and commutation of ideas and techniques found within his practice in experimental music and as a reader of various works. He regularly collaborates with choreographers and performers, as a musician, an advisor or as a performer. He flirted with researches around the themes of public displays of violence, intimacy and differentiation, political ritual techniques and the art of hospitality.

This year, among others, he collaborated with Keith Hennessy, Ida Larsen, Marie-Louise Stentebjerg, Ruairi Donovan, Hana Erdman, Rani Nair, Jeremy Wade and Mia Habib. He is the recipient of several grants and residency programs along with his partners, supported by Norway, Sweden, Germany, France, USA and a couple of curators - among which the Ystad Arts Museum. He is a Sweet and Tender collaborator.

61 Florentina HOLZINGER & Btissame AMADOUR Week1: 20 - 24 July Inside the Octagon Adv 17:30 - 20:00

Inside the Octagon A Fighting Workshop

In this class we will recruit warriors, assuming that this will result in better artistry.

We use the preparation a fighter undergoes to prepare for our artistic work. We start from a place of physical challenge, taking inspiration from martial arts and boxing training. We will work on condition, on pads, with partners, and prepare ourselves for some sparring, the pas de deux of the ring.

Even though we want to spend time on obtaining actual fighting technique, our focus will be the act of pursuing it, of undergoing a training together and appropriating it for our practice. How can we use the preparation for the ring as a preparation to make dance or art? What if the preparation of the fighter is an artistic process? We want to explore the exchangability of physical disciplines as a tool for dancers, makers and creative people. In that spirit we also investigate the performativity of the collaboration happening between trainer and trainee, coach and student, personal trainer and client.

"Fear is the greatest obstacle for learning in any area, but in particular in boxing. For example, boxing you learn through repetition. You do it over and over and suddenly you’ve got it… however in the course of trying to learn, if you get hit and you get hurt, that makes you cautious, and when you’re cautious you can't repeat it and when you cant repeat it, it’s going to delay the learning process…" – Cus D’Amato, trainer of Mike Tyson

For this workshop Florentina invites her Personal Coach and Martial Arts Teacher Btissame Amadour to assist in a class that is aimed to train the Ninja mind-set of the students and help overcome fear inside the "Octagon", the world stage. People of any background and physical condition are welcome.

Florentina Holzinger studied choreography at the School for New Dance Development (SNDO) in the Amsterdamse Hogeschool voor de Kunsten. She received the danceWEB Scholarship in 2008 and in 2011 at ImPulsTanz Vienna. Her Diploma Solo work "Silk" got awarded the Prix Jardin d’Europe at the lmPulsTanz Festival 2012.

Her collaboration with Vincent Riebeek resulted in a trilogy of pieces – "Kein Applaus für Scheisse", "Spirit", and "Wellness" – that are touring at various international performance festivals. Holzinger’s latest work "Agon" had its first showing last summer at ImPulsTanz and "Recovery" is its continuation. She is currently preparing "Schönheitsabend - Tänze des Lasters, des Grauens und der Extase", which will premier this summer at ImPulsTanz, Vienna. floholzinger.wordpress.com

Btissame Amadour studied at the Sports Academy and Dance Academy in Amsterdam. As a sports coach she is working at Nike EHQ in The Netherlands, where she inspires others to find their talents.

62 Rino INDIONO Week3: 03 - 07 August Tanz x Medien (15-20J) 10:30 - 14:30

Tanz x Medien (15-20J) Do it yourself!

We will explore and experiment with contemporary dance and Parkour movements and combine them with text and New Media such as video and audio. Do it yourself is our daily plan! We will start from scratch, record by ourselves, cut, shred and edit videos and movement material and work it into our dance piece full of technical shenanigans and recordings. We will kick it off and cut loose our imagination! Please feel free to bring your own instruments! Also please bring comfortable clothes and don’t forget your little snack!

Rino Indrawan Indiono was born in 1987 in Depok, Indonesia. He studied Contemporary Dance Pedagogy at the Konservatorium Privatuniversität of Vienna, where he won the Fidelio Competition Prize (2010, 2012, 2013) and worked internationally in different dance and performance projects with a.o. Wen Liu and Marian Weger ("Monster", ICMC Festival, Ljubljana 2012), Wiener Blut (Operetta Festival in Fuzhou/China 2011), Lina Maria Venegas ("How far to go", Kosmos Theater Festival 2012). Since 2013/2014 he is member of the artists team at DSCHUNGEL WIEN and perfrmed in the productions: "Spiegelspiele", "Steffis Weihnachten", "Robin Hood" and "Mein kleines Meer". In addition he leads the dance club for teenagers 13+ at DSCHUNGEL WIEN. Last year he won, together with the dancers Maartje Pasman and Steffi Jöris the STELLA14 – Prize for Performing Art as "outstanding performer".

Ismael IVO Week1: 20 - 24 July African Expressive Dance Beg 18:15 - 20:00 Week2: 27 - 31 July Modern Flow Beg 18:15 - 20:00 Week3: 03 - 07 August African Expressive Dance Int 16:05 - 17:50

African Expressive Dance Creating new body energy

Creation is movement: and the sacred dance arises from the need to identify with the eternal round of the creative forces in the cosmos. In this class the traditional form of the circle is used to bring the students in contact with the energies of the group. It is a meeting point in which we celebrate dance and prepare different ideas and body movements. The foot contact with the ground in connection with the vibration of the pelvis and the extensions of arms unlocks the torso, giving space for repetitive movements. With this repetition dancing intensifies awareness, allowing us to say the unspeakable and to get to know the unexplainable, simply from the fact of sharing a movement with the group. Playful exercises will allow diving into a search of body memories making way to a renewal of our personal dance vocabulary.

63 Modern Flow A sensation of vitality

"Moving beyond the mechanics and releasing into the intention that drives every movement."

A careful warm up not only prepares muscles and joints for rigorous movements but focuses your mind and energy. This class is inspired on the modern dance technique created by Lester Horton in combination with a range of an organic form of exercises aimed to the quality of your relaxation, breathing, and rhythm. There is an incorporation of meditative exercises, each of which increases bodily awareness and sensitivity. Special attention is given to the flow of movement from verticality, spirals and ground touching. A simple movement at the moment you bend your knees brings the energy in the body to radiate up and out creating a sensation of vitality. The idea is to use the ligaments in the body as elastic bands and imagine water on the functions of joint articulations. Furthermore a special attention is given to increase the flexibility and release in the upper torso, a sharpness of movement of arms and legs. Prepare the body and free the mind for the richness of movement experience.

"Ismael Ivo studied drama and dance in Brazil and performed there as a solo dancer, before being invited to New York by Alvin Ailey in 1983. There he continued creating and performing solo works [...], in which the charismatic intensity and sculptural power of this style brought him an international reputation. [...]" (Oxford Dictionary of Dance, Oxford University Press)

Important impulse for the development of his distinctive style was the close collaboration with Márcia Haydée, Japanese Butoh dancer Ushio Amagatsu, leader of Sankai Juku Company, and with Johann Kresnik, the pioneer of German Dance Theatre.

Worldwide premieres and tours with his 50 feature-length choreographies until now made Ismael Ivo a protagonist of European Dance Theatre. His artistic interest in the research of the Performative Body concept resulted in joined projects with artists like Heiner Mueller, George Tabori and Marina Abramovic. His work with Yoshi Oida was awarded Outstanding Performance of the Year in London. Besides substantial work as choreographer and dancer, his activities as director of festivals and cultural institutions are further creative focal points.

In 1984 Ismael Ivo and Karl Regensburger founded ImPulsTanz – Vienna International Dance Festival, in the meantime Europe's largest dance festival, which he is still leading as representative and artistic director. For this activity he was honoured with the Golden Cross of Merit of Vienna, Austria.

The German National Theatre in Weimar appointed Ismael Ivo as chief-choreographer and director of the dance company from 1997 to 2000. Between 2005 and 2012 he was director of the International Festival of Contemporary Dance and the Dance Department of La Biennale di Venezia in Venice. His innovative festival programme and activities were multiple-awarded in Italy. He introduced the Golden Lion for Dance at La Biennale di Venezia, which was presented to Pina Bausch, Jiří Kylián, Carolyn Carlson, William Forsythe and Sylvie Guillem. With the task to upgrade professional formation on a national base in Italy, in 2009 he founded the Contemporary Dance Research Centre Arsenale della Danza, which was included in the constitution as a permanent activity of La Biennale di Venezia in 2011. From 2013 onwards the project for the Formation of Excellence in Dance will be continued in Vienna and São Paulo under the name Biblioteca do Corpo.

64 Peter JASKO Week1: 20 - 24 July Contemporary Technique Beg 11:40 - 13:40 Contemporary Technique Adv 09:30 - 11:30 Intensive2: 01 + 02 August Spontaneous Composition Adv* 12:10 - 14:40 & 17:30 - 20:00

Contemporary Technique Instinct, Support Action and Fearlessness

My class is about working with powerful physicality related to the floor and air. The focus of the class is to develop movement in different levels - up and down positions, shifting support and balance in different parts of the body and handstand work. My inspiration for the class comes from every living moment that I sense in my life. We start the class with full power by playing games that wake up the body and mind. Later we slow down and focus on the short exercises that we connect to final phrases, which will end the class. Rhythmically we extend and shift movement from the floor phrases into the air and down again, using speed and efficiency of our body. I welcome support, action and fearlessness. In a playful environment I would like to work with the instinct to discover different kinds of movement possibilities. The point of my class is to develop trust within the group and build safe conclusions to difficult actions.

Spontaneous Composition

Spontaneous Composition is a workshop in which we will play with different tools: How to be ready to dance spontaneously in any situation without too long preparation? How to compose an OPEN DANCE spontaneously with different individuals in a collective environment? We will use tools from improvisation, choreography and our physical experience that we carry with us every day.

In this workshop I would like to specifically focus and exercise individual practice, duet work and different possibilities of group work. I found a little system of, how to approach this practice in efficient ways. This workshop will demand physical on-going tries and openness to resolve any kind of situations that will happen in the moment of this process.

Peter Jasko was born in Liptovsky Mikulasin (Slovakia) 1982. He took his first dance classes at the folk dance company Dumbier Slovakia, where he stayed for 11 years. From 1996 to 2001, Peter studied and graduated at the Conservatory J.L. Bella of dance, Banska Bystrica, Slovakia. He continued his higher education at the University of Music and Dramatic Arts in Bratislava before entering at the international school of dance P.A.R.T.S. in Brussels (2002), under the direction of Anna Teresa de Keersmaeker. His professional experience ranges from dancing with different international artists and companies such as Zuzana Hajkova, Opera Banska Bystrica, ASpO, Company Roberto Olivan, OXOXOX - Juri Konjar, G. Barberio Corsetti & Fatou Traore, Company Sidi Larbi Cherkaoui (for the creation of "Myth" in 2007), Anton Lachky company ("Mind a gap" in 2014). Peter is collaborating with David Zambrano since 2001 as performer, and as assistant for his classes and workshops: "Rabbit project", "3 flies went out at noon", "12 flies went out at noon", "Soul project", "Morning Dogs Dancing Day Piggy Night" (Brazil, as assistant), "MA- ZA-DA-MA" (Brazil). In 2001 and 2005, he participated in the danceWEB Scholarship Programme at the ImPulsTanz festival.

Peter is teaching since 2002 and gained his experience from teaching in many dance studios, dance and circus schools and companies in 30 countries in the world such a Belgium, Slovakia, Czech republic, Netherlands, Norway, Spain, Slovenia, Switzerland, Russia, Germany, Austria, Costa Rica, Canada, Congo, Sweden, New York, Brazil, Argentina, India a.o.

He created several pieces: "Nurofen" 1999, "Sextet" 2001; "4 seasons" for the Torino Circus School Flick (2006) and for R. Magro, ESAC in Brussels (2009), "Shared Night" (2012) in collaboration with Milan Herich, "Solo2009" (2013), "Magda clan" (2013), "City lights" for the Tilburg Dance Academy (2013), "7 brothers" for Norrdans (2014), "Oxymoron" (2014), "Spring Quartet" (2015) in collaboration with Simon Thierree and Florencia Demestri, "Nejsem Sam"- a project for 400 seniors from 70 years of age onwards (2015). Close Future projects are: "Into the void" - working title, in collaboration with Clara Furey, (2015) and "At least forever" in collaboration with David Zambrano (2015). Peter Jasko is co-founder of Les SlovaKs Dance Collective. They created "Opening Night" (2007), "Journey Home" (2009), "The Koncert" (2010) and "Fragments" (2012).

German JAUREGUI Week1: 20 - 24 July Ultima Vez Vocabulary Adv* 13:40 - 15:40 Tools for Partnering Adv 16:00 - 18:30 Week2: 27 - 31 July Ultima Vez Vocabulary Adv* 15:20 - 17:20 Tools for Partnering Adv 17:30 - 20:00

Ultima Vez Vocabulary Where are the limits?

During this workshop we will study different materials from several shows ("What the body does not remember", "In spite of wishing and wanting", "Inasmuch as life is borrowed", "Blush", "Sonic Boom", "Puur" and "Spiegel") in order to understand the most important aspects of this works, where the floor work and partnering work are the bases. As well we will speak about the ideas, concepts or sources that lie behind the movements and which are the starting point of some scenes or creations. We will get familiarised with concepts like: risk, trust, moving with necessity, instinct, self- protection, how to protect somebody else, speed, fragility, softness, weakness, tension… these tasks will allow us to discover how we are, how we dance, where the limits are and how we can go further. We will find answers to these questions and new questions may arise.

Bring shoes, knee protections and enjoy!

Tools for partnering Physicality of dance, drama and emotional motivation of theatre

This workshop will concentrate on partner work. We will study some basic concepts and discover through different exercises how to deal with our own weight and with the weight of somebody else. We will learn to take the responsibility of another body. Additionally we will study different relationships between couples, such as power, dependency, indifference, protection etc. We will explore already existing elements or material and we will create our own material within a defined context. By working with another body we will discover our own.

German Jauregui is a director, choreographer, dancer and pedagogue based in Brussels. During 10 years (1998-2008) he worked with the company Ultima Vez/Wim Vandekeybus; as a dancer in the creation and touring of the pieces: "In spite of wishing and wanting" (1999), "Inasmuch as life is borrowed" (2000), "What the body does not remember" (Revival of 2002), "Blush" (2002), "Sonic Boom" (2003), "Puur" (2005), "Spiegel" (2006), and in the dance films: "In spite of wishing and wanting" (2002), "Blush" (2005), "Here after" (2007), and in the short-films: "The last words" (1999), "Inasmuch..." (2000). He was movement assistant in the piece "Scratching the inner fields" (2001). In 2014 and 2015 he performs in the tour of the piece "What the body does not remember" with Ultima Vez. He also collaborated with Loïc Touze, Idoia Zabaleta/Moare danza, Eolo Teatro, Deabru Beltza, and participates in the international project "Sites of imagination" (2007) as well as in the documentary "Los caminos de la memoria" (2009) directed by Jose Luis Peñafuente.

In 2007 he started to develop his own work with the creation of the solo "Isaac" premiered in the festival Trayectos, Zaragoza (ES), and the duet created with Laura Aris "Y del resto no se nada" premiered in the festival Dias de Danza, Barcelona. In 2009, he created "Sunset on Mars" premiered in Julidans festival, Amsterdam, and in 2013 "Confession" premiered at Tanzhaus-Zurich. As a guest choreographer he created the pieces "Esbozo" (2010) San Luis de Potosi, Mexico; "Testamento" (2010) Festival EINCE 2010, Guadalajara, Mexico; and "Tres silencios" (2011) for the Spanish company Date Danza, premiered during the FEX festival in Granada, Spain. In parallel, he teaches seminars and workshops worldwide.

Steffi JÖRIS Week3: 03 - 07 August Schau das mal anders an! (9-12J) 09:30 - 11:30

Schau das mal anders an! (9-12J) Everything we usually don't do!

Two hands and feet – that is normal, right? But what is normal and what is not? Who says so? What if your hands become your feet or the other way round? What happens when the floor and the ceiling swap places? Together we will turn the world upside down and look at things from a different perspective – with acrobatics, movement and dance. How is the world going to change? Upside down, on all fours, try out flick flack – everything we usually don't do in daily life is allowed here.

Steffi Jöris was born in 1987 in the Netherlands and received her degree in Contemporary Dance at the Fontys Dance Academy Tilburg. She worked as a professional dancer with Annette Waterschoot, Nanda van Alebeek and Kim Leeuw. Between 2010 and 2013 she was employed by the dance company De Dansers (Utrecht), where she performed the piece "Shifted" by Jasper van Luijk and toured through Europe with the productions "Café ed sanders" by Wies Merkx and "Tetris" by Erik Kaiel. 2012/2013 she performed in "Closed Circuit" with the Dirty Feet Dance Company (Windsor, UK), as well as in the circus piece "Me Tarzan, You Jane" for children at the Schäxpir Festival (Linz, AT). In addition, she danced in "I breath you in" (Vienna) by Salim Gauwloos. Since the summer of 2013, she is member of the DSCHUNGEL WIEN artistic team and performed in the productions "Spiegelspiele", "Ich gegen mich", "Steffi's Weihnachten", "Robin Hood" and "Mein kleines Meer" a.o. She also runs the DSCHUNGEL WIEN dance club for children ages 8 and up. Together with the dancers Maartje Pasman and Rino Indiono she was awarded the STELLA14 – Performing Arts Prize in the category "Outstanding performance".

67 Steffi JÖRIS & Mira TSCHERNE Week3: 03 - 07 August Richtig falsch! (12-15J)

Richtig falsch! (12-15J) Everything's allowed!

If this is right, then what is wrong? If this is wrong, what would be right? Is the opposite of right, always wrong? And how do you perform a mistake? We will delve into the world of contradictions and combine movement and drama. Is it possible to express text with dance and dance with text? With both media we will invent new characters and tell stories. Everything's allowed – including failing, because this is the greatest fun and puts the best ideas in our minds.

Mira Tscherne was born in 1986 in Vienna. In 2010 she completed her acting studies at the University of Music and Performing Arts in Graz. She worked at the Schauspielhaus Graz, the Graz Opera, at the Stadttheater Bremerhaven, the Waldviertler Hoftheater and at the Kaltstart Theatre Festival in Hamburg, where she performed with her own solo after the novel by Aglaja Veteranyi "Why the Child Is Cooking in the Polenta". Even before drama school she gained experience in educational theatre as assisting in and leading drama workshops. Since 2014/15 she is a member of the artistic team at the DSCHUNGEL WIEN and performed in the following productions: "Die Schneekönigin", "Bis später", "Angelika und die Weltherrschaft" a.o. In addition she heads a theatre club at DSCHUNGEL WIEN.

Ivana JOZIC Week3: 03 - 07 August From Act to Acting Adv 13:50 - 16:50

From Act to Acting

Throughout his career, the Flemish director, choreographer and visual artist Jan Fabre has compiled a set of ‘exercises’ in the vein of Stanislavski, Meyerhold and Grotowski among others, designed to prepare his performers for their work on stage. These ‘guidelines for the twenty-first century performer’ have become the cornerstone of his method and are reflected in his work. The series of exercises focuses on structurally honing and optimising the performers’ quest for the potential of corporeal acting (also called ‘biological’ or ‘physiological’ acting). The emphasis is on exploring the evocative imagination of ‘the body as a whole’.

FROM ACT TO ACTING

Recently, Jan Fabre has started training some of his most experienced performers – including Cedric Charron, Annabelle Chambon, Ivana Jozic and Kasper Vandenberghe — so they can teach these guidelines to others.

During this workshop, which lasts five days, the performer’s body becomes an instrument that examines and epitomises the transition from act to acting. The imagination and the awareness of one’s physical being are gradually increased and the performer is challenged to bridge the gap to a state of physical transformation. This workshop is suited for dancers, actors and performers.

Ivana Jozic is a dancer and actress, born in Zagreb, Croatia. She studied dance at the School for Classical Ballet in Zagreb and London Contemporary Dance School, and acting in Drama Studio London.

She started to work with Jan Fabre in 2003 for the production "Je suis sang" (2003). Later she continued with other productions: "Tannhäuser" (2004), "The Crying Body "(2004), "Histoire des Larmes" (2005), "Requiem for Metamorphosis" (2007), "Orgy of Tolerance" (2009) and "Prometheus Landscape II" (2011). She toured for 4 years with Fabre’s solo "Angel of Death", a worldwide success, which won the Golden Laurel Wreath at the MESS International Theatre Festival, honouring the best overall performance. In 2008, Fabre had written and created another solo for her: "Another Sleepy, Dusty, Delta Day". In 2015 she will be part of Jan Fabre’s 24-hour project "Mount Olympus", to glorify the cult of tragedy (a 24 hour performance), as well as continuing to work on other projects.

As an actress, Ivana Jozic appeared in Chantal Akerman’s movie-installation "Women from Antwerp in November" (2008) and in Pierre Coulibeuf’s "Doctor Fabre will cure you" (2013).

Inge KAINDLSTORFER Week1: 20. - 24. Juli tanz°zwerge: Kreativer Kindertanz (4-6J) 09:00 - 10:00 Intensive3: 08. + 09. August Start with Contact Improvisation! o 09:30 - 12:00 & 14:50 - 17:20 tanz°zwerge: Kreativer Kindertanz (4-6J) phantasy dance!

Our dance dwarfs, our youngest dancers are giants. Because the smallest of us still bear the ability to move freely.

Children’s‘ joy in motion, their natural impulse to move is the core and starting point of this workshop. Different music from different cultures and genres will inspire the different dance qualities. New things will be tried in a playful manner and varied in creative ways. We develop small choreographies, improvise with short tasks and dance freely. With our inner imagination, we become dancing animals, plants, objects and much more. Dance and movement games lead to wild swirling sequences to calm, concentrated movements and also relaxing situations. In all this variety, the children can bring in their own personal way and express their individuality through dance.

69 Start with Contact Improvisation! An explorative introduction and continuation of Contact Improvisation

A Dialogue between two or more dancers Bodies moving around a constantly shifting contact point Perception of the diversity of dancing impulses Trusting own movements and movements of others

In this workshop we will find time to focus on diving into the world of Contact Improvisation. We will work on basic elements of Contact Improvisation on all spatial levels, feel the weight of the own body, play with it and relate it to our partners. We practice skills as: moving into the floor, flying, being lifted, supporting and experience the continuity of dance in a duet. Dynamic and a mutual rhythm rise through this contact bringing the own movements to dance. This enhances balance between your and your partners’ impulses. Unexpectedly we will throw ourselves into moving dialogues and talks about all sorts of possible and impossible topics, which will emerge: All of a sudden. Hasty. Nothing is impossible. The nothing is possible. Tentative. Patient.

How does my body want to move? Which rhythms appear in the dance with my partner? How do other movements and bodies inspire me?

Inge Kaindlstorfer is living in Vienna and is teaching bodywork, contemporary technique, Authentic Movement, Contact Improvisation and Improvisation, as well as Composition a.o. in Vienna, Moscow, Odessa, Lisbon, Cape Verde, New York and Bucharest since 1986. Since many years she works as a performer with the company Lux Flux in Vienna. Her works have been collaborating with the Saira-Blanche-Theatre in Moscow and have been shown at festivals such as ImPulsTanz 1997 and 1998, Wiener Festwochen in 1999 and tanz2000.at, in Austria and Cape Verde, Germany and many countries of Eastern Europe.

Kira KIRSCH Week2: 27 - 31 July Spine, Space & Sparkles - Axis Syllabus Adv 09:30 - 11:30 Degrees of Freedom - Axis Syllabus Beg 16:05 - 17:50

SPINE, SPACE & SPARKLES - Axis Syllabus spine = deep somatic awareness of dynamic evolutionary design space = spatial orientation defined by individual architecture, gravity and centrifugal forces sparkles = joy & vitality

The starting point for our journey will be our spine, a complex, dynamic structure, with a mosaic of features shaped by natural selection over vast periods of time - exquisitely capable as well as marked by fragility and subject to pain or injury for most of us at some point in life.

We will take observations and considerations of human evolutionary biology and dynamic architectural design (tensegrity, waves) to explore the body’s contemporary manifestation, how we read its functions and how we can protect and increase its potential. I invite you to the art of observation by looking at our shared and individual varied anatomies and by tracing ideas and concepts of experiencing the body in different contexts.

Expect theory, applied research and a practice towards the cultivation of subtle articulation and a deep sensing spine. A spine that effectively distributes and recycles kinetic impact

70 through itself, into pelvis, periphery and space. We will experiment with variations of crawling, walking, running and jumping to explore the history and adaptability of the spine with high regards to gravity as the complementary organizing factor. Movement material ranges from analytical slow motion to repetitive swinging to powerful high dynamics with a taste of acrobacy.

My personal interest lays in providing food for thought, time for integration and tools for sustainability, and health. Inspiring a critical but sparkling dance practice.

DEGREES OF FREEDOM a manual for movers / training practices for dynamic coordination & conditioning

So how does all of this work: flexibility, strong centre, opening of the hips, grounding and the loose neck? How much strength is necessary and how much is too much? And what do all these terms actually mean? How does freedom in the movement feel like?

These and other thoughts are the starting point to gain an insight into applied and living architecture of the body, biomechanics and physics. With a new understanding for relations we can observe individually inherited as well as constitutional limitations and explore resulting movement potential. With skilful coordination and the holistic interplay we will dance, improvise and explore the sustainable, feel good and individually adapted movement range. This Workshop requires curiosity and a natural spirit for research.

AXIS SYLLABUS

The Axis Syllabus can be considered an information resource pool filled with tools, tactics and knowledge for continuously improving movement education and training practices for dancers and everyone that desires to move. The AS claims to be a detailed systemic and a continuously redefining movement analysis that is based on on-going empirical, multi- scientific and pedagogical inquiry. Knowledge is gathered, organised and tested by a community of teachers and students from all walks of life. Safe falling reflexes, transitions, finding healthy range of motion, injury prevention or kinetic efficiency are some of the key objectives. An Axis Syllabus class aims to create a collaborative learning environment and effective space for personal research.

Kira Maria Kirsch is a movement artist born in East-Berlin and currently traveling around the world with her little family. She is deeply invested into creating, questioning and improving spaces for people to experience, learn about and sensitise their mind-body- movement continuum. She has pioneered, taught and continuously researched through the lens of the Axis Syllabus (AS) for over a decade, is a co-organiser of the Nomadic College at Earthdance, leads teacher trainings and has build a platform for AS research in the Bay Area, California. Most recently she taught in St. Petersburg, Novosibirsk, at ImPulsTanz, Tanzquartier Vienna and for the Love-In in Toronto. Kira has developed a reputation for being an inspiring and sensitive teacher.

As a performer she has danced in the works of David Szlasa (US), Sara Shelton Mann (US), Avy K. Productions (RU), Christine Bonansea (US/FR), Half Machine (DK), ABCdance collective/Frey Faust, Cie. Anna Tenta (AT) and in numerous collaborations with her peers. In 2009 she started collaborating with Montreal based Kelly Keenan and their creations "species - a moving body exposition" and "useless creatures" which have been presented in the US, Canada and Austria.

71 Sascha KRAUSNEKER Week2: 27 - 31 July Feldenkrais Method o 18:40 - 20:10 Intensive2: 01 + 02 August Feldenkrais Method o 09:45 - 11:45 & 15:00 - 17:00

Feldenkrais Method Symbiosis of movement and learning

In this 1-week workshop we will explore the Feldenkrais Method and gradually find out how to usefully integrate it into our movement repertoire and life. With the Feldenkrais Method we can learn to move with ease and to enlarge our comfortable movement range. We come more in contact with our self. The possible themes of Feldenkrais-lessons cover a wide range of human movement: from infant development to high-level performance abilities. The Method is a unique and revolutionary approach to the understanding of human learning, movement and function. Its focus is on the practical development of one's own individual potential and ability. People learn to improve the way they organise themselves for action.

Effects of Feldenkrais lessons can be: Improved balance, easier breathing, a better coordination, more efficient movement, more differentiated movement, improved posture, freedom from pain, increased movement range, increased self perception, more presence, more stability, more power, better contact to the floor, among many others.

"The Lessons are designed to improve ability, that is, to expand the boundaries of the possible: to turn the impossible into the possible, the difficult into the easy, and the easy into the pleasant.” Moshé Feldenkrais

Sascha Krausneker teaches the Feldenkrais Method since 2002 in various contexts nationally and internationally and conducts a private practice for individual lessons as well as groups in Vienna, Austria. He has a background in dance, theatre and sports and is a regular Feldenkrais guest teacher at the Tanzquartier Wien, at the Konservatorium Wien University and at ImPulsTanz. Sascha is co-founder of the Feldenkrais Institut Wien, where he also maintains his private practice. More informations on: www.feldenkrais-praxis-wien.at www.feldenkraisinstitut.at

Nina KRIPAS Week3: 03 - 07 August HipHop Beg 14:05 - 15:50 HipHop Adv 16:05 - 17:50

HipHop Go with the Flow!

My class is built up in 3 steps: Warm-up, technique and some choreography. My Warm-up is a "typical" Warm-up to get the body "warmed up" and to prevent injuries with some strengthening and stretching exercises for the whole body before starting to work with it.

72 The technique part can vary and can be anything from some Old School HipHop trills, Bboying, Top Rocks to Popping and Locking basics to isolations etc. It usually depends on what needs to be worked on or what the students desire to learn and even what we are simply in the mood to do.

The third part of the class, the choreography part, is an outcome of my body language of how I move and how I naturally combine all my influences of different dance styles and my creativity, which is influenced by music and life in general. In my class I use many styles that might not fall strictly into the category HipHop but are inspired by HipHop, Funky Styles, House elements, Dancehall, Voguing etc. Most of all I like to have fun in class and inspire people to dance with their heart and soul without any limitations. My motto is "going with the flow" and I want "us" to feed of each other's energy and have a good time. Bring your best smile or "mugshot" face as long as you bring your true selves!

Nina Kripas had her classical ballet education at the National Ballet School of the Vienna Opera. After that she was a member of Vienna's innovative dance theatre company TTW (TanzTheaterWien) led by Liz King and soon after a member of the Volksoper Wien. at TTW Nina always had the freedom to create her own language and combine her love for HipHop with Contemporary Dance as well as Classical and Modern Dance. Nina travelled through Europe and the US to be at international street dance events and to learn from legendary dancers such as Marjory Smarth, Storm, Karl Libanus, Bruce Ykanji, Superdave, Link, Brian Green, Shotyme, The Electric Boogaloos, The Lockers, Anthony Thomas, and many more. She also choreographed contemporary pieces like "the Nobility of Failure" for the ABCD Dance Company, "Dream Addict" for the Ballet Company of the Opera in Graz and parts of the dance movie "Little Paris". Nina was co-choreographer for the US-Pilot "Limelight". 2007 she moved to Los Angeles where she had the opportunity to work with renowned choreographers such as Fatima Robinson and Richmond+Tone Taluega and others. She was on world tour with the Black Eyed Peas and danced in music videos and award shows for artists such as Chris Brown, Sean Paul, Prince, Kanye West, Usher, New Kids on the Block and many more. Nina always had a passion for teaching and inspiring people of all ages all over the world.

Gérald KURDIAN Week3: 03 - 07 August Artificial Islands Adv 17:00 - 20:00

Artificial Islands

Artificial Islands is the title of a musical and documentary performance workshop led by Gérald Kurdian and written together with consistent groups of individuals, a sharing, for the sake of their professional activities, spaces, ideas or behaviours. Halfway between musical composition, choreography and do-it-yourself anthropology practices, it appears as an opportunity to observe, sample and articulate together some of our visible or underlying relationships to work. Holding on the participants’ experience as workers, it transforms their professional contexts (offices, classrooms, studios, stadiums, etc.) into both analytical and performative frames and lets - by the means of songs, choirs and movement practices - emerge both the intimate and the extimate accounts of their daily practices. It is documentary based song-writing meeting lo-fi anthropological choreography. It is a pretext to investigate, produce materials (songs, movements) from the very core of our corps de métier (body of work) and to explore the traces of collective subconsciousness in the fabrication of our professional selves.

73 It is a flash portrait of our collective places and an attempt to question the influence of these contexts on our ideas of community, utopia and contemporary bodies.

On a practical level, it is developed through 4 main processes:

• The writing of documentary songs

The text material of Artificial Islands stems out from interviews and oral exercises done together with the participants. They focus on the mental and sensorial travels a worker goes through during labour. They are open windows on mind streams, voices of the working body.

• The composition of choreographic scores

The Artificial Islands’ choreographic scores hold on the participants’ daily trajectories, habits and states. They are a revisitation of engraved systems and tend to enlight how the individuals negotiate with habits and autonomy.

• The Choir or the Sharing

Once the musical and choreographic scores have been set, these practices aim to be shared and redistributed among the participants. They develop in the frame of vocal technique and singing classes. Besides impersonation, there is a search for polyphonic logics – whether harmonious or not, carried vocally or physically, performed by solo artists or collectively.

• The live performing and the shooting of the movie document

Each Artificial Islands workshop find its conclusion with the presentation of a short while consistent act, performed and shot live in the room where the workshop took place. The video document is then edited and broadcasted.

Gérald Kurdian, performer, songwriter and radio-artist, studied visual arts at the Ecole Nationale Supérieure d’Arts de Paris-Cergy before taking part in the EX.E.R.CE 07 contemporary dance programme directed by Mathilde Monnier (Centre Chorégraphique de Montpellier) and Xavier Le Roy. He then assisted musically choreographers such as Mette Ingvartsen, Eszter Salamon, Carole Perdereau, l’iiii, le Club des 5 and Eleanor Bauer and collaborated with Tiago Guedes, Julie Favreau and the movie-maker Arnold Pasquier.

His musical performances "Royal Gala" (2005); "1999" (2009); "18 Chansons" (2010); "My first club song ever" (2011); "The Magic of Spectacular Theater" (2012) have been shown in various places such as the Centre Pompidou - Metz, Fondation Cartier, Théâtre de la Cité Internationale, MAC/VAL, Lieu unique (Nantes), La Villette, Plateau Frac-idf, Centre Chorégraphique de Montpellier, Centre Clark (Montréal), Les Louvrais - Scène Nationale de Cergy, Maison Populaire, Abbaye de Maubuisson, and during several festivals such as Crossing the Line - New York, Les Inaccoutumés, steirischer herbst (Austria), Tupp (Sweden), Baltoscandal (Estonia), FAR (Switzerland), Circular (Portugal), Uzes Danse, Montpellier Danse or the sommer.bar of the Tanz im August Festival in Berlin. In 2006, he collaborated with the Atelier de Creation Radiophonique / Radio France and produced "Je suis putain", a radio-documentary elaborated in collaboration with female prostitutes. He also directed several radio projects exploring sound performativity and contemporary arts critique (Divergence fm, Radio RGB, Betonsalon, La Vitrine).

74 Between July and December 2008, he took part in "6M1L" (6 months 1 location), a research programme initiated by Xavier Le Roy and Bojana Cvejic and in collaboration with Eszter Salamon, Mette Ingvartsen, Juan Dominguez, Jefta Van Dinther, Chrysa Parkinson and Eleanor Bauer. In this frame, he produced "6 mois 1 lieu et le comportement de l’ensemble" (6 months 1 location and the ensemble’s behaviour) a lo-fi radio-piece on contemporary dance theory co-produced by the Atelier de Création Radiophonique and the SACD.

In 2010, he initiated, together with Caroline Masini and Manon Santkin, an audio-magazine project called "Archive Now" which two first editions (numbers 0 and 1) were issued in the frame of the Swiss FAR festival in Nyon and during the French Act’Oral festival. The same year, he won with Caroline Masini, the Phonurgia Nova grant for "Menaces, Fantômes" a science-fiction radio documentary. In parallel, he focused on, "This is the hello monster!", his avant-pop solo band. Winner of the Paris Jeunes Talents contest and supported by the FAIR 2010, he performs regularly in France and abroad (Nouveau Casino, Point Ephémère, 6par4, a.o.), during festivals (Les 3 Eléphants, des Rockomotives, des Musiques Volantes, Rock en Seine, FME, Solidays) or opening for The DO, Piers Faccini, Emilie Loizeau ou Elysian Fields. His first LP, released in April 2010 on Bs records / Gommette publishing / Idol, has been selected among the French newspaper Libération's records of the year 2010.

Kerstin KUSSMAUL Week4: 10 - 14 August The Psoas Connection – Experiential Anatomy o 09:45 - 11:30

The Psoas Connection – Experiential Anatomy Experiencing and toning deep muscle connections

We will use the "psoas complex" as our prism to explore connectivities in our bodies.

The muscle iliopsoas reaches from the thoracic spine to the pelvic bone and to the femur (thighbone). It is a deep torso muscle influencing strongly many body systems: spinal erection, knees, feet, breath, throat & jaw, organs in the belly, the nervous system and emotions.

Cognitive detailed anatomical information is the base to explore these connectivities with touch and movement. By releasing and activating the iliopsoas muscle, related muscle groups and kinetic chains we develop a powerful tool for injury prevention, increase the functionality and power of the body systems mentioned above and influence chronically weak or painful areas in our body in a positive way.

The underlying method for this workshop is Myoreflex therapy: It works with the muscle sensors as a tool for regulation, thus reaching through this deviation the control centre – the brain. This physiological connection can be used to perceive specific muscles and to activate them in movement. Our brain’s capacity to discern, to modify and to complement is almost infinite. In this way we create new opportunities to translate our internal experience into movement.

This workshop is suited for dancers and non-dancers interested in specific work, and will provide exercises and tools to use in any movement practice.

75 Kerstin Kussmaul is dance maker and Somatic Movement Educator. Her artistic focus is on music/dance projects and the development of new formats for the mediation and investigation of movement, such as "Vexations: we call it work", a music/room/performance installation which was premiered at ImPulsTanz 2009. She studied Pedagogy of Music and Dance, Somatic Movement Education and TCM in Berkeley/USA, Myoreflex Therapy and Yoga and teaches professionals and amateurs in Europe. She is founder and director of IDOCDE (International Documentation of Contemporary Dance Education) a EU-supported network for dance teachers.

Karine LABEL & Djoutala SEYDI Intensive3: 08. + 09. August Ratatouille o 12:30 - 18:30

Ratatouille Dancing & cooking together

Although we live in a multicultural and globalised society, we exist more and more next to each other instead of spending time with each other. In Ratatouille the interaction and communication is not only subject to dance but is expanded through Karine LaBel's other passion: the culinary delights.

The shared cooking and eating creates an atmosphere with open discussion about topics such as migration, segregation, identity, asylum, escape, etc. and people with diverse social, cultural and political backgrounds can feel free to talk about their personal life experiences.

The Senegalese dancer Djoutala Seydi and the Haitian Karine LaBel have already been working together on a number of projects. Their combined experience, the combination of their cultural backgrounds, the meeting of feminine and masculine concepts lead to a dynamic and communicative shared dance project.

Karine LaBel grew up in Haiti, where she is influenced by the culture of Vodou, the "danced religion" in her country. Her educational experiences lead her from Haiti over Paris to Vienna, where she settled and lives nowadays. The young charismatic artist is pedagogically well-experienced and received recognition after her participation in numerous performances in France, Germany, Austria and Switzerland.

Djoutala Seydi comes from the southern Senegal, Casamance. Even as a child he began to dance. He was a member of the ballet Woulaba-Ziguinchor and Melody in Dakar. Today he is a choreographer and artistic director of Doman Doman, an 18-headed dance and drum ensemble in Senegal. He participated in a.o. "Menschen für Menschen" in St. Pölten (AT), the "UNO-BALL" in Vienna, the "Festival of Cultures" in Vienna and the "Hallamasch Festival" as well as in "Sans Soleil" at the Museumsquartier Vienna. In 2006 he founded the dance company "Tilyboo", which fuses Senegalese and Haitian dance movements. In 2009 he founded a dance and training centre for various artistic expression (dance, batik, sculpture, painting, language) in Kafountine, Senegal. In addition he organises an annual dance festival in Ziguinchor, his hometown.

76 Karine LABEL Week1: 20 - 24 July Afro-Haitian Dance o 16:05 - 17:50

Afro-Haitian Dance Prayer of the body

The snake dance Yanvalou is something very special in the African and Afro-Haitian dance culture. Yanvalou represents the wavelike movements of the big snake, symbol for vitality, fertility and sexuality. Karine LaBel further developed that dance focusing on the breastbone, arms, navel and spine. Due to its powerful, dynamic movements without ever losing the contact with the floor, the participants get their whole bodies to swing.

The Haitian dancer Karine LaBel emphasises on the warm-up of shoulders, spine and back. The participants are accompanied by live music and introduced to the rhythm of the snake dance step by step. Karine LaBel explains the ritual background and the philosophy of some Haitian dances such as the spider dance, the water dance, and the dance for Ogun. In Haiti each dance is related to an element, a spirit or a god and is a magical metaphor for the invisible world. The participants get the chance to delve into those dances that Maya Deren described as the "prayer of the body".

Jennifer LACEY Week3: 03 - 07 August Weak Method Adv 11:40 - 14:40 Week4: 10 - 14 August I Like to Watch Adv 17:00 - 20:00

Weak Method

Weak Method is a phrase that turned up at the very end of TeachBack in 2014. It seemed a good way to describe the field in which we had been working, one that used modest and absurd tasks to generate constructions of material and conversation that we did not see coming. I am curious about this so I am giving this workshop. This class will invest its time working with methods that are so feeble that they will never have the strength to reach their undefined goals. Weak method is a way to do a something that will forever remain elusive and unachieved. Generalizations and barely defined tasks are the name of this game. The Weak Method opens a terrain unfettered by projection filled with results that astonish and delight and then slip away. If we would like to imagine a way of working that is not already so familiar that we know what it will produce, then weak method may be the way to go. Spending time in the eminent productions of an unambitious process can be very refreshing. Weak method may gently allow us to do something excised from the projection of trying to do something.

As it turns out weak method is a term operating in the field of artificial intelligence, it is a way of going about knowledge gathering that is general and wide, used to manage

77 uncertainty in the face of an undefined problem. It's an accident that this term is the same as mine but a happy accident. Underlying this, I think, is the question of what should work feel like when dealing with an ephemeral form. If what we make defines itself poorly as a consumer product, then what is our work? By doing work without a goal we might know more about the possibilities of our form and our engagement with it. It'll be fun.

I Like to Watch

This workshop is a little time to consider what type of spectatorship certain works or ways of working might need in order to be perceived. How can we suggest these positions of spectatorship from within the work and also maybe how we can expand expectations of spectacle?

We will work (for the fun of it) on making quick forms that demand different qualities of reception so we can try things out and also try out ways of augmenting our reception of these "things". Probably something about criticality will come up which will include evaluating traditional/habitual ways of receiving an audience (re: theatre, space and time). The workshop will start with this premise but might end somewhere else. I want to think with a group about what the basic assumptions held about (performed) dance is in our culture and what it might need from us to keep on being vital.

Jennifer Lacey is an American choreographer now based in Paris. During the 90’s in New York City Lacey was a member of the Randy Warshaw Dance Company as well as a dancer with Jennifer Monson, DD Dorvillier, John Jasperse, Yvonne Meier and Ellen Fisher among others. At the same time she began developing her own work, which was presented at PS 122, Movement Research Danspace St Marks, the Kitchen as well as at many European venues and Festivals notably the Kaaitheater, Beaubourg/Centre Georges Pompidou, Festival d'Autumn, Wiener Festwochen, the Tate Modern and Montpellier Danse.

In 2000 Lacey moved to Paris, founded Megagloss with Carole Bodin and began what became a longstanding collaboration with artist Nadia Lauro. Their collaboration has produced many works including "$Shot", "Chateaux of France", "Mhmmmmm" and "Les Assistantes". A monograph of their work was published in 2007. In addition to her work with Lauro, Lacey has founded a number of projects with ambiguous borders: "Projet Bonbonnière" - a research and living project designed to rehabilitate Italianate theatres; "Prodwhee" - a disposable series of performances using the dance residency as currency; "Robinhood" - a mythic and invisible performance with artist Cerith Wyn Evans; "Robinhood - The Tour" - an act of theft perpetuated with composer/musician Hecker, presented recently at the Tate Modern; and "Transmaniastan" - a work commissioned for "a choreographed exhibition" at the Kunsthalle, St. Gallen. She has also produced several solos: "Two Discussions of an Anterior Event" (2004), "Tall" (2007) and "Ouch"(2007) (a tap version of Carolee Scheeman’s Internal Scroll). In 2009 she presented "Culture & Administration", a duet in collaboration with Antonija Livingstone. For the past two years she has been in residence at the Laboratoires d‘Aubervilliers in Paris. During this time she has produced two projects, "Ma premiere fois avec un dramaturge", and "I heart Lygia Clark". These projects are performative but fall outside the standard modes of dance production and spectacle. In 2011 Lacey premiered a collaboration with American choreographer Wally Cardona and Jonathan Bepler, "Tool Is Loot". This group is currently engaged in a 4 year 8 part project, "The Set-Up" based in meetings with international dance "masters". She is also currently presenting "Culture Administration and Trembling" a work made with Antonija Livingstone, Steven Thompson and Dominique Petrin.

78 As far afield from traditional dance performance as the work often goes, Lacey is committed to her essential point of view as a dancer and strives to produce a thinking body of work in which poetics transcend a conceptual basis. She has taught technique, improvisation, composition etc. all over the globe for the last 15 years in institutions, studios and festivals. As a teacher Lacey has been influenced by her continuing studies with Release Technique pioneer, Joan Skinner. Over the past 10 years her teaching has expanded into her artistic practice. The form of the workshops is taken as performative and capable of producing content rather than just transmitting it. Consequently, she has been developmental in designing and running a project at the ImPulsTanz Festival in Vienna for artists who also teach. This program is in its 6th year and will function as danceWEB scholarship coach this year.

Jennifer received a Doris Duke Impact Award in 2014 and a Guggenheim fellowship in 2015.

Benoît LACHAMBRE Week1: 20 - 24 July Body Reflection or Many States of Being o 09:15 - 11:30

Body Reflection or Many States Of Being

This project proposes constructive alignment accompanied with deep imagery work that awakens both, energy patterns and body spaces awareness. This creates strong relating to an inner/outer dialogue, investigating influence and affluence. The work taps into a soft approach to the essence of one‘s self-reflection. This addresses the use of fluid standing into soft bodies. Never the less it is possible to invest with this approach rapid and tonic states, even though, the tendency is to veer most often towards soft embracive application. The work also offers alternative definitions of strength where grounding carries oneself through body extension and space awareness. Reinvesting strength patterns brings into reconsidering one‘s positioning into the surroundings. This Workshop does not offer an answer but multiple propositions and possibilities.

A daring and innovative artist, Benoît Lachambre has been evolving in the international dance community for more than twenty-nine years, as choreographer, dancer, improviser and teacher. After beginning his career in Jazz and Modern dance, he devoted himself to an exploratory approach of movement and its sources, and to seeking authenticity of motion. Since then, he has accumulated diverse experiences with releasing, with his own choreographic composition and improvisation projects, and finally with his workshops on research, improvisation and body consciousness.

In 1996, Benoît Lachambre created his company Par B.L.eux: "B.L." for Benoît Lachambre, and "eux" for “them,” the creative artists with whom he collaborates. The company is devoted to contemporary and interdisciplinary choreographic creation, and the close connection to an international network of artists.

Benoît Lachambre continues to multiply his artistic encounters through his experiences as choreographer, improviser and teacher. His dance is based on the evolution of a proliferation of ideas, of dynamic exchanges aroused by the coming together of various artistic processes and concepts. Benoît is comfortable with passing from metaphor to theory to diverse practices. He transforms eclecticism into a multiplication of complementary activities. He seeks to incorporate the dynamics of communication and perception in his process.

79 Benoît Lachambre has received the Jacqueline Lemieux award from the Canada Council (1999), two Dora Mavor Moores for best performance and best choreography for "Délire Défait" (2001), the Moving Pictures award in Toronto for the best performance in "Cantique no 1 et no 2" directed by Marie Chouinard (2003) and the Bessie Award for his performance in "Forgeries, Love and other matters" (2006). During the presentation of "Snakeskins", Benoît Lachambre was awarded the Grand prix de la danse de Montréal 2013, and received the Best Choreography award for the work "Prisms" in 2014, a commissioned work for Montreal Danse. His new work "Hyperterrestres", created with the French choreographer Fabrice Ramalingom, will be premiered during Festival TransAmériques in Montreal in May 2015.

More information: www.parbleux.qc.ca

Corinne LANSELLE Week1: 20 - 24 July Modern Technique Adv 09:30 - 11:30 Modern Technique Beg 14:35 - 16:20 Intensive1: 25 + 26 July Modern Technique Int 09:30 - 12:00 & 14:50 - 17:20

Modern Technique To open the centre of the body towards the extremities

Corinne Lanselle accentuates contemporary dance technique, influenced by martial arts and Feldenkrais – that means by the support of the body in space, by the 8 as a base in movement, by the connection of pelvis and head, the connection of feet and hands to discover an articulated freedom and to open the centre towards the extremities. All this aims to strengthen the vitality of the movement.

To the advanced she will offer a higher complexity of the combinations, harder technical challenges, and the emphasis on speed, dynamics and risks.

After her dance studies of Horton and Limon technique, amongst others, in New York the French dancer, choreographer and teacher Corinne Lanselle returned to Paris. She started her own company in 1986 with which she has created and toured 15 pieces since then. All of them underlined her approach fusing theatre, dance, music and martial dance. In April 2002 her piece "Fabrik", a trio for two men and one woman, was presented in Paris. Her last works are: "As in the fruit his nucleus" (2007) and "Corps anonymes" (2009).

Her international recognition is based on her sense of humour and her great sensibility dedicated to dance. She has been setting up training programs by developing relations and partnerships with other artists (dancers, actors, visual artists, musicians, video directors), by allowing a mix between these different disciplines with Le Cirque Baroque (a famous new circus in France), cooperations with Gabriel Cousin, with the Théâtre de la Ville in Paris and the DV8 Company, with Black Blanc Beur, with Mary Stephen and Eric Rohmer. She is the director of a dance school (Studio Harmonic), supported by the French government and artistic director of the festival Pré-Tendanse dedicated to young artists taking place every September at the Café de la Danse in Paris.

80 Charmaine LEBLANC Week3: 03. - 07. August Voice & Rhythm - Voice and our Identity o 14:20 - 16:50

Voice & Rhythm - Voice and our Identity

Meredith Monk was once quoted as saying, "One day at the piano, doing some vocalising, I realised that the voice could have the same kind of flexibility the body has, and that you could find a language for the voice that had the same individuality as a dancers movement, that you could find a vocabulary that was actually based on your voice." After having studied with some of the most renowned figures of the world including Meredith Monk and members of The Roy Hart Theatre Co., I cannot help but believe that some aspects of the voice are universal and that we are all touched by a certain register of emotions that are within each of us, an ongoing orchestration of sounds and music that reflect the poetry of our singularity.

Workshop Outline: Creating a Solo The workshop will centre on techniques that are inspired by the many teachers that I have worked with. We will work on a series of physical exercises that connect breath to sound and that facilitate the understanding of how our voices work. We will work on singing; speaking and sounding which is inspired by the extended range work that we will explore together. At the end of the workshop each individual will be asked to perform any vocal piece they would like to present. After having taught all over the world I realised that a simple way to get over the fear of vocalising is by just getting up and doing it and realising voice is one of the most incredible tools we have as individuals and performers.

Charmaine LeBlanc is a vocalist/ composer/ director whose multi-disciplinary skills have been sought after for dance, theatre, film, circus arts and television productions. An award winning composer, she has written and performed over twenty soundtracks for productions that have taken her all over the world. She has written music and collaborated with The Cirque du Soleil, Le Théatre Gallelio, Les Sept Doigts de la Main and Les Gens D’R’. She has also worked for some of the world's most known choreographers and dance companies from Canada, the United States, and Europe. Some of her collaborations have been with Danse Sauvage (Canada), Risa Steinberg of The Jose Limon Company (New York), Gerald Casel of the Stephen Petronio Company (New York), Milton Myers of The Alvin Ailey Company (New York), Les Ballets du Nord (France), Susanne Linke (Germany) and Vibeke Muaysa (Denmark). Charmaine is becoming more known for her direction of multi-disciplinary performances that place dance at the centre of her work. Her most recent piece was the last part of a triptych that featured eight of the country’s leading dancers and a team of prize-winning collaborators. "Terminus" played to sold-out houses in Montreal in November 2012 and was a co-production with Danse Cité. Films of her work directed by Marlene Millar have been presented at International film festivals as well as on Bravo. She is the co-founder and artistic director of The Red Rabbit Project.

81 Leech Intensive1: 25. + 26. July Parkour o 12:15 - 17:15

Parkour self-chosen challenges

Parkour is the art of efficient locomotion. Body and mind are used to overcome obstacles and face self-chosen challenges. The focus is not on spectacular achievements but on individual process. The workshop facilitates to experience Parkour on the own body.

The workshop starts with simple exercises to gain coenaesthesia and body control. We will engage in questions such as: how do I run? How do I jump? How do I land? How do I coordinate movement sequences? Precision jumps (land precisely from A to B), jumps integrating the arms (how to jump towards a wall and how to develop the right grip), cat jumps and techniques for the surpassing of walls will be introduced. Through this training, which should be practised regularly and repeatedly, the body gains control to the extent of full physical and mental freedom in movement.

Parkour is based on repetition of simple exercises. None of the participants will leave as a master of Parkour, but as long as one repeats the exercises one will gain strength and will improve. There is no „goal“ as such. No precognition is required; Parkour is the art of locomotion. Each one of us is doing it one way or the other. Most people choose the way of the social principles and use predetermined routes. Through this training you will gain a different view on what is possible.

"My motivation behind Parkour is definitely the joy of free movement through the city and my whole environment. To bring body and mind under control in a balanced way is a privilege in our nowadays society. As long as TV, Internet and the entertainment industry exist, people will still need more time to understand how important "we" are."

Born in Turkey/Ankara, based in Austria/Vienna - Tunc Uysaler aka Leech has brought his skilled mindset to a new audience of artistic beings. Former Austrian Beatbox Champion of 2005 and 2006, won endless awards and contests, even including the Austrian Band Contest 2006. All of this has not really been a big issue for this man.

At the same time Parkour & Freerunning came into his life. With a strong background of Capoeira and Martial Arts he developed his own unique style to move - no matter where, when and how. Travelling the world just for the sake of gaining more and more experience and to develop new techniques and styles to overcome different types of obstacles and challenges in his life, he was one of the first ones to start Parkour in his country (Austria) and is now being recognised as a pioneer of the European community as well.

Another passion of his is the art of filming and capturing images in every type and format. Having learned all of this by himself, shows us, that conscious dedication can change one's life - even in young ages. If you want to follow him - www.gimme10.at - this is his private video blog, showcasing videos from his travels, friends and events.

82 Lise LENDAIS Week1: 20 - 24 July Im Land der Barbarei (13-16J)

Im Land der Barbarei (13-16J) Actual mythologies

Do you know about Tauris? It was a Barbarian and foreign country in ancient Greece. The story about "Iphigenia in Tauris" was packed with blood and thunder, treason and love, magic and huge emotions – it's actually a good read! For this workshop you don't need to know the story, because we will explore our own notion of a Barbarian and foreign country. We will have a hell of fun, just like the old Greeks did, using all sorts of tools such as lighting, sound, video and costumes amongst our own theatrical possibilities – big time! We will create our own Tauris, with everything we think Barbarianism means nowadays and re- visit this old story to create a fictional space for our actual mythologies.

Lise Lendais was trained in scenography in the French National School of Theatre ENSATT and the applied art school ENSAD in Paris. She has been developing her artistic work in Belgium. Since 2010, she is living and working in Vienna. She is creating her own pieces in collaboration with dramaturges, performers or visual artists (last shown in Vienna: "PIED-NOIR, an incomplete song" and "TALIN, MARY KATE & ME"), also she collaborates as costume or set designer with different artists like Anne Juren (tableaux vivant, lost and found, Happy end), Jan Machacek (Normarena), Notfoundyet (This is so F***dance), Needcompany (Porcelain Project, The Deer House) a.o. She has been teaching theatre in Paris for five years. More information here: www.liselendais.com

Keren LEVI Week2: 27 - 31 July Dancing Happy on Sad Music Adv 17:30 - 20:00

Dancing Happy on Sad Music Statements of Ambiguity

Dancing Happy On Sad Music is a workshop based on a working method I have started to employ during the creation process of "The Prize Piece" (2007) and developed further in other performances, which followed that work. "The Prize Piece" was a direct response to a situation in which I received an award-commission to create new work. In a state of ambiguous feelings about the award, very little was clear to me at the start of the process but the understanding that this piece has to be about that state of ambiguity. Finally the performance became a playlist of eight 'statements of ambiguity' (four of which were solos) that were about the attempt to become free of the determinative and somewhat assertive conjunction or, and instead affirm the connective and inclusive and. How to be and rather than or?

Without getting fixed on one performance style, dance or theatrical code, in this workshop I will propose the experience working on "The Prize Piece" as a starting point for the creation of short, compact solos (statements). The intention is that these 'statements' will propose questions that might feed a further enquiry.

Since 2004, Keren Levi has built an international profile as a choreographer with a body of work including "Territory" (2004) , a performance about identity and framing, the duet "Couple-Like" in collaboration with Ugo Dehaes (2006) and "The Dry Piece" (2013), a video

83 dance performance about beauty and femininity. In her work she aims to remove surplus and decoration, and to develop performances out of reduced yet playful conceptual guidelines. Levi teaches dance, body work and composition in the School for New Dance Development (SNDO) and in the Modern Dance Department (MTD), in the School for Performing Arts Amsterdam (AHK), as well as at festivals, training programmes and companies across Europe. She has recently graduated from the MA programme in Amsterdam Master of Choreography (AMCh). www.kerenlevi.com

Terence LEWIS Week2: 27 - 31 July Indo-Contemporary Dance Adv 11:40 - 13:40 Bollywood Dance Beg 18:00 - 20:00 Week3: 03 - 07 August Bollywood Dance Adv 09:30 - 11:30 Bollywood Dance Beg 18:00 - 20:00

Bollywood Dance Looking for drama?

Bollywood Dance is the handmaiden of Indian Bollywood films that has - until today - retained the flavour of musicals! Constantly influenced by the changing trends, Bollywood Dance culture borrows from both traditional and western pop culture in dance! It is a celebration of life, hence upbeat and high impact burning up to 500 calories an hour! (This workshop is surely not for the weak hearted or weak knees)!

It deals with the complexities of the traditional Kathak footwork and Mudras (hand gestures) along with some groovy folk dance moves from across the countryside that will surely put you in a good mood! We will also unabashedly explore the wonderful world of Abhinaya (facial expression or for some face contortions). So if you are looking for some drama in your life, this is the class to be! Next we explore the world of Mujra - the controversial sensual dance of the tragic courtesan of the 1970ies to finally move on to master the urban cool routines of the current chart busters! A word of caution: the music is going to be loud and so are the students and yes we have a dress code: anything colourful flowing and happy! More the bling, more the zing... Exhibitionists, Voyeurs, Drags, Divas and people willing or wishing to strike it off their bucket list, are all welcome!

Indo-Contemporary Dance dance in perfect unison

The Indo-Contemporary form is the perfect meeting point of the modern-day western and ancient Indian techniques. The Workshop is unique, in as much as it is structured to offer the students a holistic experience of body, mind and spirit. Whilst working our physicality, we also tap into our inner self, which lies at the very core of all Indian philosophies.

A systematic breakdown of the contemporary vocabulary, exploring spirals, gathering and sending and the Release technique, is coupled with ancient Indian disciplines. Borrowing from Yoga, the classic Kathak and Kalaripayattu - the ancient Indian martial art form, the class offers a rich

84 and multi-layered content. Yogic asana and breathing patterns form an integral part of the learning process. The Kathak Mudras (hand gestures) lend a symbolic meaning to the physical movement. With the chanting of Om the inner reverberations are used to lead the movement.

The locomotors exercises across the floor will use Kalaripayattu leg exercises, animal stances and release-based work for transitions. These will work with physical alignment and concepts used to condition the body for dynamic work. For the later part, combinations that use arcs, planes, and gesture will be used. Release and speed will accent some of this material. Improvisation and tasks to help us make segments of material will also figure during the Workshop. Hard core movement, spirituality and an inner balance no longer have to be divided and separated. Find the total experience with Terence's Indo-Contemporary Dance. Feel your body work, awaken your Chakras (energy centres) – dance in perfect unison – body, mind and spirit!

Terence Lewis is of Indian origin and descent and he gets his Anglo-Indian name from his forefathers who were originally Hindu and converted to Christianity during the Portuguese colonisation of Goa-India!

He has studied different dance and body disciplines of his own culture such as Indian folk dance, Kathak and Yoga. Additionally he has studied with various contemporary and modern dance teachers of international repute for several years before he built a strong body of work that is predominantly Contemporary yet has a strong influence of his rich indigenous culture!

In 2003 he was a participant of the ImPulsTanz danceWEB scholarship in Vienna. On his return, he established his own company as the artistic director and founder of the TLCDC that staged and toured several productions such as "Surkh", "Out of the Box," "After 8" and more recently "Scrambled Eggs or Sunny Side Up"

In 2005 he established the Terence Lewis Academy - a premier training school, offering partly funded scholarships for talented young dancers in the country to train professionally in contemporary dance incorporating both Indian and western dance disciplines!

After ten years as a choreographer for the Bollywood Films, and also choreographing for the German film "Hexe Lilli" quite accidentally, he quit the Film Industry in 2009 and was asked to be on the Jury of "Dance India Dance" - the Dance-Casting-Television show in India - which ran successfully for three seasons and continues till date!

April 2015 marked the year where he established and simultaneously curated the very first Contemporary Dance Festival in Mumbai called Jugnee (Firefly) in association with ImPulsTanz! A Popular Contemporary Dance Icon in his own country today, Terence Lewis is a part of several national discussion platforms for the changing trends in modern and contemporary dance in India!

85 Pia LINDY Week2: 27 - 31 July Towards moving thinking o 11:40 - 14:10

Towards moving thinking

This is a Workshop on movement exploration, improvisation, collaboration and exchange focusing on dance, society and lots of questions. How do we carry different expectations, values, roles and rules in our bodies and moving? How do we read dance and movement as public appearance? What happens to (our) moving thinking and to the reading of it in different contexts? How about improvisation and/or choice making in different situations in our everyday life?

The aim is to increase one´s awareness, to draw from and to get inspired by our personal experiences, thoughts, ideas and ideals on dance, art and society. How dancing, the way I do it and the way I think about it is related to a more general idea of (contemporary) dance art, performance and embodiment in the society I live in? What moves or touches me right now? What is important?

The aim is to embody/move/work on these questions with a sense of play and curiosity hoping that each will bring his/her own experiences, interests, ideas and skills with a willingness to share and collaborate with others.

Each day we will start with a warm up together with a focus on movement development and improvisation supported by writing and/or partner work. After a warm up we will create suitable working frames and methods to explore chosen topics alone, with a partner or in small groups using moving, writing and sharing.

In the end of the class we come together to share by talking, performing or other ways. Watching others and to be watched, as well as discussion is an important part of the workshop.

The Workshop is open to everyone interested in movement exploration, improvisation, discussion and linking dance art to different contexts and society.

Dancer, choreographer Pia Lindy has produced solo performances and collaborative projects with different artists in Finland and abroad. She has taught dance and movement workshops at various educational institutions and outside them and worked in artistic workgroups and organisations. Pia Lindy graduated from the School for New Dance Development of the Amsterdam School of The Arts in 1995 where she had studied, for example, with Susan Rethorst, Katie Duck and Ric Allsopp. In her artistic work, she is interested in expectations and values relating to society, dance and art. What is it that dance/art or life is about or what should it be? Her focus has been strongly on improvisation and the process-oriented approach to working, teaching and performing, also on operating in different environments and contexts. Pia is subsidised by The Finnish National Council for Dance with a 5-year working grant for the years 2011-2015.

86 Nita LITTLE Week2: 27 - 31 July Moving the Edge: Elastic Dancing Adv 09:30 - 11:30 Practical Synchronicity: Fields of Felt Presence Adv 14:20 - 16:50

Moving the Edge: Elastic Dancing

CI revolutionizes dance and the physical potentials of human relations by moving forward the cutting edge of what dancers know, sense, and do. Ecologically, the edge weaves together the meeting between dancers and their worlds of motion. It shapes the communication of touch by which we exchange our immediate physical possibility. The edge defines our identity. In this Workshop we extend the edge of our knowing and sharing by pressing on current boundaries of space and time, becoming smarter, faster, fuller. With strong technical abilities, our work researches how dancers attend to and share felt experience, mutual curiosity, and care. By training the physicality of attention, intensive dancers move away from their limiting, domesticated, and culturally entrained ideas of themselves and toward ever-expanding creative capacities. This shift takes each of us beyond our bound bodies and into our elastic bodyminds.

Practical Synchronicity: Fields of Felt Presence

Synchronicity is the moment when time and space meet as one phenomenon and seemingly unrelated events converge in the magic of new meaning and possibility. The unanticipated appears within dancing moments, allowing for new levels of experience and daring creative action. Physical convergences happen as minds meet through touch. Bringing Contact Improvisational sensory and physical techniques into Dance Improvisation offers dancers new creative and performance skills, while enhancing their choreographic tools. This work supports physical meetings across diverse moving moments enhancing difference while inviting heightened states of presence. As ensembles, we will work across forms (CI and Dance Improvisation) for a spectrum of physical and creative possibilities. We will develop enhanced states of presence, realize the profound importance of attention skills, and access the physicality of spatial touch. As choreographers, we will study the values present in how we develop relations.

A pioneering choreographer, performer, and theorist in the field of improvisational dance and Contact Improvisation, Nita Little is invited to work with dancers on five continents. She is currently completing her PhD in Performance Studies at the University of California, Davis. Little participated in the emergence and development of Contact Improvisation in 1972 with Steve Paxton and Nancy Stark Smith. She has been exploring the embodied mind in the physics of motion, relational and creative action, and the performance of presence ever since. As a dance researcher, Little maintains a San Francisco based company: Nita Little Dance Research. Little works with dancers and performers in numerous mediums and modalities - currently she is making her second dance film. She tours on a regular basis making work, performing, and teaching technical and creative skills for companies, festivals and schools worldwide. Little is a physical philosopher who is developing a movement pedagogy oriented around creative actions of the embodied mind in dance, the bases of her dissertation. You will find her choreographing and teaching in NYC, Europe, and South America on a regular basis.

87 Mark LORIMER Week3: 03 - 07 August SPACE Adv 13:50 - 16:50

SPACE

In this Workshop we aim to treat space as the central (and possibly only) choreographic concern. We will draw on various sources from artist’s I have worked with, my own ideas around spatial patterns and ways of organising movement through it's relationship to space, as well as devising our own spatial tasks. In the hierarchy - movement vocabulary, time, and space - the latter is often the least considered or under-explored element where it can be better investigated and brought to the centre of choreography (or the edge, or hovering somewhere at the back - wherever it’s most interesting to the work). We will treat the space - floor patterns, space between/around/over/under, plus the environment we dance in, as the primary choreographic stimuli during this weeklong Workshop.

The Workshop is open to advanced level students but perhaps more than formal dance training, this Workshop requires a strong desire and skill in working with structure and form as well as an imagination for developing ideas in this vein.

As a rehearsal director he has worked on several creations with Rosas and continues to tour with "Vortex Temporum" while dancing in Boris Charmatz's most recent work "Manger".

This year he works on a second collaboration as a dancer with Alix Eynaudi on the piece "Edelweiss". And next year Mark will create a work for the Bhodi Project at SEAD, Salzburg.

Aside from ImPulsTanz Mark teaches regularly at P.A.R.T.S., and later this year for the first time at Manufacture, Lausanne.

88 Sri LOUISE Week3: 03 - 07 August Yoga & Whiteness: Facing the Colonial Self or Outing the Hippie Woo Woo Colonial Crap o 09:00 - 11:30

Yoga & Whiteness: Facing the Colonial Self or Outing the Hippie Woo Woo Colonial Crap

Part I:

This Yoga Workshop will be an interactive mapping project, a kind of personal return to incarnate history as a way of embodying our Ancestors. Each day will seed a research project into Home and Homeland through the discursive lens of Privilege Theory asking What's the Genealogy of Colonialism.

Please bring a journal, a camera and copies of photos of your family to be used in the Mapping Project.

Part II:

Asana as an Archival Process. Using the psycho/physical template of Asana to explore the body as archive. We will investigate the Breath as a primary source of endurance, as a mode of "enduring cultural, historical or evidentiary value" or simply as a way to self- preserve in conflicting historicities. Connecting our personal Survival Tactics to Post- Colonial Theory in an attempt to out the Hippie, Woo Woo, Colonialist Crap.

Sri Louise began her Yoga practice at the Jivamukti Center in NYC in 1993, where she sites Allison West as her first and more inspiring Asana Teacher. Influenced by her life as a Contemporary Dancer and specifically the field of Somatics, Sri teaches an integrative approach to Asana. Teaching for 20 years, she has developed a unique pedagogical process for understanding Asana within the larger philosophical framework of Advaita Vedanta, which she refers to as Embodied Cognition. Sri has conducted 6 Yoga Teacher Training programs on 3 different continents and is esteemed as a teacher's teacher. Sri Louise has been a disciple of Swami Dayananda Saraswati since 1999 and is the visionary behind the Underground Yoga Parlour for Self-Knowledge and Social Justice in Oakland, California, where she teaches Asana classes that fuse physical honesty and cognitive clarity with social responsibility. To find out more about Sri Louise and the decolonisation process of The Parlour, visit her new website at: www.undergroundyogaparlour.com

Nathalie LUCAS Week1: 20 - 24 July New Style Street Jazz Beg 16:35 - 18:05 New Style Street Jazz Adv 18:40 - 20:10

New Style Street Jazz Beginners Express yourself!

The beginners’ class is divided into three distinct parts. The first part is devoted to a physical warm-up to work on the body and the cardio-vascular resilience. The second part focuses on various technical exercises to improve the ability of beginners and to dance with a good foundation of technical skills. All these exercises depend on the artistic style of the choreography. For instance it can consist of exercises ranging from Hype, Locking, HipHop to a New Style routines or technical exercises from Modern Style to

89 Street-Jazz dance phrases. The last part is dedicated to a choreographic phrase. Nathalie likes to create a special and unique universe for each choreography in order to encourage the students to express themselves.

New Style Street Jazz Advanced Be comfortable on stage!

The advanced class is divided into two parts beginning with a physical and cardio-vascular warm-up in order to improve the stamina for making it easier to dance. Then, she teaches an advanced choreography based on technical skills. She treats each participant like a real artist. That is why, during the choreography time she focuses on the expression of the soul and on facial features. Her wish is to take the dancers on a journey to a specific universe in order to enhance performativity and make them feel more comfortable on stage.

Nathalie Lucas is a french choreographer for various french artists like the singers Jena Lee, Tony Parker, Shy'm and the famous french comedian Florence Foresti. She has her own dance Company named Insane. They have been finalists of the famous TV-Shows like "France's got talent" and "The Best Dance" in 2012. She has been the dancer for Leslie, Amine, M.Pokora, Christophe Willem, Ilona Mitrecey, Beatriz Luengo, MAM and Shy'm.

She teaches various Street Jazz, Cabaret and New Style classes and various workshops in France and all over Europe and is a regular teacher at the Studio Harmonic and IDFP Kim Kan in Paris, as well as at Studio Vibes in Brussels.

Clint LUTES Week2: 27 - 31 July Your Body: Present and Simple o 11:40 - 13:40

Your Body: Present and Simple forgive yourself and your body!

We will work with technical and improvisational tools geared toward enhancing awareness of personal rhythm in connection with our surroundings and with our dancing partners. We’ll enjoy a luxurious floor practice and the structure of the class will permit a steady flow of movement throughout the space. An aim of this Workshop is to release stress related to movement practice and accept ourselves within that practice. I will try to give tools that aid in recognising directionality and intention of action. We will move from places of action, outward connection, attention and communication, and be attentive and generous. We will search for joy and lightness within a serious practice, challenging presence and simplicity. This workshop is open to all levels and is adaptable to individual body needs.

Clint Lutes studied Musical Theater at SUNY New Paltz then completed his Bachelor of Fine Arts at Tisch School of the Arts (New York University). As a performer he worked with Joy Kellmann, Maya Carroll, Melanie Lane, Johannes Wieland, Yann Lheureux, Eun Me Ahn, Brian Brooks Moving Company, Cie Scalene, Cie Epiderme and Christoph Winkler. His choreographic work has been presented at the MoDaFe Festival in Seoul, the Rohkunstbau Festival Berlin, Tanz im August Berlin, Biennale de la Danse OFF Lyon, Festival La Becquee Brest, Cabaret Inestable Valencia, Format Ardeche, Institut Francais Alexandria Egypt, Festspielhaus St. Pölten, Globalize Cologne, Theater Freiburg and at the Städtische Bühne Heidelberg.

He created work for the Vis Motrix Company Thessaloniki, pvc Tanz Freiburg/ Heidelberg, Festspielhaus Sankt Poelten, POSTTHEATER Berlin/NY/Tokyo, Collectif Coin and Cie. les Attrape-Corps, as well as other projects for his own company. He also worked with figure skating champion Katarina Witt on several productions, both live and for TV, and in 2010 he collaborated with the Chamaeleon Theater in Berlin on the circus production "Versus". In 2006 Cint participated in DanceWeb at ImpulsTanz in Vienna where he met and began interacting with the artist driven network Sweet and Tender Collaborations. He was invited to participate at The Village / Tanznacht Berlin 2010; from 2011-2014 he participated in an exchange with the group of choreographers Les 7 in France. Since 2011 he also participates in IDOCDE, an international project designed to expose and share practices of teaching contemporary dance via a website and exchanges. He co-created LUCKY TRIMMER Tanz Performance Serie in Berlin and co-directed it from 2003-2010.

Currently he is working on Störung/Hafraah, a research based collaboration between dance artists, philosophers, scientists, engineers, psychologists and people with Parkinson’s. He has taught classes and workshops for DOCK11 Berlin, Marameo Berlin, CND Lyon, Le Pacifique CDC Grenoble, CCN Grenoble, CCN Rillieux-la-Pape, Tanzfabrik Berlin, Sasha Waltz & Guests Berlin, Australian Dance Theatre, Stadttheater Osnabrück Allemagne, Regensburger Tanztage Allemagne, Suwon University Seoul, Kookmin University Seoul, Seoul School of Performing Arts and the Ahn Eun Me Company Seoul. He’s been based in Europe since 2002.

Mamadou M’BAYE Week 2: 27 - 31 July Afrikanischer Kindertanz (6-9J) 10:00 - 11:15 African Percussion Beg 18:15 - 20:00 Intensive 2: 01 + 02 August African Dance Beg 12:25 - 14:40 & 17:45 - 20:00

Afrikanischer Kindertanz (6-9 J) Stories with drumming

Mamadou's long-standing presence at ImPulsTanz speaks in the favour of the dancer, musician, poet and storyteller who seduces to movement with drum music in a playful way. He lives up to the maxim: “Human beings can learn everything they created!“. In the original sense of his African culture Mamadou M'Baye is a mediator between people across cultural boundaries and is igniting the relationship between the dancing body and the rhythm of the drum. His origin committed as a storyteller, Mamadou M'Baye developed its own choreography and compositions.

African Percussion Music unites Mamadou M´Baye teaches polyrhythm from Senegal, introduces a wide range of sounds and tones and different forms of musical improvisation. The workshop consists of auditory training, simple and complex African rhythms, played either with two hands or with one hand and one stick. Mamadou offers an insight into the interrelation of the dancing body and the rhythm of the drums. This is how he as a storyteller creates choreography and musical composition.

91 African Dance If you can walk you can dance For Mamadou M’Baye African dance is first of all the joy of moving with the music of drums. He is teaching original African dances intending to make the participants aware of the unity of music and the body. Mamadou refers not only to traditional and ritual dances from Senegal but also from West Africa in general teaching both their origins and their meaning.

More than twenty years now the Senegalese Mamadou M‘Baye – member of an old Griot family – has been a cultural ambassador in Europe, regarding himself as a modern traditionalist. In the original meaning of his African culture a dancer as much as a musician and storyteller Mamadou considers himself mainly as a cultural go-between. Mamadou M’Baye is first of all dancer, musician and poet, relating to his African culture, an ambassador between people and personalities of different cultures. He is an exemplary intermediator of the relationship between the dancing body and the rhythm of the percussion. He is a storyteller, who plays an important part in his own choreographies and compositions.

Simon MAYER Week3: 03 - 07 August Tradition Remixed – Schuhplatteln o 16:05 - 17:50

Tradition Remixed – Schuhplatteln Schuhplatteln with a twist

The Schuhplattler is more than just a traditional courtship dance from the Alpine region and should no longer be only reserved for men. So how can we change it?

We will learn traditional Schuhplattler, invent new ones and enrich it with related forms such as body percussion, contemporary dance, improvisational elements and ritual practices, without losing the fun and group dynamics of folk dances. But it is not only the Schuhplattler! We experiment with yodeling, Juchatzen, traditional clapping rhythms (Paschen) and whiping! Same here: we will learn the traditional form and combine it with other elements. In the workshop technical, spiritual and ritual aspects as well as healing approaches of these traditions are taught.

Simon Mayer is a performer, choreographer and musician, was born in Austria in 1984 and studied at the Vienna State Opera Ballet School, at the Performing Arts - Research Studios in Brussels (P.A.R.T.S.) and was a member of the Vienna State Opera Ballet. 2009 he founded his band "Rising halfmoon" as singer, songwriter and guitarist. Simon worked a.o. for Anne Teresa de Keersmaeker ("The Song"), Wim Vandekeybus ("Frisking") and Zita Swoon. He choreographed several solos, duos and group pieces, which are internationally presented ("o feather of lead”, “dancing with the soundhobbyist/zita swoon", "kopf hoch", "monkeymind", "SunBengSitting" etc.). Simon was artist in residency at Theatre de L’L in Brussels and together with his association m-arts he organises the international art festival SPIEL.

Simon grew up on a farm in Upper Austria. Folk dance and folk music are part of his background, and at the moment also the central theme in his artistic career. Both his last piece "SunBengSitting" and his latest choreography "Sons of Sissy" deal with folk art a.o. As a guest lecturer, he taught contemporary dance and folk dance at the Conservatory Vienna and at various festivals (ImPulsTanz, Nueva Verta Festival Kuopio, Games Festival, etc.).

92 Kurt MOSETTER Week 1: 20 - 24 July Myoreflextraining o 09:15 - 11:00 Myoreflex/Sensorik/Motorik (G.A.) o 11:10 - 12:55

Myoreflextraining A sense for the muscle-fascia-system

„We are in our body. We are our body which originates actions, movements and feelings. In our bodies and with our bodies we express ourselves and get in touch with the outside world. Our muscles are carriers and expressive systems. With specific muscle and movement melodies we make ourselves small, we duck, we freeze or we align ourselves to conquer the world. Our experiences and our biography imprint create and form our posture, gesture and mimicry. We are our physical memory, where we are preserved and where we carry things about with us. Through our bodies we listen to ourselves.“

We will consciously sense, read and recognise tensions, emotions and wrong postures in our muscular system. Painfully shortened muscles and tense muscular chains as well as opposing muscle-fascia systems may be felt through pressure points and special exercises. Thus they may be trained and loosened with widened perception. We may sense emotions and experiences which we do not know consciously and which create limitations in everyday life. Our dynamic self-expression will be given the physical spiritual space for an open step forwards. We develop a "muscular sense" and through interoception we recognise the meaning of a "muscles-facia" system in relation to performance.

Through specific movements and kinaesthetic experiences using our hands, as well as through delving into biomechanics and biokinematics we will effortlessly change our perspective by learning to mirror ourselves. Moments of self-discovery, alignment and new patterns of action that come from the deep within, lie in that act of recognition. The experience of body, spirit and movement being unified in us is one of the most important aspects of this work. We act out our emotions and feelings through our bodies. We research them, lifting the veil of limitations in our history and enjoy the opening, the qualities of permission and ability. Physical success leaves traces in the brain and designs our movement apparatus like an architect. In a circular way we thus create the experiential situation of our psyche. What we experienced and lived in this process may be playfully re-created in everyday life.

Myoreflex/Sensorik/Motorik (55+) Moments of self-discovery

Preventive Health Care doesn't require any extraordinary effort, just the recollection of normal, physiological, innate patterns to sustain these natural, physiological conditions. This is exactly what people do in China for instance, where balancing and stretching exercises in the tradition of QiGong and TaiChi are practised on a regular basis in public parks in large, freely accessible groups.

In the West we tend to be sitting through long years of school and in professional life. Therefor almost all joints are continually subjected to bending which becomes a basic pattern. As a consequence important groups of muscles are shortened and retain a permanent state of tension. Playful exercise (originally imbedded in culture) through dance, ritual and sport is increasingly missing.

93 Intelligent, directed, playful inner and outer movement in "dancesteps" can prevent ailment and stiffness. Integration of simple exercises into our everyday routine fosters health on different levels and helps to activate the muscle-system - regardless of age.

Even after clinical treatment of sickness and pain, power-in-movement exercises offer an excellent instrument for follow-up treatment and sustainable stabilisation of health.

Though senso-motoric development takes place early in life, it is never finished. We are not subject to a particular development at a given time, but rather develop ourselves throughout our whole life.

Dr. med. Kurt Mosetter (born in 1964), physician and healer, studied Human Medicine at the Albert-Ludwig University in Freiburg (Germany) with specialisation in Physics and Neuromuscular Systems. He is the founder of Myoreflex Therapy, with educational curriculum. Through integration of Biochemistry and Neurobiology he conceived the concept of Neuro-Myology. He is head of the ZiT – Centre for Interdisciplinary Therapies (in Gutach, Herrenberg, Konstanz, Köln) and consulter at Paramed (Baar, CH). Since 2006 he supervises the players of the sports association TSG 1899 Hoffenheim (DE) and since 2010 the handball team in Hamburg (DE). In 2011 the trainer of the national football team of the United States, Jürgen Klinsmann, invited him to take care and supervise the health and fitness of the players of the team, such as during the World Championship in 2014 in the Brazilian heat.

His medical focus is on: pain, neuromuscular trauma therapy, neurological / neurodegenerative ailments, developmental hold-ups in young age, and nutritional medicine. He works closely with the Institute for Psycho-Traumatology with Prof. Dr. Gottfried Fischer (University of Köln) and the Institute for Research of Muscles and Bones Prof. Dr. Dieter Felsenberg (Charite – Campus Benjamin Franklin, Berlin).

Ko MUROBUSHI Week 3: 03 - 07 August Danse Butoh o 09:30 - 11:30 Week 4: 10 - 14 August Danse Butoh o 09:30 - 11:30

Danse Butoh Free, personal and individual evolution

Butoh is not a technique, which can be developed systematically. It is a free, personal and individual evolution. You have to break with your traditions and habits and look behind that to find something new.

Dance is a journey. Suffocation, illness transformations, in-between pain and pleasure and the voice of magic

94 We will inscribe the history of Butoh in our process. In this process we take a place, we change the place, we are in the middle of experiments. We are transforming. In our collections there are new confrontations, new everyday things. Experiences with their breaks, control of Self, transformations, transmissions, and transgressions.

What are our attempts relating to? 1) Breath. Breath and its transformations, differences and combinations of breathing „forms“. Freeing a voice from the gorge. 2) Walking. Who walks? Coming from where and going where? Are we able to imagine "walking without feet"? 3) Touch the earth, jump, dance: the terms "tamafuri" and "tamashizume". 4) Movements of the 8. The 8 starts half ways, it stops half ways - no beginning, no end - in the inside there is the outside, on the outside the inside. One and the other cross each other, get mixed up. The Moebius Loop, asymmetrical spirals. 5) Future: future of the animal, of the plants, of the minerals passing. Becoming a corpse, fluid, solid, gas. Learning transmissions and transformations. 6) Improvisations. Form sneaking into the act. An interval, trembling, shifting. Breaking down, all in the same moment. Suffering, vibrations, coagulation, relaxation, convulsions towards humour.

Ko Murobushi is one of the best known and acclaimed Butoh artists in the world and is recognised in Japan as a leading inheritor of Hijikata's original vision of Butoh. He studied with Hijikata in 1968, briefly 'giving up' dance to become a "Yamabushi" mountain monk, back into society he founded the Butoh-group Dairakudakan together with Ushio Amagatsu, Akaji Maro and others. 1974 he created the Butoh-magazine Hageshii Kisetsu (Violent Season) and founded a female Butoh-company Ariadone with Carlotta Ikeda, for which he did many choreographies. Two years later he founded a similar only-male Butoh-group: Sebi.

With a co-production of these two groups he brought the Butoh to Europe and contributes to the recognition of Butoh in Europe: "Le Dernier Eden - Porte de l’au - delá" succeeded in Paris in 1978, and was followed by a big tour through whole Europe with Ariadone in 1981/82. From 1988 Ko concentrated on duo-productions with Urara Kusanagi, and toured in the following years in Europe and South America.

On the one hand he continues to open his dance and the Butoh to the worldwide influences, on the other hand he tries to research his work much deeper into its Japanese roots. His solo productions "[Edge01]", "[Edge02]" and group production "[Edge03]" have been invited by several international dance festivals, such as ImPulsTanz Festival, Montpellier Dance Festival, and London Butoh Network Festival, a.o. He has received numerous awards for residencies worldwide, including in Mexico, India and New York. Ko is in great demand as a workshop teacher.

In 2003, he settled his unit Ko & Edge Co. with three young Japanese dancers, presented "Handsome Blue Sky" for Jade 2003 Hijikata Memorial in Japan, and caught frantic applause. In 2004, this unit Ko & Edge Co. presented new series titled "Experimental Body" which is searching “edge” in a physical way. In 2005, Ko & Edge Co. presented "Handsome Blue Sky" in US-Canada tour in five venues. One of his latest solo performances is called "quick silver", his latest duo performance with Bartabas was titled "Le Centaure et l'animal". Both lead him to world tours. In November 2013, he continued to produce the experimental movement in Japan under the title – "1001nights" at the Yokohama Redbrick Warehouse.

95 His choreographies as well as his solo performances continue to establish Ko Murobushi as one of the highest reputed representatives of Butoh, and every moment Ko challenges to reach new possibilities of Butoh.

Milton MYERS Week 4: 10 - 14 August Horton Technique Int 13:55 - 15:55 Horton Technique Adv 16:05 - 18:05

Horton Technique The grace of disciplined movement

Horton Technique enables us to develop endurance, flexibility and the communicative possibilities of dance. Significant elements are clear lines, concentrated work for the back, strengthening and stretching the muscles of the legs and the back. The understanding of body dynamics leads the dancer to the grace of disciplined movement. Milton Myers is well known as an outstanding and tireless teacher of this technique.

Milton Myers received his BFA from the University of Missouri at Kansas City. He was a founding member, performer and assistant to the director with the Joyce Trisler Danscompany, and performed with the Alvin Ailey American Dance Theater. Milton, upon the death of Joyce Trisler, was also the artistic director of the Joyce Trisler Danscompany for seven years. He has taught for Ballet Hispanico, New Danish Dance Theatre, Les Ballet Jazz de Montréal, Batsheva, Kansas City Ballet, Matthew Bourne's Male Swan Lake Company on Broadway, Ballet Stagium in São Paulo (Brazil), Danny Grossman Company and Ballet Creole in Canada. He is a professional instructor for the Alvin Ailey American Dance Theater and has been an instructor and resident choreographer for the Philadelphia Dance Company (Philadanco) since 1986.

Milton has been an Artist-in-Residence at the Juilliard School, North Carolina School of the Arts, Brown University, Howard University in Washington DC, the New York LaGuardia High School of Performing Arts, the School of Toronto Dance Theatre in Canada, and the Dance Masters at Wesleyan University. He has been on faculty at the Tisch School of the Arts at New York University, City College of New York, Marymount Manhattan College and the University of the Arts in Philadelphia. Milton is currently on faculty at the Juilliard School, the Ailey Fordham University program, STEPS studio and Peridance in New York City. He is preparing to return to the Jacob’s Pillow Dance Festival where he has been director of the modern and contemporary programs for twenty-nine years.

Milton teaches extensively throughout Europe, Israel, South America, Canada, and the United States. He has taught at several prominent festivals in Vienna, Moscow, Paris, Germany, Italy, Greece, Holland, Belgium, Sweden, Norway, Denmark, South Africa and Israel.

Milton has choreographed for the Trisler Danscompany, Alvin Ailey American Dance Theater, Ailey II, Carmen de Lavallade, Judith Jamison, New Danish Dance Theater, Philadanco, Kansas City Ballet, Dayton Contemporary Dance Company, Cleo Parker- Robinson Dance, Dallas Black Dance Theatre, Ballet Creole, and various universities in the United States.

Milton was commissioned to choreograph Duke Ellington's "Sacred Concert" for Philadanco and the Duke Ellington Orchestra at Philadelphia's Academy of Music, the 55th anniversary 96 of the Philadelphia Orchestra with Philadanco at Academy of Music and for Ailey2 and Jessye Norman at Carnegie Hall. His choreography has earned him recognition and funding from the National Endowment for the Arts, the New York State Council, CAPS Choreography Award (funded by the Rockefeller Foundation), Phillip Morris New Works Fund, Dance USA/Philadelphia Dance Alliance and Jacob's Pillow. The International Association of Blacks in Dance honoured Milton Myers for his artistry and contribution.

Eroca NICOLS & Matthew SMITH Week1: 20 - 24 July The Democratic Body Adv 17:00 - 20:00

The Democratic Body What would the community think?

Democracy as an ideal is held high in "free society". Yet many are disillusioned with politics and do not actively engage in any political processes. What is going on here? What is democracy? Do any of us really know what this concept/system really means? To what degree do any of us have embodied direct experiences of democratic ideas/processes in action?

Can we apply theories of democratic decision making to our physical structure? Can we apply aspects of social movements to our bodies as well as to humans in relationship to each other? If our body is the community, how can our soft tissues be part of a collective decision making process? Is it possible to find agreement between our bones? How much of the community can we involve in physical and social choice making?

Using these questions as a starting point, together we will research ways to make fair and reasonable, as well as ridiculous and impossible choices, as they relate to our internal structure and to our external interactions with other humans. How do the processes by which we make choices shift as we attempt more and more inclusion?

Perhaps in this era where the failure of agreement has such large implications, an embodied understanding of democracy should be something familiar, welcome and practised. Or is this a bunch of pretentious nonsense from a couple of lowlife dance artists? Only one way to find out!

We anticipate many of these actions will happen during our time together: talking choice making dancing ...maybe even a phrase walking touching ourselves and/or other humans choosing to do or not do things being frustrated with our selves and/or others investigating ourselves investigating others feeling weirded out laughing sweating likely sitting in a circle (fucking dancers) doing things that at first seem a bit stupid and perhaps are

97 Eroca Nicols is an international performance art and body nerd. Her alter ego and company, Lady Janitor combs the globe looking for places to incite radical moments of art chaos, consume massive amounts of coffee, wear amazing unisuits and confer with movers and thinkers of all varieties. Eroca is currently known a dancer/choreographer/teacher but her multiplicitous practice stems from a family of semi-mystical nomadic trailer people, years working as a janitor, and a BFA in video/performance art and sculpture from California College of the Arts (formerly Crafts.) Her teaching and training are deeply influenced in her continued study of the Axis Syllabus. She is super stoked to be teaching and making all over the world including stints as Teaching Artist in Residence at The Whole Shebang in Philly, at The School of Making Thinking in NYC and this summer at ImPulsTanz.

After 3 years, Matthew Smith suspended his university studies in Philosophy, Art and Physical Education to focus on Dance. In New Zealand he danced for Commotion Company, Black Grace and Touch Compass amongst others. In Europe he has worked with Random Scream of Belgium, Carol Brown Dances of London, Company Willi Dorner and Theater Combinat of Austria and with Impure Company of Norway. He has also been performing for the Austrian artist Klaus Obermaier in "Apparition".

He is a long-term member of Impure Company. Recently performing in "then love came and set the world on fire" and also "Now the field is open" with the HipHop crew deepdowndopism. He created a solo "Role-ing" for Benedikte Onarheim as part of En Kveld in Oslo and is currently working on a duet with Eroca Nicols. He premiered his first evening length in 2011 with the work "Spin" in Zagreb, Croatia for Studio Dance Company. He also created a 40min work "Observing Observing" in 2008 for SEAD.

Matthew has a keen interest in education and has taught at Spin Off and Proda, in Oslo, as well as at SEAD, Tanzquartier Vienna and ImPulsTanz in Austria. He became a certified teacher of the Axis Syllabus in 2008 having begun training with Frey Faust in 2000. He has taught in Berlin, as part of the Axis Hub and also in the Nomadic Colleges around the world. These days he is teaching throughout Europe but also in Israel/Palestine, Canada the US and recently in Benin, West Africa as well as in his homeland New Zealand. He is in the Masters Programme for Osteopathy, at the British School of Osteopathy in London. He aspires to finish his philosophy degree at some point.

Eroca NICOLS Week 1: 20 - 24 July Faking it til we're making it Adv 11:40 - 14:10

Faking it til we're making it Do you ever listen to the radio and feel you know the words to a song you've never heard? Maybe you sing along or pretend you know and fill in the blanks with lalala. Still fun, no?

Like an earworm on the radio, we have ideas about movement modalities that may or may not be based in experience or reality but are very much based in embodied gossip and imagination. Reiki, cranial sacral, aikido, body mind centering, feldenkrais; these forms are real and have incredible specificity. As dance artists and somatic practitioners we hold an incredible amount of knowledge in our bodies. We have heard of these forms and practices, we have ideas both physical and intellectual, about what they are and what they do.

98 What happens if we practice fake-i? Can we do cranial fake-ral? How would we do a fake- ido roll? What would a body mind faker-ing class be like?

In this Workshop, we will collectively cull the community for information on a couple of fake versions of real things. Then we will fake them. Then we will make a conversation / performance together based on somatic hearsay.

Notes: 1. I am not discrediting the years of study that go in these practices. I am curious how we can use group knowledge to generate a certain type of state or physical body and then see what can happen. 2. I don't think we can really fake anything. By faking we are already doing something, even if that's not the thing we think we are doing.

Eroca Nicols is an international performance art and body nerd. Her alter ego and company, Lady Janitor combs the globe looking for places to incite radical moments of art chaos, consume massive amounts of coffee, wear amazing unisuits and confer with movers and thinkers of all varieties. Eroca is currently known a dancer/choreographer/teacher but her multiplicitous practice stems from a family of semi-mystical nomadic trailer people, years working as a janitor, and a BFA in video/performance art and sculpture from California College of the Arts (formerly Crafts.) Her teaching and training are deeply influenced in her continued study of the Axis Syllabus. She is super stoked to be teaching and making all over the world including stints as Teaching Artist in Residence at The Whole Shebang in Philly, at The School of Making Thinking in NYC and this summer at ImPulsTanz.

Rasmus ÖLME Week 3: 03 - 07 August Vortical Occupation of Space Adv 11:40 - 13:40 Partnering Adv 13:55 - 15:55

Vortical Occupation of Space

The vortical manifesto Explore a non-instrumental approach to movement technique. Base the bodily movements on functionality, then detach them from function and do the DANCE. Dance with everythingeverywhereallthetime. Move with the Movement of Movement. Consider your body as a thing, as a Weapon without a cause.

Partnering

One is so used to being the body that one is, that its materiality sometimes seems to escape us. Lifting another body can help one realise that this is more or less the weight that one walks around with all the time. The other body can reveal one’s own and the most basic kinaesthetic principles become concrete.

Combining improvisational tasks with more specific examples and applications we will explore the movement technicity that resides in partnering work:

99 - How to guide oneself while being lifted. - How to guide someone in order to lift. - How to support and be supported. - How to use the combination of bodies to do stuff a body alone cannot do.

After his career as a dancer, Rasmus Ölme founded, in 2001, his group REFUG in Sweden and since then he produces his own work and teaches worldwide. In May 2014 Rasmus finished his PhD in Choreography at the DOCH (School of Dance and Circus in Stockholm, Sweden) with the thesis "From Model to Module - a move towards generative choreography". Since January 2015 he is the head of dance education at the Danish National School of Performing Arts in Copenhagen.

Franca PAGLIASSOTTO Week 1: 20 - 24 July Yoga Ballet Int 09:30 - 11:30

Yoga Ballet Linked to breathing

Yoga Ballet is a dance technique developed by Marcia Haydée, which mixes Yoga, oriental disciplines and Classical ballet. The lessons are useful for stretching, for the balance, for concentration and for acquired body energy. The positions are appropriately linked through the use of breathing techniques, which stimulates the nervous system, opens energy channels. Oxygenated blood enables our body to expel toxins that help to relax muscular tensions and enables the extension of movement. Each exercise focuses on the vertebral column and the activation of muscular fibres.

Franca Pagliassotto is a dancer and choreographer, born in Turin, started her studies at the dance school Ariadne in Turin, with Giulio Cantello and Eva Maxcay. She continued her studies and started a collaboration as dancer with various Italian companies. From 1978 to 1982 she worked for Club Mediterranée as a dancer and choreographer.

Between 1982 and 1984 she perfected her studies of Classical and Modern techniques (Horton Technique) at Alvin Ailey School of New York, with Milton Myers e Max Luna III, in Paris with Peter Gross and in Vienna with Ismael Ivo. In 1984 she opened the Dance School Il Gabbiano in Turin, which she is heading nowadays. In 1989 she founded the Dance Company Il Gabbiano and created: “Luci della città”, “Omaggio a Bob Fosse”, “Wiener Blut”, “Moulin Rouge”, a.o.

In 1998 she started to work with the choreographers Ismael Ivo and Marcia Haydée, working as assistant for the classes of Horton Technique with Ismael Ivo and Yoga Ballet with Marcia Haydée at the International Dance Festival ImPulsTanz. From 2003 to 2004 she assisted the choreographer for the company BTT - Balletto Teatro di Torino as well as since 2005 for the performances created by Ismael Ivo for the International Contemporary Dance Festival of Biennale di Venezia.

100 Janet PANETTA Week 2: 27 - 31 July Ballet for Contemporary Dancers Int 09:30 - 11:30 Investigating Ballet Adv 11:40 - 14:10

Ballet for Contemporary Dancers A firm technical foundation and freedom of movement

As she has trained some of the major American and European companies Janet Panetta is drawing from an extensive experience in classical and contemporary dance for her teaching practice. She is able to convey the technique rigidly yet humorously as well as giving individual feedback. The applied principles of alignment build a firm technical foundation and allow freedom of movement. Rhythm, line, direction and weight all become learning tools that can be transferred to other styles of dance.

Investigating Ballet Appreciating function as beauty

Janet Panetta’s work involves the deconstruction of movement into technical basics that dancers from varied backgrounds can understand. We work from bottom up, from foundation to anatomically solid movement. We work on the specifics of how one learns, how to analyse movement with the tools of weight, shape, space, rhythm, and time. It is the investigation of working from the inside out, from moving bones into shapes that allow muscles to function effortlessly and efficiently, thus discouraging muscular overuse. We remove all artificial affectations, leaving just the core technique, the physical architecture of the body. The ultimate goal of this study is to appreciate function as beauty, to understand, for example, that legs and feet working correctly become beautiful, and not to strive for beauty from an outside source. This is a practical, technical workshop, not a theory lesson. Everything discussed gets reconstructed back into movement.

Janet Panetta received her training with Antony Tudor, Margaret Craske and Alfredo Corvino and has been dancing with The Metropolitan Opera Ballet and American Ballet Theatre amongst others. She has trained dancers of many major American companies, such as New York City Ballet, Paul Taylor Dance Company, Merce Cunningham Dance Company, etc., and has been a guest teacher for many European companies, such as Compagnie Mathilde Monnier, Ballet Preljocaj, etc., and in the schools P.A.R.T.S., CCN Montpellier a.o.

Sabine PARZER Week 1: 20 - 24 July Release Technique – Riding the Bones of a Tiger o 11:40 - 13:40 Week 4: 10 - 14 August Open Bodies Moving – Contact Improvisation o 14:50 - 16:50

Release Technique – Riding the Bones of a Tiger Release / Holistic Dance Technique

In these classes we will focus on moving from the core. In contemporary dance we define the centre, the physical core, as something that helps us to stay grounded and three- dimensional in our movement, as well as a source of power for subtle and awakened presence.

As we move on the ground our core can be spread out in our bodies, we release and be nourished by the power of the earth. In aerial work (and on the way in between) we need a

101 clear organization of our body parts from our core in order to use momentum. Released and defined at the same time. How do we transition from one to the other, does it ever stay the same?

Core also means the core tissues such as muscles, fascia, bones, organs and cells. We will relate to these structures and to the centre in improvisation and choreography. Additionally bodywork allows us to experience our “applied anatomy”, breath work deepens our body consciousness and sensitivity.

Riding the bones of the tiger also means riding the waves of our expression, our inner animal, using its power and archetypal forces. Combining this performance approach with technical material moves us into becoming a beautifully holistic, embodied dancer.

Open Bodies Moving – Contact Improvisation spontaneous, reflexive and three-dimensional

In Contact Improvisation we benefit the most from a subtle, flexible and open body. In order to organize yourself sensibly in contact we need a stable centre, the ability to share weight, to listen to movement impulses and to stay present in the exciting moment. In this spontaneous, reflexive and three-dimensional dance we are able to enjoy the freedom and complexity of this beautiful art form through simple principles.

We will work on our „Open Bodies Moving Style“ with some of the principle ideas of contact improvisation that apply to every dancer at every level:

- Developing a subtle body - Centre to centre connection - Sharing your bodyweight consciously with your dance partner - Leading and following - Creating choices for yourself - Listening - Falling, rolling, gliding - Having fun

We will explore these principles further within improvisational scores in duets, trios and group formations and practice non-judgemental viewing (witnessing).

Sabine Parzer is head and founder of the Institute for Holistic Dance and Movementpedagogy. Her professional experience spans 25 years of teaching, performing, choreographing and researching in the USA, Europe, Israel and Brazil.

Sabine has a formal modern dance education with a Bachelor of Arts from Columbia College Chicago and has an education in Systemische und Integrative Bewegungslehre® (an extended Feldenkrais® method including councelling). She has trained for many years in Release and Kleintechnique, in ZenBodytherapy®, Yoga, White Crane Silat, psychotherapy and family constellations. She considers herself a practitioner of contact improvisation and authentic movement for 17 years.

She trains people of various professional backgrounds and age groups and works with people with different abilities in Contemporary Improvisation, Authentic Movement, Contact Improvisation, Bodywork, Selfexploration and holistic dance technique in workshops and in long term teacher training programs. She has taught at many dance festivals such as the ImPulsTanz, Israeli Contact Festival, Moscow Contact Festival, Kontakt Budapest, Contact in Rio de Janeiro, Osterimprofestival Göttingen, Potsdamer Tanztage and at Tanzquartier

102 Wien. She also taught holistic dance pedagogy at a rehabilitation centre for 14 years. Sabine loves to regularly co-teach with Martina Mückler, Martin Keogh, Ray Chung and Eszter Gal.

In 2012 Sabine founded the Contact Festival Austria, which she is artistic director and co- organizer of. She is a mother of two children. www.holistic-dance.at www.contacfestivalvienna.com

Maartje PASMAN & Moritz LEMBERT Week 3: 03 - 07 August Durch die 4 Jahreszeiten (6-9J)

Durch die 4 Jahreszeiten (6-9J) Can we do this in 5 days?

Through the whole year in just five days, is that possible at all? We say yes and together we explore the 4 seasons through movement and dance elements. Starting with blossoming flowers in spring, the sun on our skin and seawater beneath our feet in summer, twirling leaves and nut nibbling squirrels in autumn, and snow flakes on our noses and cold feet in winter. We use our imagination and the language of the body to go on expedition – accompanied by a hint of Vivaldi's music.

Maartje Pasman was born in 1988 in The Netherlands and studied Contemporary Dance at the Amsterdamse Hogeschool voor de Kunsten. After some internships at Unterwegstheater Heidelberg, De Meekers and Ballet van Leth, she worked as professional dancer with Jagoda Bobrowska, Willi Dorner and Lonneke van Leth a.o. She toured nationally and internationally with the Zilveren Krekel (Prize for ourstanding piece for young audiences, 2011) winning production "Couple Like #2" by Keren Levi and Ugo Dehaes. Between 2011- 2013 she worked at De Dansers (Utrecht), where she performed in pieces by Wies Merkx ("ROSES"), Josephine van Rheenen ("Café Ed Sanders", "Droomstad") and Erik Kaiel ("Tetris") touring Europe and Asia. In 2013 the co-production "ROSES" by De Dansers and Theater Strahl Berlin won the Ikarus Prize for the best performance for young audiences. Since 2013/14 she works as a dancer at DSCHUNGEL WIEN and performed in the productions "Steffis Weihnachten", "Mein kleines Meer", "Robin Hood", "Die Schneekönigin" and "Wolkenträume". In addition she leads the dance club for children between the age of 6 and 8 and won the STELLA14 – Prize for Performing Art as "outstanding performer".

Moritz Lembert is dancer and was born in Vienna. He started to dance through HipHop and expanded his interests to more dance styles after a while. The work with children and youth is part of his activities since the beginning of his dance career. Since 2011 he works for projects such as "Tanz die Toleranz", "Theaterflucht" in 2014 and "muse" 2014, a school project . He is a teacher at Ich bin O.K., an Association for dance for people with disabilities in Vienna.

103 Fabiana PASTORINI Week 3: 03 - 07 August Dance for Health o 17:00 - 20:00

Dance for Health In dialogue with your body

We make life experience in, with and through our body and have a constant exchange between the inner and outer world. Again and again our body sends messages to us about what feels right and what does not. Dance for Health sets out to search for the meaning of these messages and feel them on important levels: the physical, the energetic and the level of thought.

Dance for Health uses dance and techniques from different disciplines, such as meditation, breathing technique, kinesiology, TCM and many more. Dance for Health takes the Five Elements Teaching from TCM. The contact to our inner strength and the body’s potential is activated in a gentle way.

DfH works on a physical, energetic and mental level. The focus is on dance balance as fundamental tool for harmonising, stimulating and bringing energy into a flow.

Energetic Balance through Dance Dance balance is based on dance improvisation in connection with the teaching of the five elements in TCM. Dance balance consists of exercises accompanied by music – the connection of rhythm and melody. While the rhythm helps to re-organise the brain, melody aids the opening of the heart chakra. The aim of DfH is the stabilisation of health and the improvement of physical and mental well-being.

Applied techniques in DfH a. TCM-five elements, stimulation and harmonisation of meridians b. Kinesiology: energetic balance on physical, energetic and mental levels c. dance and body work

The workshop has the following key aspects: - Energetic flow in the body - Techniques for establishing well-balanced energy flow - Meridians and associated organs and muscle chains - Information about muscle tonus - Self-awareness of the body and thus a reduction of risk of injury - Our thinking and feeling - Dance as means for the establishment of energetic balance

Fabiana Pastorini was born in Buenos Aires (Argentina). She received first lessons in dancing at the age of nine, attended the National Dance School parallel to her high school years and obtained a Bachelor degree in Pedagogy. She specialised on Modern dance, learning the two most important techniques - Graham and Horton - 1988 in New York. In Germany she met Ismael Ivo for the first time in 1991, resulting in collaboration for a span of several years.

Since 1992 Pastorini resides in Vienna. She teaches and choreographs at the Ballet School of the State Opera of Vienna, the Conservatory Private University of Vienna, the Ballettseminar Wolfsegg, Tanz für Europa and in various European cities. For several years now she works as guest teacher at ImPulsTanz in Vienna, teaching Dance for health and integrated dance for groups of people with and without disabilities.

104 She followed an invitation to Argentina by EMA, an association to help patients suffering from multiple sclerosis, to work with them. Studying Kinesiology helped her to develop her Dance for Health technique. This unprecedented system has the goal to help people become more aware of themselves.

In 2011 she completed her training in Integrated Breathing Therapy. Her interest in the healing methods of the Quetchuas Aymaras (descendants of the Inkas) in her home country, led to regular visits in North Argentina, where she could deepen her connection to her roots. The inseparable connection of this culture with her surrounding brought her to invite more and more people to dance at pristine places, in the midst of nature. This led to a new series of week seminars, which brought participants to a natural stage setting, such as beaches, mountains, deserts and rivers and facilitated the strengthening of the connection to this source.

Nicole PEISL Week 2: 27 - 31 July (Forsythe Work-based) Action Taking & Situatedness Adv* 18:00 - 20:00 Intensive 2: 01 + 02 August Presence and Movement o 12:10 - 14:40 & 17:30 - 20:00

Presence and Movement

Awareness is corporal. You can guide the body through awareness and allow awareness to arise through information from the body. In this workshop we will explore methods that interconnect between movement and awareness. A thought or a shift of attention can compel and engender a whole new movement and a movement can shapeshift what one feels or thinks. Movement can be a way to investigate consciousness and research into consciousness can shape our presence and possibility for movement.

One focus of my work has been the emergence of the fluid body. Fluidity enables spontaneity and spontaneity informs and transforms the creative process. Focus will be put on connecting to the environment through our senses – on waiting, listening and following impulses. We will acknowledge polarities and acquire a grasp of the pendular movements existing within that. We will intimately explore the activation, the reaching highpoint (threshold) and the completion of movement. We will do hands-on work. We will be working in diads and triads and encourage the verbalisation of the experience. There are possibilities for learning and discipline and even more so for the pleasure to expand our presence and joy existing in this relational dynamic.

Forsythe Work based Workshop

Movement can be a way to investigate consciousness and research into consciousness can shape our presence and possibility for movement. In this workshop we will work with methods for compositional practice developed in the setting of the Forsythe Company. Within this practice we will aim to establish an axis of orientation in relation to the statement above. We will get to know principles provided by these methods thoroughly and allow ourselves to use these methods as a departure point and facilitator to engage with a compositional field of manifold. In this setting we will work on achieving specific forms of presence and consciousness.

We will use our curiosity and access our sensation on physical and proprioceptive alignments and relationships as carriers of information and practise differentiation through

105 reflection on how we work with the task at hand. We will also acknowledge our impulses in order to allow ourselves to move beyond thinking about the method towards the manifestation of shifts in presence and consciousness. When working we will acknowledge the role of action-taking and situatedness. We will investigate how we react to new situations and also old situations, how we make decisions and so create new situations. This will be the setting through which we can move from the bodily practice into the field of compositional possibilities. We will also be working in dyads and triads and encourage the verbalisation of the experience and the discoveries.

Nicole Peisl is a dancer, performer, choreographer and teacher. She has been a member of the Forsythe Company since the beginning. She was a member of the Ballett Frankfurt (from 2000 to 2004) and has worked as a dancer for choreographers in Europe including Anouk van Dijk (Amersterdam), Joseph Tmim (Berlin), the Episode Collective (Frankfurt), and with Daghdha Dance Company (Limerick).

Peisl is passionate about teaching and views teaching a distinct and valuable research and movement practice. She has taught at many institutions including the Rotterdam Dance Academy, the HfMDK in Frankfurt, the University of Limerick, the Anton Bruckner Privatuniversität Linz, the Justus-Liebig-University of Giessen, Mills College, as well as at the ImPulsTanz Festival, among other places.

She is certified in Visionary Craniosacral Work of the Milne Institute, a non-invasive hands- on bodywork and has completed the training of Somatic Experiencing developed by Dr. Peter A. Levine. Peisl has assisted in Craniosacral bodywork trainings of the Milne Institute and is currently an assistant instructor in a somatic experiencing training. She has worked as a choreographic advisor to the Mamaza performance group and has also served as an expert advisor for the University of Dance and Circus in Stockholm, Sweden.

Since 2009 she has an on-going creative, research and teaching collaboration with the author and philosopher Alva Noë.

Recent choreographic projects include: VIELFALT, which was commissioned by The Forsythe Company for Motion Bank and premiered at LAB Frankfurt in October 2010; UEBERBLICK, commissioned by The Forsythe Company, which premiered in June 2011 at Festspielhaus Hellerau; and SPIELFELD, which was commissioned by ID_Frankfurt for a residency and was premiered at the LAB Frankfurt in November 2011 in the frame of Tanzpanorama. These works - which deal with attention, stillness, gesture, and play - form a trilogy. Since 2014 she deepens her research about the body, movement and awareness at the UC Davis.

106 Jillian PEÑA Week 3: 03 - 07 August SPECTACULAR Adv 13:55 - 16:25

SPECTACULAR Stay Classy

The definition of choreography has expanded in the recent decade to include a range of practices not limited to the creation of movement material. This class will look instead to the arrangement of space and the placement of the viewer as essential choreographic elements. Spectacular investigates choreographic processes and philosophies, questioning how a dance can be made and what it can communicate through different structures of viewing. Recognizing that ALL work is site-specific, regardless of the chosen site, we will focus on the choreography of the audience. Rather than what is being seen, Spectacular will examine how the work is being seen.

The workshop will not focus on technical skill building, but instead on conceptual creativity. We will consider traditional ways of viewing and understand why we may choose that for certain works, but also open that up to see what else is possible. How can dance be something other than what we know it to be? How can we show it to a new audience in a new way? What does that do to the meaning and the experience of a dance? What does our work need, and what do we need from our work? What do spectators expect? What is spectacle and how can it be spectacular?

Jillian Peña is a dance and video artist primarily concerned with confusion and desire between self and other. Her work is in dialogue with psychoanalysis, queer theory, pop media, and spirituality. Jillian was recently awarded the Prix Jardin d'Europe 2014 at ImpulsTanz Festival in Vienna. She has been presented internationally, including at Danspace Project, the American Realness Festival, The Chocolate Factory, Dance Theater Workshop and The Kitchen in New York, and Akademie der Künste Berlin, Centre for Contemporary Arts Glasgow, Modern Art Oxford, and the International Festival of Contemporary Art Slovenia. She was a Jack Kent Cooke Graduate Scholar during which she was awarded an MFA from the School of the Art Institute of Chicago, where she was a fellowship recipient, and a Practice-based MPhil in Fine Art at Goldsmiths College, University of London. She has been an Artist-in-Residence at Brooklyn Arts Exchange, Movement Research, the National Dance Center of Bucharest, Romania, Archauz in Århus, Denmark, and a danceWEB Fellow at ImPulsTanz in Vienna. She is an Adjunct Professor in the Department of Dance in the College of Art, Media, and Design at University of the Arts, Philadelphia. www.jilllianpena.com

Julia PERSCHON Week 2: 27 - 31 July Einmal Reise und zurück (4-6J)

Einmal Reise und zurück (4-6J) Where shall we go?

We pack our suitcase and here we go! We will hurl ourselves into adventures and imaginary journeys. By airplane, car or ship? Where will this journey take us? Foreign cities and countries, which nobody ever heard of? Every day a magic door will open and we will discover the city of the long slippers or the jigglings and wigglings, or even the land of the contradictions. In the group we will experiment with the voice, the body and with

107 movement. The focus of this adventurous journey is on fun and games in order to stimulate the imagination and creativity.

Julia Perschon was born in 1981 in Baden and completed her studies in Sociology at the University of Vienna in 2008. She gained her first experiences in dramaturgy and directing through film projects for the VIENNALE 2003 & 2004 and Soho in Ottakring 2005. Between 2003 and 2005, she served as cultural consultant at the Students Union of the University of Vienna. In 2008 she began her work at the DSCHUNGEL WIEN as production and support of special projects and audience. Since 2012 she works as a dramaturge and in art education and holds numerous workshops for different target and age groups.

Amanda PIÑA Intensive 1: 25 + 26 July Endangered Human Movements o 11:00 - 17:00

Endangered Human Movements A Workshop by the Ministry of Movement Affairs

The project Endangered Human Movements, by nadaproductions and developed under the patronage of the Austrian Ministry of Movement Affairs, is an artistic inquiry into human practices that have been cultivated for centuries by different cultures around the world.

The First Volume of this long-term project, deals with dances whose functions historically were not related to spectacle (in the sense of performing for an audience), but were practiced in communality, articulating reciprocal relations with the environment, with other life forms, and the unknown.

The workshop features movements coming from endangered dances from all five continents that were performed as ways of communicating with non-human life, with the weather, the elements, plants, animals and the soil. During this two-days-Intensive, ancient movements will be fed with new bodies in a preparation for a ritual performance.

An exploration into the political and environmental agency of dance, in times of advancing privatisation and depletion of natural resources. www.nadaproductions.at www.bmfb.at

Amanda Piña is a choreographer, dancer and cultural worker living in Vienna, Austria and was born in Chile during military dictatorship from a Mexican-Chilean-Lebanese family. She studied Physical Theatre in Santiago de Chile, Theatre Anthropology in Barcelona and Classical, Modern and Contemporary Dance in Mexico, Barcelona, Salzburg (SEAD) and Montpellier, (Ex.e.r.ce Choreographic Centre Montpellier). Her choreographic work focuses on the political social and environmental agency of dance, introducing non-western cultural references and perspectives into contemporary performance. In 2006 she received the danceWEB scholarship and in 2007 the scholarship for Young Choreographers from Tanzquartier Vienna. Since 2013 she is a certified Feldenkrais practitioner applying the method to movement research in performance. She danced and performed in pieces by DD Dorvillier, Claudia Heu, Daniel Aschwanden, Frans Poelstra & Robert Steijn, Christine Gaigg.

Since 2005, she collaborates with the visual artist Daniel Zimmermann under the label nadaproductions. Her work as choreographer includes the tetralogy "Self", "You", "WE" and "THEM" followed by "SOCIALMOVEMENT", "It… Enjoyment Consumption and waste"

108 followed by "TEATRO", "NATURE" and "WAR". She is co-founder of the performance art space nadaLokal and of the Austrian Ministry of Movement Affairs, (BMfB). Currently she works in the realisation of the project Endangered Human Movements.

www.nadaproductions.at I www.nadalokal.at I www.bmfb.at

Stephan RABL Week4: 10 - 14 August IN SZENE SETZEN - SEGEL SETZEN (10-13J)

IN SZENE SETZEN - SEGEL SETZEN (10-13J) Sail away on the oceans of theatre!

Acting, improvisation, music and movement – in this theatre Workshop we put our own wishes and topics into the limelight. Our imagination, the most important tool in theatre, is our sail with which we will explore the unlimited possibilities of the adventurous ocean - the theatre. The trip will be fun, turbulent and very exciting, and we will experience what it feels like to spend unforgettable moments in the spotlight, alone and together with others.

Stephan Rabl was born in Austria. Between 1984 and 2002 he worked as a clown, actor, performer, freelance director and as artistic director of various international theatre and dance festivals. In 1991 he founded the largest annual international theatre festival for young audiences worldwide, the szene bunte wähne Festival, which he headed between 1991 and 2004. In 1998 the szene bunte wähne Festival moved from Lower Austria to Vienna. Since 2002 he is additionally the Artistic Director of one of the largest international theatre festivals for young audiences, the SCHÄXPIR Festival in Linz. In 2003 he was appointed director of the DSCHUNGEL WIEN. Since the opening of the theatre house for young audiences in 2004, he has been the Artistic and the Managing Director. In addition Stephan Rabl directs productions at the house. He was appointed to the Executive Committee of the World ASSITEJ International at the World Congress in Seoul (KR, 2002), in Montreal (CA, 2005), Adelaide (AU, 2008) and Copenhagen (DK, 2011). Between 2003 and 2011 he was CEO of ASSITEJ Austria and initiated the Austrian Theatre STELLA Performing.Arts.Award for young audiences. In 2014 he was appointed an honorary member of the ASSITEJ International.

Vera REBL & Frans POELSTRA Intensive 2: 01 + 02 August Sex-Ability Lab o 09:30 - 12:00 & 14:50 - 17:20

Sex-Ability Lab Autarky and Desire

This Laboratory engages in feelings rising during dancing: how are dancers dealing with wishes, anger, desires, fears, boundaries, challenges, demands, violations etc.? How to transform these feelings into dance?

The situation of dancers with and without so-called disabilities will be investigated: on the one hand people with disabilities seem to be treated as a-sexual beings (such as labels for toilets: "gents" – "ladies" – "wheelchair") and on the other hand especially women with disabilities are the ones mostly affected by sexual assaults.

109 Where are the differences and similarities of dancers with and without so-called disability? How self-sufficient are dancers with their bodies – what can a choreographer demand of them?

Vera Rebl (born in Vienna) works and lives in Vienna as DanceAbility trainer, choreographer, dancer and quality manager. She studied the DanceAbility Method with Alito Alessi and took further training with/at Wolfgang Stange (UK), Adam Benjamin (UK), ChoreoLab University Krems (AT), Hector Aristizabal (CO), Birgit Fritz (AT), Sanjoy Ganguly (IN). Since a few years she is leading an open class on a weekly basis and since 2011 an advanced training group. She leads workshops throughout Austria and abroad a.o.: Vienna, Graz, Innsbruck, tanz_bar in Bremen, GAIAC in Porto, DanceAbility Finland, AbArt in Munich, University of Bologna. Between 2005-2009 she was a member of the dance company Danse Brute in Vienna.

In 2006 she founded her own dance company A.D.A.M. (Austrian DanceAbility Movement) and created the performances: "6 tanzen", "Auf freiem Fuss", "dancing with paints" (a collaboration with L.A.C.E. Theatre/Los Angeles), and "(Ruderal-)Flora" and "Fuss-Noten". 2011 she founded the Dance-Gang, a company with the focus on performances for a young audience. They showed the first piece "Das Lied der Stille" in 2011 and usually combine their presentations with workshops at schools. In 2009 she co-founded MixedAbility-Teacher’s UP, a further training programme for choreographers, dancers and trainers. The format BATTLE+JAM was founded, evenings with live music where mixed-ability improvisation groups meet up for sharing and exchanging.

In 2011 the congress of DanceAbility Europe took place in Vienna in the frame of the DanceAbility Day at ImPulsTanz, sparking a lot of interest, not at last for the presence and support of Steve Paxton. In 2014/15 she worked on a school theatre project called "STEVE", which was premiered in May 2014 at brut Konzerthaus in Vienna. 2015 she contributed to the collaboration of MAD and Tanzquartier Vienna, for the third SWAYING - non-aligned bodies and contemporary performance project in Vienna, an exchange for musicians and dancers. www.danceability.at

Frans Poelstra is a performer and lives in Vienna. Besides making solo performances and working together with a variety of performers and companies in Vienna (among others, Andrea Maurer, Simon Mayer, schallundrauch agency, DanceAbility), he collaborates since 2003 with performer/writer Robert Steijn, together they form united sorry. After working more then 40 years in the field of performing arts he still tries to keep a childlike attitude towards his work, which he finds easier now then 40 years ago.

110 Vera REBL Week 3: 04 - 08 August DanceAbility o 09:30 - 12:00

Flora – ganz schön tierisch Adventures with surprising encounters

"You're too little for that!" - Flora gets angry and decides to ask the plants and animals how to grow quickly. And this is the start to an adventurous journey with many surprising encounters ... are you intrigued? You certainly know how to sneak like a cat and how big a dinosaur can be - what does a bird need to do in order to be able to fly - or how does a tree feel when tickled by the wind. Together we try it all out and discover more! You can do something, which I can’t do! And this will be our starting point to create short dance pieces of children with different abilities.

2011 she founded the Dance-Gang, a company with the focus on performances for a young audience. They showed the first piece "Das Lied der Stille" in 2011 and usually combine their presentations with workshops at schools. In 2009 she co-founded MixedAbility-Teacher’s UP, a further training programme for choreographers, dancers and trainers. The format BATTLE+JAM was founded, evenings with live music where mixed-ability improvisation groups meet up for sharing and exchanging. In 2011 the congress of DanceAbility Europe took place in Vienna in the frame of the DanceAbility Day at ImPulsTanz, sparking a lot of interest, not at last for the presence and support of Steve Paxton.

In 2014/15she worked on a school theatre project called "STEVE", which was premiered in May 2014 at brut Konzerthaus in Vienna. 2015 she contributed to the collaboration of MAD and Tanzquartier Vienna, for the third SWAYING- non-aligned bodies and contemporary performance project in Vienna, an exchange for musicians and dancers. www.danceability.at

111 Dieter REHBERG Week 4: 10 - 14 August Somatic Yoga o 18:10 - 20:10

Somatic Yoga Liberation of the body

Easy Positions – Effortless Movements – Mindful Attention – Joyful Breathing

Listen to yourself mindfully from the inside to find your own wisdom and to develop your own health.

Learn the form – Forget the form – Find your personal Yoga

No Pain – No Risk of Injury – No Over-Ambition – No Guru

Somatic Yoga was developed to make inner Alignment, a meditative mind, Health and bodily Freedom easily accessible to everyone.

Bc. Dieter Rehberg RSMT is performer and heads the Institute for Physio-Mental Development. He is Somatic Movement Therapist (ISMETA), has a BA in dance and performance, and is medical massage therapist and Trager-practicioner. He studied at the University of Vienna, Hogeschool voor de Kunsten Arnhem, the Conservatory of Vienna and at the School for Body-Mind Centering in Amsterdam. Dieter Rehberg has developed his own bodywork and dance practice, and has a longstanding practice as somatic therapist, movement coach and performance artist. Since ten years he has a private practice and teaches nationally and internationally. His main concern in his workshops and seminars is a clear and coherent communication of the content and to never leave ajar any questions.

Peter RILLE & Gobert v. SKRBENSKY Austrian Association for Dance Medicine and Science Intensive 1: 25 + 26 July Contemporary Dance and Medicine o 12:15 - 14:45 & 17:30 - 20:00

Contemporary Dance and Medicine

Medical information and care in contemporary dance is the main topic in the various modules of the lecturing teacher of this workshop. For the sixth time at ImPulsTanz, this workshop focuses on training and teaching processes in nowadays contemporary dance. Biomechanical and correct structures in the mediation process are the foundation for a healthy training, such as medical expertise of the pedagogues. The Workshop will be held in English in four modules, with practical and theoretical explanations. This year’s lecturers: Prof. Dr. Gobert v. Skrbensky, Dr. Michael Matzner and Sharon Booth.

"I came from a year-long training in classical ballet to contemporary dance. The medical care in this continuing dance needs a scientific faoundation. This desire laid the foundation for the establishment of Tanzmedizin.at and subsequently for the Austrian Association for Dance Medicine and Science. "- Peter Rille www.tanzmedizin.at www.aadms.com

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Peter Rille was born in Vienna in 1954. He is administrator of the Ballet Academy and the Opera School of the Vienna State Opera, board member of the Austrian Dance Council, ADC as well as board member of the Austrian Association for Dance Medicine & Science. He teaches anatomy at the Ballet Academy of the Vienna State Opera and organised the workshop of tanzmedizin.at group at ImPulsTanz in Vienna.

He received his Ballet training at the Ballet School of the Vienna State Opera, followed by an engagement with the Vienna State Opera Ballet under the direction of Aurel von Milloss and Waclaw Orlikowsky. He worked with John Cranko at Stuttgart Ballet and with the directors Anne Wooliams, Glen Tetley and Marcia Haydée.

As a choreographer he has presented his work in Germany, Austria and Italy, including commissioned works of Hans Werner Henze, Samuel Beckett and the Heinz Bosl Stiftung in Munich.

Peter Rille studied Medicine at the Karl-Franzens University of Graz and studied ballet pedagogy with Marika Besobrasova at the Academie de Danse in Monte Carlo and at the State Ballet School of Berlin-East under the direction of Prof. Martin Puttke, as well as Pas de Deux with Prof. Sergei Serebrennikov and Prof. Hans Joachim Pat Dorff. He was a teacher of classical ballet, pas de deux and preparatory classes at the Ballet School of the Vienna State Opera School during the direction of Prof. Michael Birkmeyer, Renato Zanella and Gyula Harangozó and was Assistant Artistic Director of the Ballet School of the Vienna State Opera under the direction of Renato Zanella.

Antony RIZZI Week 4: 10 - 14 August Ballet - The Joy of Movement Adv 09:30 - 11:30 Forsythe Repertory Adv 11:45 - 13:45

Ballet - The Joy of Movement Some "tricks of the trade"

This class is a classical ballet class but using the principals of describing space and sensing motion that I learned while improvising for Forsythe for many years. The class is body friendly and allows us to learn some "tricks of the trade" to make our lines more clear and long. We also will be approaching things with speed, deriving from my Balanchine training. Like the title suggests I also look for ways that we can explore the joy of movement in a ballet class, incorporating the whole body and to be able to see that ballet is still dancing.

Forsythe Repertory Forsythe and Rizzi Repertory

Tony Rizzi will be teaching a solo from "Vile Parody of Address"/ "The interview with Robert Scott", a more modern solo. The participants will learn about where ideas and impetus for the movements come from as well as how they can alter this body-text to create new material. Rizzi very much likes to use the things that are going on in the space and set up a feeling of having a rehearsal at the Ballett Frankfurt. Letting the desires and ideas come from the people in the Workshop he will guide what you will do next. This may mean jumping to a completely different piece or combining two together or as in the past maybe making a new piece out of it. An open mind and an understanding of "going with the flow" is a necessity to participate. And best would be to attend all 5 classes if you commit to the Workshop. It is not a rule but it is more fulfilling for everyone.

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Antony Rizzi, an Italian American coming from Boston, was from 1985 to 2003 a principal dancer and artistic advisor to William Forsythe at the Ballett Frankfurt. He has been teaching Classical Ballet and Improvisation since 1987, first at The Boston Ballet and over the years at various companies like, Wuppertal Dance theatre, Munich Ballet, La Scala Ballet, Pennsylvania Ballet, Ballet Theatre Munich, Ballett Frankfurt and others. He has been creating works as well since 1984 for various companies like The Royal Ballet, The Boston Ballet, The Ballett Frankfurt and the Scapino Ballet. In addition he created works for his own company, Moving Productions including "Snowman Sinking", "Judy was angry", "The Role I Should Have Done", "1 2 3 you and me", "Being Human Being" and "Some of my best friends are trash". Rizzi also works as an actor, with the Forsythe Company, Jan Fabre and most recently at the Deutsche Oper am Rhein in the Opera The Fashion directed by Micheal Simon.

Francesco SCAVETTA Week 4: 10 - 14 August A Surprised Body Adv 09:30 - 11:30 Poetics of Movement Adv 11:40 - 14:10

A Surprised Body

Already the title, "a surprised body" defines for me, a metaphorical space - the image of a body in a constantly alerted state, able to surprise itself, escaping from a habitual daily body and from any kind of routine. A body more focused on reacting, than on acting. The reaction forces us to avoid mental approaches.

The physical training aims at awakening our awareness and sensitivity and at creating occasions for discoveries. The class concentrates on centring and gravity. The goals are to let movement pass freely and to activate the centre as an engine of movement. By harmonising the movement with our breathing, we will, more easily, release contractions in the joints and in the limbs, allowing the sense of gravity to be a constant part of our awareness.

By removing unnecessary tensions and finding antagonists to our movement, we will focus on the fluidity of the journey, emphasising the suspension in the fall or the extension in the reaching, to increase the transformations of the central body and the shifts in the dynamics.

Poetics of Movement

A basic dance phrase will be presented as a “key phrase”. Then, with several different tasks for improvisations, will be de-structured and transformed in relation with space and time. The movement phrase is going to be treated as a spoken phrase, where movements can be isolated as “words” and used to compose new phrases. The random in the phrase is created by improvisations or composition, trying to use even small parts of movements as “syllables”, to build new movements.

Through exercises and games, focusing on attention and reaction, we will underline the pathway to an interesting creative moment, which is rooted in mental relaxation and a physical openness: a willingness to play, being totally engaged in what we do and see.

114 Francesco Scavetta proposes a personal approach to contemporary dance, based on Release technique and Contact Improvisation, influenced by his experience as a dancer, choreographer and as well by his practice of Tai Chi Chuan, that links a deep transformation of the body to delicate "poetics of movement".

"I believe that in dance, it’s more important to be able to forget, than to remember."

Choreographer, and dancer, Francesco Scavetta leads, together with Gry Kipperberg, the dance company Wee, that, established in Oslo in 1999, has become one of the leading companies of the Norwegian scene. In the last years, Wee has been touring in more than 30 countries in Europe, South and North America and Asia.

Scavetta’s theatricality has often been associated with the atmosphere of a weird dream or a playful world of a child: strange, funny, poetic and, at the same time, surprising. The created performances change in format and aesthetics. To the delicate memories of "Daddy always wanted me to grow a pair of wings" (1998), that looked like an old black and white movie found in the loft, we contra-posed the complex use of technology of performances like "Live*" (2002), co-produced by the Biennale of Venice and the unconventional dramaturgical structure of the latest projects. The core of the research has always been to deal with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, questioning reality and identity with humoristic disbelief.

Born in Salerno/Italy, Francesco studied at the National Academy of Dance in Rome, graduated in Theatre and Performing Arts at University La Sapienza/Rome and Post- graduated in Sciences of Communication. Scavetta proposes a personal approach to contemporary dance, based on release- technique and contact-improvisation, influenced by his practice of Tai Chi Chuan that links a deep transformation of the body to a delicate poetic way of movement.

Scavetta has been giving classes and workshops, at a.o.: P.A.R.T.S. (Brussels), MTD (Amsterdam), SEAD (Salzburg Experimental Dance Academy), Anton Bruckner Private University (Linz), Henny Jurriëns Foundation (Amsterdam) and in many dance/theatre festivals around the world. The teaching project "A surprised body" started in the 2005, in Norway, and continued, throughout 2006-2012, with workshops in: Italy, Croatia, Serbia, Cuba, France, Colombia, Venezuela, Estonia, Latvia, Lithuania, Argentina, Uruguay, UK, Holland, Republic of San Marino, Austria, Finland, India, Belgium, Russia, Canada, Brazil, Chile, Ukraine, Spain, Palestine, Lebanon, and Jordan

"I am, personally, getting more and more interested in the process of learning, the different ways of articulating the transmission of information as an experience. How, as a pedagogue, can I be able to reach each individual, present in a class, in a personal way? My aim is to direct the attention of everyone to the approach of the learning process."

115 Sylvia SCHEIDL Intensive 2: 01 + 02 August Core Training - Horizontal Ballet into Multidimensionality Int 09:30 - 11:45 & 15:00 - 17:15

Core Training - Horizontal Ballet into Multidimensionality

This class will be of hybrid nature interweaving the Floor Barre as developed by the American ballet dancer Jean Hamilton, Alignment and Experiential Anatomy based information and an open explorative mode of multidimensional dancing. Floor Barre offers a series of distinct exercises lying on the back, the front, and the sides of the body. The quite reduced format of the exercises allows us to concentrate on strengthening the deep muscles around the spine as the core structure of the torso. Simultaneously our legs will be freed to move in the hip joints. In an inner dialogue with our muscles and bones we stimulate our bodies to let every bone and every joint articulate to its full potential. We respect the basic technical requirement of ballet: a steady and stable torso.

Getting off the ground we will benefit from our toned Floor Barre bodies as they reflect an instantaneous readiness for upright and elastic dancing. Contemporary principles of movement will let us play with extensive locomotion, level changes and multidimensional orientations in space. We will be toning the body up and down the scale, riding the waves of momentum as much as using the tensile strength of our web of muscles. We will play with timing coordinating several body parts, with sensory and physical complexity testing our options for personal virtuosity. Why fusing the Floor Barre and contemporary movement exploration in a class? It allows us to investigate directly how the minimalistic ballet exercises may support our animated, generous, and multiform dancing.

Sylvia Scheidl completed her MA in Contemporary Dance Education at the Hochschule für Musik und Darstellende Kunst Frankfurt/Main reflecting her years of experience in somatic, explorative and form-based learning methods in contemporary dance. In her master thesis she engaged in mind processing beneath the level of consciousness and slow knowing, as a fertile ground and supportive environment for creativity and learning in dance education.

In the eighties she studied at the School for New Dance Development in Amsterdam. The main concerns there for experimental artistic practices, experiential anatomy, release techniques, real time composition and contact improvisation laid the ground for her engagement in performance and teaching.

She was a member of the research team Frankfurt and co-author of the book "Dance Techniques 2010 – Tanzplan Germany". 2011 to 2013 she supported the development of the IDOCDE-online-platform and the conception of the IDOCDE-peer-to-peer-exchange formats.

For many years she has been a member of the Viennese group SOMEX. Five dance makers and somatic movement educators have been collaborating in interdisciplinary artistic basic research with their backgrounds in somatic and performative practices investigating processes of perception, cognition and decision-making.

For many years she has been teaching the Jean Hamilton Floor Barre and release and alignment oriented dance. She lives and works in Vienna.

116 Shelley SENTER Week 1: 20 - 24 July Alexander Principles into Dancing Adv 09:20 - 11:20 Trisha Brown Repertory - Set and Reset Adv* 11:35 - 13:35

Alexander Principles into Dancing clarity and subtlety

The Alexander Technique is a means of identifying mental and physical habits that interfere with one's ability to attend to the moment and make choices. Through observation, dialogue and hands-on work, this workshop aims to introduce principles of the Technique and examine common assumptions and their accompanying sensations of such dancerly concerns as strength, support, stability and power. The aim is to open the body and brain to new information and refining the organisation of the performing body and mind.

Trisha Brown Repertory - Set and Reset

"Set and Reset" (1983), Trisha Brown’s ground-breaking dance is considered one of the most important works of the post-modern genre, and continues to be relevant today. In this workshop, participants will learn the original phrase material of the dance, then improvise with the rigorous choreographic principles that Brown employed when constructing it in1983, experiencing first-hand the inner workings of a masterpiece, testing the soundness of the choreography, and creating a unique version of a section of the piece "Set and Reset/Reset". This class provides an excellent framework for applying principles of the Alexander Technique to movement, and for refining the organisation of the dancing body.

Shelley Senter has been involved with experimental and post-modern dance for more than 25years, touring throughout North and South America, Europe, Asia, Australia and Russia as a performer, choreographer, and teacher. She has been critically recognised and awarded for her distinct approach to movement, both as an independent artist, and as a collaborator/performer with many distinguished artists in the international dance and visual art communities and is an official repetitor of the work of Trisha Brown and Yvonne Rainer. An internationally reknowned teacher of the Alexander Technique, she has been investigating the principles of this technique of the performing body and mind for the past two decades. Her work has been presented in Canada, Mexico, Argentina, Brazil, Ecuador, Chile, France, Italy, England, Sweden, Greece, New York, San Francisco, Los Angeles, San Diego, Boulder, Portland, Seattle and Marfa.

Matthew SMITH Week 1: 20 - 24 July Applied Anatomy - Functional Training for Dancers Adv 09:45 - 11:30

Applied Anatomy - Functional Training for Dancers muck'n around with movement

This workshop will mess with different training approaches and relate them to the dancing body. It takes its inspiration from osteopathy, Contact Improvisation, exercise science and the Axis Syllabus. Mixing things up to provide some ideas for dancers to train stability, power, flexibility and co-ordination in dynamic movement in a playful way. Some theory (not a yawn) about the structure and function of the body will be discussed and used to generate the parameters for the movement practice. Each class will consist of training modules and dance vocabulary (improvised and set material). 117 Some tiring bits will be mixed with less tiring bits.

He is a long term member of Impure Company. Recently performing in "then love came and set the world on fire" and also "Now the field is open" with the HipHop crew deepdowndopism. He created a solo "Role-ing" for Benedikte Onarheim as part of En Kveld in Oslo and is currently working on a duet with Eroca Nicols. He premiered his first evening length in 2011 with the work "Spin" in Zagreb, Croatia for Studio Dance company. He also created a 40min work "Observing Observing" in 2008 for SEAD.

Sabine SONNENSCHEIN Week 1: 20 - 24 July Contact Improvisation based on Tantra Int 17:00 - 20:00

Contact Improvisation based on Tantra

Through tantric approach und techniques, Contact Improvisation (CI) becomes a tantric practice, a sensual and holistic dance experience. In this week we practise CI not just under the lens of physical and anatomical phenomena: you dance as a unit of body, soul, spirit and mind.

Sabine Sonnenschein combines sadhana and practices from Kundalini Tantra Yoga (from Swami Satyananda Saraswati), Kashmiri Tantrism and CI: We will experience classical basics of CI techniques (dealing and playing with gravity, effect and use of weight) in a new way because of tantric approaches towards the world, such as sparsa (touching und being touched), spanda (vibration of the consciousness and the world), bhakti (devoted love) and samavesa (to immerse as well as to absorb).

In a slow and very consequent way we will get aware of the chakras (energetic centres in the body) by breathing exercises, sadhana from Kundalini Tantra Yoga (from Swami Satyananda Saraswati); the exercises support the flow in the chakras.

This class enables you to listen to your nature, to your innerness.

You sense your breath, the inner movement, the inner flow and inner subtle energies. You get aware of your emotions and possibly emerging thoughts. In case regularising or self- restricting thoughts emerge, you let them pass by and sense the moment and the self- awareness of your body (proprioception, interoception, visceroception). 118

In breathing you are finally able to let energy circulate in your body, to absorb as well as emit energy.

In this class you experience your space and how much space you need.

You become aware of your personal boundaries, learn to preserve them and communicate them towards others, as well as expand them consciously, if you want to. You practise respect towards yourself, self-responsibility and empathy for others: You experience, which quality of touch attains your nature? You feel which quality of touch supports your nature and which not. How do you enter the space and the energetic field of your partner? How do you get in contact with the cells and the nature of your partner?

How do you and your partner find your dance together in listening to each other?

A deep encounter between you two becomes possible, if you don‘t want anything from your partner, nor your partner from you. A deep encounter becomes possible, when you don't just use your partner to just feel yourself and when your ego does not instrumentalise him/her, but instead, becomes silent and both of you experience each other and also the space, maybe even the universe.

How do you touch the space as your lover? How do you - in dancing - become one with the en-souled space, the world or the universe?

Expanding into the space you may experience samadhi.

Love energy and sexual energy are not excluded, but used for the dance in an aware way. They nourish your dance.

You will be practising in a mixed gender group.

Level: Intermediate, which means for joining you should have some experience with CI, know about the basic principles of CI and have at least a bit of experience in meditation.

Please bring a fruit of your choice on the first day, with which you would like to introduce yourself to the rest of the group!

This class is given in English and German

Sabine Sonnenschein is choreographer, dancer (since 1992), Tantra-teacher (since 2004) and sexologist (in education of the sexual-therapeutic method Sexocorporel). She lives and teaches a fusion of a tantric perspective of the world and dance as a practice of life. She studied contemporary dance. Her artistic work - 39 performance pieces - has been shown in Europe and NYC. She received a grant for her dance studies in New York 1994/95 from the Ministry of Science, Research and Arts of Austria. Foci in her dance education in NYC and Vienna: release techniques, contemporary dance, Contact Improvisation (CI), Developmental Movement and ballet. Since 1990 she practices Contact Improvisation; her most influential teachers: Nita Little, Andrew Harwood, Martin Keogh, Inge Kaindlstorfer, Mark Tompkins and Daniel Lepkoff. She has training in tantric full body massage (AnandaWave, Michaela Riedl/Cologne). She has studied Pelvic Massage by K. Ruby and Yin Yang Massage by Andro, has been introduced to Kashmir tantrism and Kashmir yoga of touch by Daniel Odier. She deepened her training with "Vijnana Bhairava Tantra" by Dr. Bettina Bäumer. Since 2006 she practises tantric body work, womb healing and tantric coaching with focus on sexuality in Vienna.

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Internationally she gives seminars focusing on the fusion of Tantra and Contact Improvisation, mostly in Vienna, Freiburg, Paris and in the Bretagne. Sabine Sonnenschein works together with Günter Touschek (AT), Benno Enderlein (DE) and Manuela Blanchard (CH). www.tantrischekoerperarbeit.at

Mårten SPÅNGBERG Week 2: 27 - 31 July #the_first_recipe (55+) 17:00 - 20:00

#the_first_recipe (55+) A Workshop for You!

Dance doesn’t belong to anybody, it is something we borrow, enjoy and struggle with. Dance is an expression into the world that should be allowed to be used by everyone. It’s first of all an art form capable of expressing in its own ways everything we could ever imagine. It is also a form of training and technique but this must never stand in the way of the joy and happiness of expression – be it of individually or in groups – expressing ourselves through dance and making art. As much as dance doesn’t belong to anyone nor does its artistic expressions, it is something we create and express into the world.

#the_first_recipe is a workshop with the focus on dance as expression, as artistic practice beyond technical ability and formalised bodies. It is also a coming together to dance that has nothing to do with contemporary popular dance culture, in this workshop we make dances that are specific to us without trying to look fancy or cool. This is a workshop for you. It wants to dance with your heart and your soul, together with others and enjoy it. Finally it is a workshop for you, of whom others may think a bit too mature to make silly things such as art. It is for you, who doesn’t care whether others consider you to be too old to be proud of what you created together with a group – all participants are equally brave and beautiful.

Mårten Spångberg is a performance related artist living and working in Stockholm. His interests concern choreography in an expanded field, something that he has approached through experimental practices and creative process in multiplicity of formats and expressions. He has been active on stage as performer and creator since 1994, and since 1999 he has created his own choreographies from solos to larger scale works, which has toured internationally. He has collaborated with Xavier Le Roy, Christine De Smedt/Les Ballets C. de la B., Jan Ritsema and Krõõt Juurak a.o. Mårten Spångberg initiated with the architect Tor Lindstrand the International Festival, an interdisciplinary practice merging architecture and choreography/performance. From 1996 - 2005 Spångberg organised and curated festivals in Sweden and internationally and initiated the network organisation INPEX in 2006. His experience in teaching both - theory and practice - is thorough. Mårten Spångberg was director of the MA programme in choreography at the University of Dance in Stockholm.

120 Anat STAINBERG Week 1: 20 - 24 July How to write for, and talk on the stage! o 13:05 - 16:05

How to write for, and talk on stage!

Many practitioners today, find themselves open to deal with text and speech on stage - these are the times! People with dance background are often highly skilled using their bodies in an authentic way. And often under skilled using their individual voices in writing for, and talking on stage. Good news: writing for, and talking on stage are skills that can be learned!

In this Workshop we will focus on two parallel lines: Participants would be exposed to different inspiration sources for text development; exterior stimulations and theatre/performance improvisation techniques.

In parallel, we will practise exercises borrowed from actors training; concentrating on the necessary breathing and voice projection techniques as well as pronunciation of speech for live performance on stage.

The newly learned voice and talking skills will be immediately applied to the fresh text material, and practiced on stage.

Anat Stainberg is a multi disciplinary performance artist, dramaturge and curator, who is working within various visual art and writing disciplines as well as directing. Originally an actress from Tel Aviv she lived and worked in New York, Amsterdam and Vienna. She is a graduate of DasArts Amsterdam and these days a lecturer at the Akademie der bildenden Künste Wien, at the Performative Arts class. Her work has been presented internationally in galleries, museums and theatres: Brut Wien, Kunstraum Niederoesterreich Vienna, school Vienna, the Stedelijk Museum Bureau Amsterdam, De Apple Gallery Amsterdam, the Frascati Theatre Amsterdam, Düsseldorfer Schauspielhaus, the Austrian Theatre Museum Vienna, Im Ersten Gallery Vienna, and Wien Modern Vienna. http://anat.klingt.org

Risa STEINBERG Week 3: 03 - 07 August Limón Technique Beg 16:05 -17:50 Limón Technique Adv 11:40 - 13:40 Intensive 3: 08 + 09 August Limón Technique Int 12:15 - 14:30 & 17:45 - 20:00

Limón Technique Beginners Play with gravity!

The technique, style, and philosophy of the Limón class draws upon the principles of fall, rebound and breath to train the body to move in its fullest potential. In a beginning class we will enjoy the exploration of music and movement, and the coordination of the body in space. There will be a warm up, centre work and then the challenge of travelling in space. Dance is about the joy of movement and that is what the focus of the class will be.

121 Limón Technique Intermediate & Advanced You have the capacity to dance as long as you want

"The technique, style, and philosophy of the Limón class includes the principles of fall and rebound: the challenge of yielding to and resisting gravity, weight, suspension, successive movement and isolation as well as alignment. Limón teaches the use of space, music and communication. Limón equips a dancer with an intelligent body and the tools to communicate thoughts, whether emotionally driven or not." As Risa Steinberg is asking the dancers to be responsible artists at all times, they will realise that music, dynamics and phrasing are essential parts of their art form.

Risa Steinberg is internationally known as a solo artist, teacher, and director of the works of José Limón. In regard to her performances in New York City, The Village Voice critic Deborah Jowitt called Ms. Steinberg "One of our great modern dancers." Risa Steinberg has been member of the faculty of The Juilliard School, and has taught extensively throughout Europe, North America, South America, the Middle East and the Far East.

STORM Week 1: 20 - 24 July Bboying/Breaking o 14:25 - 16:10 Popping/Animation o 09:45 - 11:30 Intensive 1: 25 + 26 July HipHop Choreography 09:45 - 12:00 & 15:00 - 17:15 Week 2: 27 - 31 July HipHop (12-15J) 10:30 - 12:00 Bboying/Breaking o 14:25 - 16:10

HipHop (12-15J) Body Percussion & Handshakes!

In Storm's HipHop class the focus is on the feeling for music. Handshakes and Body percussion will provide for an open group atmosphere and facilitate contact between each other. This will enhance the fun factor and make it easier to learn new movements. We will learn fluent movements such as slow motion or integrating pantomimic phrases, which will be wrapped up into small combinations. We will tell short stories.

Popping / Animation cosmopolitan researcher in the field of urban dance

In this Workshop the philosophy, history and technique of this urban dance style will be explained through counter movement und checkpoints. Storm developed this teaching method to help to get a good grasp of the deep dimension of this dance form. Isolations and rhythm technique help to learn this style easily and facilitate the creation of a visual instrument developed out of musical parameters.

Bboying/Breaking Toprock, Downrock & Freeze

Each of Storm's Breaking classes is divided in three parts. The first part is a warm-up with exercises for a long-term conditioning of the body and for allowing an organic movement flow. Efficiency of the body is enhanced through a thorough exploration of essential biomechanics. The second part contains the Toprock: it is performed in a vertical position and already 122 suggests in terms of energy flow, what follows: the Downrock / Floorrock. This is the acrobatic and challenging part of the dance, mostly performed in a crouched position on the floor crowned with the Freeze at the end.

HipHop Choreography Revolver, Domino, Pick-up, Catch-up, Call and Response and more

Stage work in the urban dance field is mainly focussed in displaying the skills of a dance style in a performative way. Those mostly technical demonstrations make use of a catalogue of graphical choreography methods that can be utilised generally. They are based on dynamics, dimension and spatial awareness. Developing the notion on how to direct a spectator’s eye through a performance is the goal of the workshop. We will be working thoroughly on a number of about 20 basic choreographic HipHop methods like the revolver, domino, pick-up, catch-up, call and response amongst others.

Storm is one of the most notorious figures of the worldwide HipHop dance movement. His professional career started in 1983. After being part of the first HipHop dance theatre company called "Ghettoriginal", he formed his own company in 1996: the "Storm and Jazzy Project". In 2001 he released a book called "From Swipe to Storm" on the history of Bboying. In 2006 he choreographed the FIFA worldcup opening ceremony. As a cosmopolitan researcher in the field of urban dance development, his expertise has helped building communities and events all across the planet.

Anastasia STOYANNIDES Week 1: 20 - 24 July Hatha Yoga - bien tempéré / The Style Ruchpaul o 18:10 - 20:10 Week 2: 27 - 31 July Hatha Yoga - bien tempéré / The Style Ruchpaul o 09:30 - 11:30

Hatha Yoga - bien tempéré / The Style Ruchpaul Wisdom of the body

"Hatha-Yoga is not fast food. It is a transformation of our physiological potential"

"During this week I would like to share with you another perspective of what Yoga could offer. Often we are entering a Yoga class with lots of expectations of what Yoga might bring to our physicality and/or to our mental state of being. What about if we practice Yoga with the only wish to enjoy our body and ourselves as we are right now? With the practice of Hatha Yoga "bien tempéré", we will learn how to trust on the principle: "with the minimum of effort we can achieve the maximum of effect". How does it feel, if we allow a non-competitive performance to take place? How do we perceive ourselves as well as the world around us? Hatha Yoga introduces postures - the asanas - as a medium to reach towards a more refined state of awareness. Trusting on the intuitive intelligence of our body as a vehicle for self-development and spiritual growth, we will soon be enjoying a spontaneous state of equanimity, joy and grace. We feel our strength and we le it shine!!!" My wish is to encourage the yoga practitioner to cultivate trust in his/her profound nature in order to be able to effectively incorporate the benefits of the yoga practice in the demands of daily life.

A sophisticated and precisely elaborated Yoga training system is very important to me as a teacher. This is why I am fascinated by the Yoga bien tempéré style of Eva Ruchpaul – a 123 pioneer of Yoga in Europe, who developed and codified this technique. It invites to balance assumed oppositions such as the simplicity of the form and complexity of performing a posture. In Yoga bien tempéré practicing and instructing are always bridging art and capacity. I personally enjoy the variety and individuality which are both welcome in this practice. This Workshop is open for everyone interested in a new dimension of Hatha Yoga practice.

"…With Eva Ruchpaul’s unique Hatha Yoga technique and Anastasia as a teacher, I found exactly what I was looking for in yoga. It’s rebalancing, invigorating and rejuvenating—and simply blissful, I love it!" - Irina P., Vienna

For more info about Hatha Yoga "bien tempéré" and Anastasia Stoyannides please visit the website http://www.anastasiayoga.com

Anastasia Stoyannides, BA, is a certified yoga teacher in the technique of Eva Ruchpaul's Hatha Yoga "bien tempéré", Paris/France. Originally Greek, Anastasia has been based in Vienna/Austria since 1992 and currently shares her life and teaching career between Austria, Greece and Spain. In Vienna she is running her own yoga studio, the "Praxis 1/2 Gasse", 1070 Vienna.

Anastasia has been a guest teacher for over 28 years, invited internationally to facilitate seminars with various groups of people. She herself gives regular instruction in her private practice and organises intensive yoga workshops and yoga retreats throughout the European continent. She had the good fortune to be introduced to movement in her early childhood and be accompanied by it ever since. In her previous profession as a performer, both as a soloist and as a member of dance and theatre companies, she explored improvisation as a key to spontaneous creativity.

After years of an intensive study of the human body, she finds her spiritual home in the yoga practice of Eva Ruchpaul, the technique that helped Anastasia to fuse all her previous knowledge of movement with teaching yoga and embodying personal growth. Anastasia's approach to Hatha Yoga focuses on a profound and honest way of practising as an inspiration for students and yoga teachers to trust in the beauty of their existence and to unfold towards a refined state of self-reliance and inner silence.

Rakesh Sukesh Week 2: 27 - 31 July Payatt INtransit Adv 16:30 - 18:30 Kalaripayattu o 14:20 - 16:20

Payatt INtransit Dance & Martial Art as One

Payatt INtransit is a contemporary movement technique that combines movement principles from the ancient Indian martial art of Kalaripayattu with Hatha Yoga practices like Asana and Pranayama as well as dynamic Kundalini Yoga and energy work to stimulate the source of energy in our body. It trains the practitioners in a safe, organic and yet rigorous way to become more confident, soft, relaxed, flexible and powerful. It is training us to be quick in our reflexes, while at the same time guiding us to cultivate a constant inner calm.

The focus lies on learning to relax and soften while simultaneously unleashing a forceful energy as we use gravity and momentum to build up physicality. The class challenges our

124 physical and mental limits, trains the physical body to be quick, energetic, physical, while mentally we remain calm, soft and relaxed, undisturbed by the agitation of physical movement. We learn to isolate the strong physical aspect of this class from the constant calm within, enabling us to gain complete control over the movement rather than become controlled by the movement, and enhancing our ability to adapt to unexpected situations and make innovative yet efficient choices, based on combining the energy from within with our physical energy and with the energy around us.

Kalaripayattu Mobility, Balance and Body-Centring

The vision of this workshop is to initiate the participants into the world of Kalaripayattu through traditional training practices integrating body, mind and spirit. This art form also enables the body to "think and see" in the more practical sense along with giving the body and mind the options of various possibilities in movement. Kalaripayattu is an ancient form of martial art of Kerala dating back to almost 2000 years. This martial art derives its name from two words, "Kalari" which means arena of the fighters and "Payattu" which means practice. Kalaripayattu is not kicking and punching. It requires a unique synchronisation of mind and body. Along with energy, there should be flexibility of the body and sharp focus of the mind. A person performing Kalaripayattu needs to have agile muscles and for that, a massage with Ayurvedic oils is a must.

A typical session begins with the entire group getting grounded through specific body movements and postures emphasising on correct breathing techniques for each specific movement and posture (chuvadugal). The session proceeds to more complex patterns of movements, which further open the body ensuring the mind is within focus as the situation requires this combination to reach the specific state (a prerequisite for the following rigorous routine). The traditional Kalaripayattu warm-up exercises (swinging of the legs in various patterns and combinations), specific body postures - Vadivugal (inspired by animal movements), are practised with the accompaniment of traditional verbal commands (Vaaithaari). The session moves onto more complex Kalaripayattu's traditional movement sequences called Meipayattu: sequences of previously practised movements incorporated with more combat oriented traditional acrobatic movements of stretches, bends, turns, leaps, jumps - without using any external weapons. Meipayattu is the practice session, which enables the practitioner to increase alertness, body co-ordination, strength, flexibility, endurance, mental concentration, speed, optimal energy utility, increasing the body’s internal joint mobility, body balance and body centering.

Rakesh Sukesh started his career as a Bollywood dancer with a dance company in Kerala, India. During this period he worked in several films as a dancer and assistant choreographer. In 2003 he joined Attakkalari Centre for Movement Arts, a contemporary dance company in Bangalore. As a part of the company, Rakesh has performed at various national and international venues. He had the privilege to perform at the Rashtrapati Bhavan, Delhi in 2008 for the presidents of India, South Africa and Brazil. With the company, he has been part of 3 major productions under the direction of Jayachandran Palazy (Artistic Director and Choreographer of Attakkalari). As part of the company’s training method Rakesh got introduced to the martial art form called Kalaripayattu.

Since 2009, Rakesh has been working as an independent artist. In 2009, he participated in the Apprenticeship Programme with Magpie Umbrella Organisation under the Direction of Katie Duck (Artistic Director, teacher and performer) in Amsterdam, followed by several invitations to perform with Magpie.

125 Rakesh is developing a contemporary movement method – Payatt INtransit – using Kalaripayattu and contemporary movement techniques, Yoga and Energy Work. He has been invited to teach Payatt INtransit at many prestigious spaces like Sidi Larbi Cherkaoui’s Company, Ultima Vez, ImPulsTanz, Deltebre Dansa in Spain, Tanzfabrik Berlin, Colombo Dance Factory Zurich, University of Costa Rica/El Barco, Bremen Theatre and many other professional dance organisations in Europe and Asia.

In the past five years Rakesh has been working between India and Europe. Since 2013 he has been living in Zurich as a Swiss resident and works as performer / teacher / choreographer with many companies and artists.

Kenji TAKAGI Week 2: 27 - 31 July Free Dance Technique Beg Motivating Dynamics Adv

Free Dance Technique Experimentation & Joy of Movement

In this workshop Kenji Takagi follows Rudolf von Laban's idea of the development of a "free dance technique" that is in the first place not connected to a certain dance style, but has the task of delivering a focused practice in universal principles that are essential to human movement in general and to dance movement in particular. The participants are invited to develop a spirit of experimentation and to discover different aspects of time, space, energy and flow with their body. The class starts with a warm-up in the centre, followed by elementary to more complex exercises across the space, possibly including short improvisational or compositional tasks. The goal is to feel the joy of movement and to get acquainted with basic principles of modern and contemporary dance technique.

Motivating Dynamics Surprise yourself!

How to maintain the liveliness, spontaneity and richness of an initial improvisational experience while writing dance? Maybe we can trick ourselves if we approach choreography as a sequence of dynamic events, concentrating on what’s alive in the moment rather than getting lost in fixing a reproducible form. In an open research situation I will offer ideas and experiments that try to generate authentic physical motivation: Playing with unpredictability, provoking a temporary loss of control and asking for quick, surprising reactions. Creating/overcoming resistances. Using contrasts and conflicts between body parts, space concepts, the surrounding and other persons. My aim is to share tools that have proved fruitful in my own experience and provide possible guidelines for the creation of exciting movement material.

Kenji Takagi is working as a freelance dancer, teacher and choreographer. He was a member of the Pina Bausch Company from 2001 until 2008 where he remains a guest, both as a dancer as well as a rehearsal assistant, up until now. In 2008 he received the German Theatre Award "Der Faust" in the category "best performance in dance" for his solo in Pina Bausch’s "Bamboo Blues". Kenji Takagi was teaching in various places such as ImPulsTanz, Folkwang University Essen, Conservatoire National Superieur de Paris, La Biennale della Danza in Venice and Movement Research New York a.o. In 2010 he was engaged as a rehearsal assistant for the re-staging of Pina Bausch's "Le Sacre du printemps" at the Opera de Paris.

126 Bruce TAYLOR Intensive 1: 25. + 26. Juli Modern Jazz Int 12:15 - 14:30 & 17:45 - 20:00 Week 2: 27. - 31. Juli Modern Jazz Adv 14:25 - 16:10 Modern Jazz Beg 16:20 - 18:05 Intensive 2: 01. + 02. August Modern Jazz Int 12:15 - 14:30 & 17:45 - 20:00

Modern Jazz Tradition & Modernity

The focus of this Workshop is the work from the back, where the Port de Bras begins and the Swing – the movement resulting from an impulse. It is very important to know from where we come and where we are in the "here & now". Modernity is ever important in a class with a certain respect to tradition. At the very foundation Jazz dance is about "mixing and creating". We are used to adapt to the times and the present musical culture, which results in an up-to-date Jazz dance – well-founded in its times and coherent. This is a concept that Bruce TAYLOR uses in his teaching, a very pleasant and amusing experience. "My style, mixing Modern dance with the swing, emotion and energy of Jazz rendering the movement into an honest, direct and clear one."

Bruce Taylor‘s Jazz dance style is majorly influenced by his studies with Alvin McDuffie, Majorie Mussman and Peter Goss. Bruce Taylor has been dancing with Elisa Monte Dance Company, Agnes DeMille Heritage Dance Theatre and others and is now heading his own company "Choréonyx” in Paris.

Doris UHLICH Week 2: 27 - 31 July Ruhestandstanz (55+) 13:50 - 15:35 More than naked Adv 17:30 - 20:00 Intensive 2: 01 + 02 August every body more than naked o 12:15 - 17:15

Ruhestandstanz (55+) Every-body dance now!

After a guided warm-up and some structured dance training it will start: through improvisations and dance combinations the retire-ment will become a joyful, agitated and loud dance move-ment. The desire and pleasure to re-discover the body and open the mind for experiments will lead us to unfamiliar dance worlds. Above all we will delve into non- verbal communication evolving through movement. What kind of contact is possible through dance? What kind of relationships evolve between the own and other bodies? What would the "group's body" be like? We will look for the virtuosity that lives in each and in the group’s body and bring it out. From Pop, Classical Music to Techno – music will help us to open our bodies and guarantee for the stream of energy. Throughout the week we will move into a dance with emphasis on movement rather than on form. We will hae loads of fun with our open, energetic bodies – boom tchak!

127 more than naked Let´s rock the flesh!

This Workshop is focused on different facets of nudity, such as being-nude and getting- nude on stage. Hence we are exploring nudity not as provocation, but as a necessity for a physical research. What kind of movements are generated by the naked body, which otherwise are not possible with our clothes on? What forms of power and fragility are inherent in the naked body? What forms of representation, exhibition, public display and imagination are produced?

We will primarily work with the mass of the body, with the flesh, with body fat, with the skin and the skeleton. The meat is set in motion in different ways: it will be flying and falling, bones will implode and explode, skin surfaces will be wiggled, sweat will shine. We will stage the body without clothes – without losing the concreteness of nudity. During the workshop we will increasingly address the question of what it means for us today, in 2015 to set the naked body in motion.

"The piece "more than naked" was premiered at ImPulsTanz 2013. Let's party our body! At the same time "more than naked" is much more than celebrating the physical materiality – which political and social motives are behind naked moving bodies? As in the piece the "more than naked training" is a very physical approach to nudity, very agitated and concrete. Our flesh wants to have fun! "– Doris Uhlich every body more than naked Let´s rock the flesh!

Doris Uhlich was born in 1977 in Upper Austria and studied Pedagogics for contemporary dance at the Conservatory of Vienna between 1997 and 2001. She has been teaching since 1997 e.g. for the Tanzwerkstatt Wien, and Conservatory of Vienna. In 2009 she has been lecturing and coaching students of the Performance department at the Academy of visual arts in Vienna. She received scholarships and residencies at ImPulsTanz and brut/Wien, K3/Kampnagel Hamburg, the Carte Blanche at Tanzquartier Vienna (2007) and she was Artist in Residence for the season 2011/12 at Festspielhaus St. Pölten. She has been named as "remarkable Performer" in the yearbook 2008 of the dance magazine "ballettanz" and

128 2011 "dancer of the year" in "tanz" magazine. In 2013 she was awarded with the "Outstanding Artist Award" in the category Performing Arts of the bm:ukk (Austrian Ministry of Education, Arts and Culture).

Between 2002 and 2009 she played with the group theatercombinat in Vienna. Since 2006 she develops her own work: "und" (premiered at brut/Wien 2007, presented a.o. at the Festival Österreich tanzt, BAC/London, Festival Politik im freien Theater/Köln), "SPITZE" (premiered at brut/Wien 2008, presented a.o. at ImPulsTanz, Les Subsistances/Lyon, Chelsea Theatre/London, Mousonturm/Frankfurt, Österreichische Tanzplattform, Tanzquartier Vienna), "mehr als genug" (premiered at Les Subsistances/Lyon 2009, presented a.o. at Centre Pompidou/Paris, Les Halles/Brussels), "Rising Swan" (premiered at brut/Wien 2010 and presented at Gessnerallee Zürich, Dampfzentrale Bern, Kaserne Basel, Judson Church/New York) and „Uhlich“ (Wiener Festwochen 2011, guest performance a.o. at Les Latitudes/Lille). She showed the piece "Rising Swan" in the frame of the Choreographic Platform Austria at ImPulsTanz 2012 and her piece "COME BACK" has been premiered at steirischer herbst in the fall of 2012. Her group piece "more than naked" premiered at ImPulsTanz 2013 (guest performances WUK / Vienna, Mousonturm / Frankfurt, Sommerszene Salzburg NEXT Festival Kortrijk, MDT Stockholm). Her newest project is "Universal Dancer" (world premiere at brut/Wien 2014, guest performance at a.o. Frascati Amsterdam, Schaubühne Lindenfels/Leipzig, Donaufestival/Grelle Forelle) and is the kick-off for her research of Techno. www.dorisuhlich.at

Samantha VAN WISSEN Week 1: 20 - 24 July Contemporary Technique Beg 09:30 - 11:30 This Moment Adv 11:40 - 13:40 Rosas Repertory: Rosas danst Rosas Adv* 15:45 - 17:45

Contemporary Technique Journey to the body

Travelling through our body, that is so familiar to us, and yet there`s so much to discover. Trying to avoid habits and patterns that we are used to take. Preparing an alert body and mind through improvisation exercises, so that the body gains more freedom, trust and awareness. We will work on those skills alone, but also in couple or groups, using the space around us. Besides that improvisation element I would like to work on a movement phrase, and little composition tasks to enrich the phrase. Overall it`s a physical experience shared with the others, lots of joy and fun to move together and be "moved".

This Moment

The chance that we would move in the same way once we start peeling off habits, altering trained coordination, and giving an idea of what movement should look like, is very unlikely. Our anatomy gives us all limits and possibilities. What about the marks and footprints that training leaves behind? How can we let go of certain mechanics in our bodies to create freedom, freedom to make technical and artistic choices? Being present in this moment, in every fibre of our body, offers space to body and mind to make that journey. Working in small groups can offer the moving body support, surprise and challenge. Through different improvisation exercises we will focus on the physical work, and on the space around and between us. We will practise using our physical intelligence in order to deal with internal and external information. 129

Rosas Repertory - Rosas danst Rosas Strongest experience

"In this workshop I will take you back to 1983, the premiere of "Rosas Danst Rosas". This piece has been touring throughout the world staying successful over time. There was an intensive world-tour in 1992, and this is when I joined in.

It has become one of my strongest experiences as a performer and as a person in general. The challenge of the minimal repetitive movement, interpretation, dancing complex structures with four people together, are interesting topics to me - and most of all a pleasure to dance! Listening and breathing together, feeling each others energy…” The actual material lies in the heart of the movement work of Anne Teresa De Keersmaeker. The simplicity of the basic material, the exciting dynamic range and the complexity of the structures make it very suited to learn and teach.

"Rosas Danst Rosas" consists of four parts each representing a moment in a day: sleeping/waking up, working, afternoon and evening/nightlife. The movements are drawn from everyday observations: the hands through the hair, letting the head fall, looking to the side. It is an interaction between formal elements and a language full with emotion that gives the movements its intensity. We will work on the first three parts: - Floor material (a slow and a quick phrase) - On chairs (a challenging complex structure) - In space (unison with variations).

As the piece is made and danced by women the material is quite feminine. I do think the material is also interesting and meaningful to men. Some adjustments in movement may be required though. You will need flat comfortable shoes, basket shoes, Reebok dance shoes, or just street shoes with a flat and flexible sole. The workshop does not include a warm-up, so please come prepared for the class!

After following an education at the Rotterdamse Dans Academie, Samantha van Wissen joined Rosas/Anne Teresa De Keersmaeker in 1991. Until 1997 she participated in many creations and performances, such as "Ertz", "Mozart Concert Arias", "Woud" and also toured repertory pieces ("Rosas Danst Rosas", "Achterland", "Mikrokosmos"). Since 1997, she has worked with Cie. ZOO/Thomas Hauert, doing most of the creations and tours ("Cows In Space", "Pop-up Songbook", "Verosimile", "Jetzt", "<5>", "Walking Oscar"). She has given workshops at P.A.R.T.S. and is on the ImPulsTanz faculty since 2008. Samantha kept on working with Rosas for repertory pieces like: "Rosas danst Rosas", "Achterland", "Mozart concert Aria`s", "Drumming" and "Elena`s Aria".

130 Angélique WILLKIE Week 3: 03 - 07 August Release Technique Adv 09:30 - 11:30 Voice & Movement o 11:40 - 14:10

Release Technique No extra tension needed

The class, focused on moving in space as organically as possible, can be loosely described as a combination of Limón and Release techniques. Relaxation exercises on the floor focus on sensations of weight, space, contact with the floor and minimal muscular effort to execute movement, culminating in a floor combination directly applying these ideas. As a logical extension of the floor work, the standing work focuses on developing the support from the spine and on using the muscles in a free and efficient manner so that no extra tension is created other than the one really required to execute the movements. The isolation and weight of body parts, the openness of the joint articulations, and the relationship with the floor are used as the stimuli for movement. This will also focus the dancers’ awareness on guiding the physical energy and momentum naturally created in and by the body while moving.

This approach encourages an intelligent use of the physical instrument allowing each dancer to discover the full organic possibilities of his/her body. This physical class plays with the use of space, level changes, musicality and rhythm and is, after all, an opportunity to just dance!

Voice & Movement Breath as the primary source of both movement and sound

Traditionally, music is an external support for the dance. I propose that through the voice, the ‚music‘ is created and performed by the dancers themselves in the same way and at the same time. Vocal techniques and movement improvisation can be very similar. They stem from the same instrument: the body. We will use movement improvisation and vocal exercises to get to the breath as the primary source of both movement and sound. Through movement improvisation the dancers create movement organic for their bodies. Similarly, through an increasing awareness of the source of sound in the body they discover, explore and create the sounds and music organic for their vocal instrument. We use movement to get to sound, and sound to get to movement. We explore the voice in both individual and collective improvisation, using movement as a critical source and support. Then dancers will use their voices to accompany their movement, to accompany another's movement, or collectively to create polyphonic vocal improvisation and accompaniment. Above all it is a total use of the performance instrument, encouraging the dancers to explore simultaneously their own movement vocabulary, their own vocal possibilities and the relationship between their movement and their music. The work is designed to encourage dancers to use their voice but is fully open to those who do voice work and have a limited experience in movement.

Born in Jamaica and now based in Montreal, Canada, Angélique Willkie spent 20 years in Belgium working primarily on the freelance circuit, including Les Ballets C. de la B., Sidi Larbi Cherkaoui and Needcompany and as a singer with Belgian bands Zap Mama, dEUS and Zita Swoon Group a.o. She is a regular guest teacher of Ultima Vez/Wim Vandekeybus (Brussels), Park Studio/Henny Jurriens Stichting (Amsterdam), Charleroi/Danses (Brussels), Circuit-Est (Montréal), SEAD (Salzburg), a.o.

131 Hagit YAKIRA Week 3: 03 - 07 August Release Remix Int 09:45 - 11:30 (Dance) for Soul Sake/Contemporary Improvised Jazz Beg 11:50 - 13:35

Release Remix Dance for soul’s sake!

A new contemporary class, that combines both a unique combination of contemporary techniques (Release, Floor work), Limon Technique and Yoga as well as moments of improvisation to inspire freedom of movement. Throughout the class the dancers are being shifted from taught material to improvisational tasks and explorations; developing through the class a sense of maturity in movement, articulation and spontaneity. This approach promotes, in each dancer, an understanding of their movement and physicality, space, energy, and self-expression.

The class enables people to develop an ownership and authorship of their own movement while learning fast, energetic and advanced dance sequences and routines and while simultaneously engaging with physical tasks. The class challenges the dancers physically, taking each participant to his/her own limit, and at the same time managing to create an authentic sense of community.

Hagit believes in a positive, emotional, energetic, vibrant and fast way of teaching. She believes that each dancer has the possibility to dance fully and beautifully with the right directions and inputs. Hagit works through musicality and playfulness, her excitement is contagious, fun and engaging and yet manages to maintain a definite level of hard work, professionalism, and commitment. Hagit’s teaching methodologies stem from her background as a Dance Movement Therapist and are filled with her artistic philosophy and approach.

The class gives an insight into the way Hagit works with her Company of dancers in London, with whom she creates choreographic works that perform internationally and with great success. Hagit has been facilitating these classes for both professional dancers and the community around Europe, Scandinavia, UK and Israel and has many dedicated followers. She is now writing her PhD in choreography, where she articulates her approach and philosophy combining it with her practical work as a teacher, choreographer and performer.

The class and Hagit’s teaching practice develop creativity and virtuosity; it challenges the dancers to take risks, to work with and against their habits and individual movement choices.

(Dance) for Soul Sake/Contemporary Improvised Jazz Be spontaneous and daring!

In this dance class Hagit introduces her unique style, blending elements of contemporary dance, jazz and improvisation. The emphasis is on energy, spontaneity, livelihood, playfulness and musicality. Hagit is blending floor work, yoga, Limon, Release technique and improvisation in an original way, accompanied with great music in order to allow a different way to learn a dance technique.

It is an energetic and fun class, emphasising dynamics, timing, musicality, physicality and emotions. Using the body and the movement as a source of exploration and expression. The class invites participants to be spontaneous and daring in the types and quality of the

132 movement vocabulary, challenging their choices, familiarity and physicality.

A hip class taught by Hagit in London on a regular basis, as well as in different dance festivals and centres all around Europe and Israel.

For the last 13 years Hagit has been developing this technique class, believing that dance should be learned in a positive, energetic, fast and ecstatic environment, where a celebration of movement, emotion, and group dynamic happen.

The fun environment enables Hagit to push the students to their limits and to enjoy moving. Combining her skills and expertise as a dance movement therapist with her philosophical approaches to dance, performance and education, she encourages passionate, emotional and experimental approach to dancing. The workshop is the best way to discover Hagit’s creative process.

The emphasis in the class will be on the enjoyment of moving through simple yet challenging dance routines; shifting constantly from set material to improvisation, allowing each dancer to explore his/her own way of moving.

Hagit Yakira is a choreographer, performer and a dance teacher based in London. She graduated from the Music and Dance Academy in Jerusalem, Israel and did her MA in European Theatre Dance at Laban Centre, London. She is also a qualified Dance Movement Therapist, and currently working on her PhD in Choreography at Laban Centre, researching the notion of choreographing autobiographies. She studied and danced in Paris, New York and Berlin and participated in workshops with leading choreographers around the world (to name only a few- Ohad Naharin, Yasmeen Godder, Milli Bitterli, Nigel Charnock, Rosalind Crisp, Rosemary Butcher).

Hagit is teaching improvisation, movement research and technique classes alongside working as a choreographer at Laban and The Place in London, as well as in different institutions around the UK, Norway and Israel. She has been leading workshops internationally, as she is invited to introduce her research into movement and choreography around the UK, Scandinavia, Europe and Israel.

After years of performing and teaching, Hagit has been developing her own choreographic work and formed her dance company Hagit Yakira dance which is based in London. So far she has created several works, two of them were awarded: first prize for "Oh Baby" in the Kajaani Choreography Competition, Finland 2009, and second prize for "Somewhere between a self and an other" in the Burgos New York Choreography Competition (New Dance Trend Category), Spain 2007.

Hagit's choreographic work is supported by the Arts Council England, and commissioned by Laban Centre London, Greenwich Dance London, Independent Dance London and Yorkshire Dance Leeds. She is touring nationally as well as in numerous festivals and dance platforms worldwide and is now often commissioned to choreograph for different dance companies all around the world.

133 David ZAMBRANO Week 3: 03 - 07 August Flying Low Int 13:55 - 15:55 Improvisation for Performers Adv 17:30 - 20:00 Week 4: 10. - 14. August Flying Low Adv 11:45 - 13:45 Flying Low Int 13:55 - 15:55

Flying Low Moving more efficiently

The technique developed by David focuses mainly on the dancer‘s relationship with the floor, earth and ground. Simple movement patterns involve breathing, speed, and the release of energy through the body in order to activate the relationship between centre and periphery and between joints and skin. Exercises will focus on moving in and out of the ground more efficiently by maintaining the state of being centred. Emphasis is placed on the skeletal structure, which will aid to improve physical perception and alertness. The class includes partnering work and movement phrases, which explore the primary laws of physics: cohesion and expansion.

Improvisation for Performers with a flexible mind

Improvisation on stage involves the use of conscious choices in order to create an environment in which to dance. Students will be encouraged to find their own creative thoughts, integrating body and mind, space and time. Learning to dance with a flexible mind: Thus we will create material for structuring solos, duets or group situations. "Dancing is perfect when a relationship of totality exists. The coming together of heaven/dancer/earth, past/present/future, and feminine/masculine results in a dance experience that is orgasmic for both dancers and audience." Open to dancers experienced in performing improvisation on stage.

For over 31 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Teaching and performing internationally, Zambrano is an ambassador and liaison across many borders, bringing together artists from all over the planet for his projects.

An inspiring teacher, thrilling performer, and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many and impacted the dance world from several angles. His development of the "Flying Low" and "Passing Through" techniques are among his recent innovations that have helped to lead improvisational dance into an exciting future. He has been danceWEB coach at ImPulsTanz 2005.

134 ImPuls Tanz Research Projects 2015 16 JULY – 16 AUGUST 2015

In addition to its Workshops, ImPulsTanz invests into Artistic Research. Profiting from its vast performance programme and the consequent presence of many choreographers, we are interested in offering our participants concentrated possibilities for exchange in contemporary choreographic practices while providing the resident choreographers the opportunity to try out their ideas.

The research may consist of individual coaching, group experiments or in-depth improvisation experiences stimulated by the project head, it may be a merely process- oriented period or also one leading up to a public presentation, its main intention always is to provide a platform for professional meetings and swaps in the field of contemporary dance and performance.

ImPulsTanz Research is therefore open to any practitioner actively engaging in this field. Distinguished mainly by duration, we offer different research formats:

Field Projects 5 days, 6 hours per day

Pro Series 8 - 12 days, 6 hours per day

Field Projects 2015

Ivo DIMCHEV Week 2: 27 - 31 July Do yourself a favour!

A PRACTICAL COACHING ON CREATING A SOLO The aim is that everyone has a coherent solo performance that expresses at best his/her own artistic individuality at the end of the five days. Different ways on developing a solo work, own physical and text material, writing on dramaturgy, dealing with space, objects, contexts, and making choices will be proposed. We will delve into questions such as: What do I really enjoy doing? What would I love to do on stage? What kind of physicality or body language do I need to relate to the space I am working in? Do I need to use objects? If yes, which object is the most important to me? How many different ways can I find to relate to an object and develop material out of it? How can I use movement material, an object or text to relate to the space, other objects, the audience, myself or an idea? How do I write my own dramaturgical text? What should I write about? And what, from the already written, shall I finally use for my solo? What’s the length or the intensity of the different scenes or elements? Participants will be given different assignments based on these practical questions and get support for making up their creative trajectories. Awareness of our own process and taking distance from it, developing enough material in a limited time and finally assembling a finished solo performance, which shows your unique artistic qualities. Individual feedback will be encouraged among the group in order to understand different processes and to support each others work.

135 Ivo Dimchev is a choreographer and performer from Bulgaria. His work is an extreme and colourful mixture of performance art, dance, theatre and music. Dimchev is the author of more then 30 performances. He has received numerous international awards for dance and theatre and has presented his work all over Europe and North America. Besides his artistic work Ivo Dimchev gives master classes in the National Theatre Academy in Budapest and in the Royal Dance Conservatory of Belgium in Antwerp, Hochschule der Künste in Bern a.o. In 2013 he was the mentor of the danceWEB scholarship programme. He is founder and director of the Humarts Foundation in Bulgaria and organises a national competition for contemporary choreography every year. He studied at the master programme for Performing Arts studies at DASarts Academy / Amsterdam. Ivo Dimchev lived and worked in Brussels and headed the performance space Volksroom. In 2014 he moved to Sofia and opened a new art space called Mozei, which presents live performances and visual art. In 2015 he initiated a website for free critical reflection on live art performances called FatMirror. ivodimchev.com

Christine GAIGG Week 1: 20 - 24 July Let us now praise famous men, and women too

In the frame of ImPulsTanz at mumok - redefining action(ism)

The exhibition "My Body is the Event" at the mumok is packed with screens, CRT TV's and photo documents and virtually screams for a Live Performance as complementation. Exactly this will happen on the last day of this Field Project: a performative intervention at the museum.

Before the performance we will spend a certain amount of time at the exhibition and use the studio for our exchange. How do we – as sophisticated, refined, disciplined, reflective, civilised people of the 21st century – perceive the works of the Viennese Actionism or other Live Art Happenings of the 1960ies and 1970ies displayed in this exhibition? Are we in the position to still do that at all? Provocation has changed ever since - are lapses and taboos different today? Everything that wasn't allowed has been done. What happened to the rebellious momentum?

Together we will discuss, research and explore performative approaches, in order to reflect the documents in the exhibition: as complementation, as physical catalysers, as comment, as search for traces in the Now, as ironic twist, as culmination, as agent provocateurs, as interfaces of the bodies visiting the museum…

Christine Gaigg is a freelance choreographer and director based in Vienna. She studied philosophy and linguistics at the University of Vienna and dance and choreography at the School for New Dance Development in Amsterdam. Under the label CHRISTINE GAIGG/2nd nature she works in collaboration with dancers, composers, writers and filmmakers. Together with the composer Max Nagl she created a. o. "Sacre Material" (2000) and "ADEBAR/KUBELKA" (2003). Together with Bernhard Lang she developed the "TRIKE series" (2004-2009), with Bernhard Gander and Klangforum Wien "Seven Cuts" (2011). The collective Gaigg/Harnoncourt/Lang/Ritsch realised the opening of steirischer herbst 2010 with "Maschinenhalle#1", which was shown in Feedback First Edition 2011 in Semper Depot. Her theatre works are: "Über Tiere" by Elfriede Jelinek (2007, Theater am Neumarkt Zürich and Tanzquartier Wien); "Wenn die Kinder Steine ins Wasser werfen" by Xaver Bayer (2012, Schauspielhaus Wien); the documentary performance "DeSacre! Pussy Riot meets Vaslav Nijinsky" (2013, Hofburg’s St Joseph’s Chapel / Tanzquartier Wien), "Maybe the way

136 you made love twenty years ago is the answer?" (2014, coproduction Festival steirischer herbst and Tanzquartier Wien), "untitled (look, look, come closer)" in coproduction with Netzzeit and ImPulsTanz Festival 2015. In addition she leads lectures, and works as writer and teacher, such as university course "sex, performance, politics" at the Institute for Theatre, Film & Media.

Trajal HARRELL & Thibault LAC Week 4: 10 - 14 August Performing Extra Large

After the large extravagance of "Antigone Sr.", the knock'em dead medium "(M)imosa", and the avalanche of the series in the 2012 and 2013 ImPulsTanz Festival editions, Trajal Harrell's series "Twenty Looks or Paris is Burning at The Judson Church" has indeed a final work: the XL publication. Harrell together with series performer Thibault Lac will invent a laboratory where the XL can be uncovered, debated, and brought to fantastical realisation. Following an introduction to the series' theoretical premise, notions of performativity, and history of performance, participants will be invited to imagine the publication and work as an editorial team producing performative texts, interviews, photo essays, fake performances, documentation of fake performances, invented places and personas, in addition to things as yet to be proposed and known. How indeed can we perform this publication? This is for the bitches ready to take history into their own fake Gucci bags!!

Trajal Harrell’s work has been presented In New York and the US at many venues including The Kitchen, New York Live Arts, TBA Festival, Walker Arts Center, American Realness Festival, ICA Boston, Danspace Project, Crossing the Line Festival, DTW, P.S. 122, Cornell University, Colorado College, Philadelphia Fringe Festival, and Los Angeles’ RedCat Theater. His work has been presented in international festivals such as ImPulsTanz (Vienna), Festival d’Automne (Paris), Rencontres Chorégraphiques (Paris), Holland Festival (Amsterdam), Festival d’Avignon, Tanz im August (Berlin), Panorama Festival (Rio de Janeiro). He has also shown performance work in visual art contexts such as MoMA, Perfoma Biennial, Fondation Cartier (Paris), The New Museum (NYC), The Margulies Art Warehouse (Miami), Stedelijk Museum (Amsterdam), Serralves Museum (Porto), Centre Pompidou-Metz, Centre Pompidou-Paris, ICA Boston and Art Basel-Miami Beach. He is perhaps best known for a series of works entitled "Twenty Looks or Paris is Burning at The Judson Church" which re-imagine a meeting between early postmodern dance and the voguing dance tradition and created in seven sizes. All seven works in the series continue to tour internationally. "Antigone Sr.", the large in the series, won the 2012 Bessie Award for Best Production. Most recently, he began a new research examining butoh dance from the theoretical praxis of voguing. This latest body of work includes, "Used, Abused, and Hung Out to Dry", which premiered at The Museum of Modern Art-MoMA where he has begun a two-year residency, and "The Ghost of Montpellier Meets The Samurai" which premieres at the 2015 Montpellier Danse Festival.

Thibault Lac studied architecture at Ecole Nationale Supérieure d'Architecture et de Paysage de Bordeaux before completing the Performing Arts Research and Training Studios programme in Brussels from 2006 to 2010. Alongside his studies, he performed with the professional cast of "The Show Must Go On" by Jérôme Bel in 2009, and assisted Tino Sehgal on preparations for his 2010 exhibit at the Guggenheim Museum in New York. Next to performing "Little Perceptions" by Noé Soulier, "A Dance for the Newest Age" by Eleanor Bauer and "Zombie Aporia" by Daniel Linehan, he danced in Mathilde Monnier's latest piece "Twin Paradox". He has been taking part in several sizes of Trajal Harrell's project "Twenty Looks or Paris is Burning at the Judson Church" and was named for it one of the dancers of 2012 by the New York Times.

137 Also in Harrell's piece for MoMA: "Used, Abused, and Hung out to dry", he recently opened the 16th Lyon Dance Biennial with "Faits" by theatre director Daniel Jeanneteau.

Keith Hennessy & Thomas F. DeFrantz Week 3: 03 - 07 August Get B(l)ack

BLACK AESTHETICS AND CONTEMPORARY DANCE In this Field Project, work with two artists of diverse background to create discourse concerned with the b(l)ackgrounds of contemporary performance. Some of the questions we will consider in our work together: How is contemporary dance indebted to African American structures of feeling? How is black presence "always already" implicated in contemporary performance? How do we make space for Black to be a category of rich nuance? What is queer black social dance? Is it always exotic? Is it always Voguing? What do Eric Garner’s murder and Michael Brown’s murder and Walter Scott’s murder have to do with making live art in 2015? Dancers, choreographers, performance makers, curators, and researchers are invited to an intensive week of performance experimentation in dialogue with political perspectives. Studio time includes talking, improvising, making, re-making, and talking again. We will work solo, in duet, and with the whole group. Conversations and creative experiments will explore the tensions and resonance between various approaches (European, African, US American, feminist, queer, postcolonial…) to anti-Black violence, anti-racism, dance histories, African diasporic aesthetics, colonialism, white supremacy, privilege, immigration/citizenship/indigeneity… Alicia Garza says, "If you believe that all lives matter, then you will fight like hell for #BLACKLIVESMATTER." Maybe your dance practice is calling for some reflection and riot, reconsideration and uprising, deeper understanding and direct action.

Keith Hennessy is a performer, choreographer, teacher and activist. Born in Canada, he lives in San Francisco and tours internationally. His interdisciplinary research engages improvisation, ritual and public action as tools for investigating political realities. Hennessy directs CIRCO ZERO, and was a member of the collaborative performance companies: Contraband (with Sara Shelton Mann), CORE, Cahin-caha, and cirque bâtard. Recent awards include the USA Kjenner Fellowship, a NY Bessie, and two Isadora Duncan Dance Awards. Recent works include the dance rite "Bear/Skin", "2Sara (the smuggler)" for Sara Shelton Mann, "Turbulence (a dance about the economy)", "Almost a duet" with Jassem Hindi, and "Negotiate" a collaboration with dancers from Togo, Senegal and DR Congo. Recent teaching includes Ponderosa (Germany), ImPulsTanz (Vienna), AEx-Corps (Dakar), UBC (Kelowna), UC Davis, Texas Women's University, Sidestep Festival (Helsinki), and La Alternativa (San Francisco). Hennessy is a PhD candidate in Performance Studies at UC Davis. www.circozero.org

Born a Hoosier, Thomas F. DeFrantz is Professor of Dance at Duke University, and the director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. His books include the edited volume "Dancing Many Drums: Excavations in African American Dance" (University of Wisconsin Press, 2002, winner of the CHOICE Award for Outstanding Academic Publication and the Errol Hill Award presented by the American Society for Theater Research) and "Dancing Revelations Alvin Ailey's Embodiment of African American" Culture (Oxford University Press, 2004, winner of the de la Torre Bueno Prize for Outstanding Publication in Dance). His most recent publication is an anthology, "Black Performance Theory", co-edited with Anita Gonzalez (Duke University Press, 2014). A director and writer, his creative works include "Queer Theory! An Academic Travesty" commissioned by the Theater Offensive of Boston

138 and the Flynn Center for the Arts, and "Monk’s Mood: A Performance Meditation on the Life and Music of Thelonious Monk". He has taught at NYU, Stanford, Hampshire College, MIT, and Yale; has presented his research by invitation in Australia, Brazil, Canada, Chile, China, Finland, France, Germany, Great Britain, India, Ireland, Italy, the Netherlands, Poland, Portugal, South Korea, Spain, and Sweden; and performed in Botswana, France, India, Ireland, and South Africa. In 2012 he established the Collegium for African Diaspora Dance, which hosted the conference "Dancing the African Diaspora: Theories of Black Performance" in February, 2014 at Duke University. Current research imperatives include explorations of black social dance, and the development of live-processing interfaces for performance. He worked with Donna Faye Burchfield to establish the curriculum of the Hollins University/ADF MFA program, and taught there from 2005-2013. From 2011-2014, he served as President of the Society of Dance History Scholars, an international organisation that advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social sciences.

Ian KALER & Heike ALBRECHT Week 4: 10 - 14 August On Practicing - mixed abilities

In the frame of the Field Project we will propose an introduction of basic explorations and exercises that focus on presence and somatic research within the work-frame of Ian Kaler. We'll work on solo-investigations of each participant, building on simple investigations that explore i.e. the orientation in space, different qualities of in/direct address, weight shifts, level changes. A basic tool for developing each persons understanding of the practice we will be alternating between doing / practicing and viewing / observing others practicing. We'll look at the relation between (moments of) stillness, internal movement and continuous movement, how to modulate effort and intensities as the basis for a possible interaction or contact.

In order to apply for the Field Project, applicants should write a short statement what they consider as „practice“, their practice/s and why they've an interest in „practicing“. Additionally each participant should send a visual / graphic / photo / drawing they connect with „On Practicing“.

As a means of connecting the studio practice to other areas/reflections the Field Project will take place inside the studio as well as in excursions outside the studio. Participants will be working individually and in groups and are asked to be self-engaged in the Field Project in order to build a shared practice. Please bring comfortable shoes / sneakers and regular trousers / street clothes to work with.

Ian Kaler and Heike Albrecht have developed a working- and practice-context over different choreographic series since 2011.

Visual from https://www.youtube.com/watch?v=WUnSmvNYjIM (Copyright: Daniel Schwamm)

139 Ian Kaler studied "Transmedial Art" at the University of Applied Arts, Vienna and graduated from the BA Pilotprogramm "Contemporary Dance, Context, Choreography" at the Inter- University Center for Dance, the University of the Arts, Berlin.

Since 2010 he develops his physical and creative practice in choreographic series in exchange with different artists through different (visual) media.

Following a series of group-pieces – "Contingencies" – Kaler has presented the video- installation "On Orientations | Shifting the burden" in 2014 – a collaboration with video-artist Anne Quirynen in the frame of the 8. Tanznacht Berlin in Gallery Patrick Ebensperger. Currently Ian Kaler is working on a new series with the title "o.T.". iankaler.org

Heike Albrecht started her dance/choreography studies at Fabrik Potsdam and continued at the Moving On Center - School for Participatory Arts and Somatic Research in Oakland, California. Next to developing her own choreographies she established her curatorial practice for contemporary dance in Leipzig, as a.o.: dramaturge for dance and performing arts at LOFFT Leipzig, co-organiser of the International Conference Moving Thoughts - Tanzen ist Denken, as artistic director for Westend 04 and 05, Tanznacht Berlin 2006 with Tanz made in Berlin, 8. Tanznacht Berlin and as artistic director at Sophiensaele between 2007 and 2010 in Berlin. After that she was the programme director of FAVORITEN 2012 and the curator of the Goethe-Institut Ljubljana for "Maribor 2012" European Capital of Culture. As a mentor she worked at the Inter-University Centre for Dance at the University of Arts in Berlin. She has an on-going practice as dramaturge and Somatic Coach with Ian Kaler since 2011.

Astrid KAMINSKI Week 1: 20 - 24 July Inhabiting dance (by image and language)

Dance, just like language are means for thought awareness. They might be seeking methods of approximation, perhaps even get to similar results – as observed in parallel developments of Subject Theory and Performance or the collaboration between Jean-Luc Nancy and Mathilde Monnier. But usually they cannot replace each other.

In addition to descriptive facts and categories journalism is confronted with the problem of translating dance. This can lead to surprisingly good or disturbingly bad results. But generally speaking: there are issues about vocabulary, method and aesthetics in dance critique that might be responsible for not having taken root in the daily press.

It’s too late to try to change that. Amongst the remaining ones, there is hardly a newspaper with a guarantee of existing over the coming years. In the same time there are still not many alternatives to write about dance, not even in Internet. For this reason I would like to invite you to experiment with forms of representation of dance. In this Field Project we will try to find new approaches and openings for the classic word-image-relation. In regard to language we will work with means of perception of lyrical language in collaboration with the Vienna poetry school, in the field of image we will use video editing and question statements of clips to find ways of expression beyond the aesthetics of trailers. The resulting formats and edits will be presented in a blog and evaluated with everyone interested on a daily basis.

140 Participants should use German or English as their writing/publishing language. The texts for the blog will be translated (de -> en / en -> de)

Astrid Kaminski works as a cultural journalist and is based in Berlin. She writes about dance, performance, literature and social politics for newspapers (a.o. tageszeitung, Berliner Zeitung, Frankfurter Allgemeine Zeitung) magazines including frieze d/e, tanzraumberlin and tanz and web-publications such as qantara.de (Deutsche Welle) and goethe.de. Once in a while she publishes poetry in magazines and 2008 the cycle "& wer übersetzt ariadne" (poems) came out as well as her translation of Tracy K. Smith’s Pulitzer Price awarded "Life on Mars" ("Leben auf dem Mars", Gedichte) in 2012. In 2013 she co-founded the reading-series "Lyrik 3 – Am Unbenannten stranden". In addition she currently is a jury member of the Kofinanzierungsfonds des Berliner Senats and works as a cultural referent for the Dutch Embassy in Germany.

Charmaine LeBlanc & Angélique Willkie Week 2: 27 - 31 July Something That Says Something

Coming from different backgrounds it is remarkable how similar these two artists are. Both have an incredible love for voice and notion of how important an element it is to not only movement as a whole but as a unique performance tool. Angélique is a dancer / vocalist / dramaturge / choreographer / teacher. Charmaine is a vocalist / composer / director / musician / performer. Participants need to come prepared with an idea for merging both, movement and voice, and an idea for a piece; be it thematic, image driven, music driven, text driven, movement or voice driven. A series of solos is what we would love to direct. We will add an extra layer that frames the whole process by being inspired by the architectural elements of a space, which helps inspire the creation of characters that inhabit it based upon fact or fiction, fantasy or reality.

We begin each day giving a voice class. Both of us lead a part of this half of the Field Project. Some exercises push movement and voice while others push rhythm and voice. Following the class we give various exercises that help participants to go further with their themes and ideas. We then work individually with each participant and help bring his or her piece closer to a finish. Working with two seasoned performers who direct performances, our individual styles will allow each participant to experience looking at their work from different perspectives.

There will be an open performance at the end of the Field Project so that each individual can show what he/she has created within the five days. There is no better way to grow as an artist than to have one’s work seen.

141 Muaysa (Denmark). Charmaine is becoming more known for her direction of multi-disciplinary performances that place dance at the centre of her work. Her most recent piece was the last part of a triptych that featured eight of the country’s leading dancers and a team of prize-winning collaborators. "Terminus" played to sold-out houses in Montreal in November 2012 and was a co-production with Danse Cité. Films of her work directed by Marlene Millar have been presented at International film festivals as well as on Bravo. She is the co-founder and artistic director of The Red Rabbit Project.

Faustin LINYEKULA NGOY Week 2: 27 - 31 July OF BEAUTY AND REVOLUTIONS

A few years ago I made a piece called "More more more... future". The ambition was to be punk. For a while in the late 1970s England "No Future" may have been a subversive statement, I realized that in the Democratic Republic of Congo, the country I call home, the only way to be subversive is to be constructive because everyone seems busy destroying something.

Creating beauty as an act of resistance, while fully facing the ugliness around and in us. I don't want to add ugliness to ugliness, thus this invitation to imagine possibilities of beauty as a way to changing the world. La révolution par la beauté. But no naive flower power here. Hippy is dead!

We'll have 30 hours to look without complacency into our world. 30 hours to stage an act of beautiful resistance. Yes, we'll DESIGN LIKE WE GIVE A DAMN, as Cameron Sinclair from Architecture for Humanity would have put it. Because I do give a damn, come to think of it: in my own subjective manner.

Dancer and choreographer, Faustin Linyekula lives and works in Kisangani, North-East of the Democratic Republic of Congo, former Zaïre, former Belgian Congo, former independent state of Congo... Following literature and theatre studies in Kisangani, he settled in Nairobi in 1993 and collaborates with Opiyo Okach and Afrah Tenambergen, co-founding in 1997 the first contemporary dance company in Kenya, the Gàara company. Back in Congo in June 2001, he created in Kinshasa the Studios Kabako, a space dedicated to dance and visual theatre, providing training programmes, as well as supporting research and creation. Memory, forgetting, and the suppression of memory, - in his works, Faustin addresses the legacy of decades of war, terror, fear and the collapse of the economy for himself, his family and his friends. With the Studio, Faustin has presented ten pieces. Among its most recent creations, "more more more… future" (2009) that has been extensively touring in Europe, United States and Africa, "Pour en finir avec Bérénice" (2010), Faustin’s own private version of Jean Racine’s piece previously staged for the Comédie Française in Paris in Spring 09 and "Le Cargo", his first solo (2011). Faustin is teaching in Africa, Europe (P.A.R.T.S. / Brussels, CNDC / Angers, ImPulsTanz /

142 Vienna, Laban Centre / London…) and in the United States. In December 2007, he received the Principal Award of the Prince Claus Fund for Culture and Development and is member of the Akademie der Künste der Welt in Cologne / Germany.

Since 2006, Studio Kabako’s activities have resettled in Kisangani, and have extended to other artistic fields, including music and cinema/video. The Studios Kabako are organising regular workshops and training sessions, as well as producing and touring works by young Congolese artists. With Vienna-based architect Bärbel Müller, Faustin is working on a series of three cultural centres around the city or how to “acunpuncture” Kisangani by generating circulation of ideas, men and women, creativity between these three decentralised spaces… Groundbreaking works of the laboratory centre have been completed on a 4200-square- meter piece of land, a few kilometres from the city centre and the residency centre should open in 2015.

Philippe RIERA/SUPERAMAS Week 1: 20 - 24 July History and Violence

A FIELD PROJECT PROLONGUED BY PUBLIC PERFORMANCES Throughout this Field Project we will work and focus on how to represent violence on stage. Physical violence, psychological violence, domestic violence, historical violence, sexual violence... Toying with different strategies and parameters of representation (narration, dance, speed, gravity, music etc.) the group will embrace common actions based on current political events. Duets and smaller formats will shape up as we go along. Break up and break through are welcome and potentially seen as positive moves. Thus random people and western superheroes will meet in this joint venture to voice and happily dance today's world symphony of violence. With around ten selected performers from this Field Project we will continue this process straight after these five days Field Project at the Weltmuseum Wien to premiere a Performance on 29 July. Following dates: 31 July and 02 August. Participants with fighting techniques are welcome (this is not mandatory though :)).

More about the Performance History of Violence by SUPERAMAS:

Any given museum gives you the feeling that you are standing in a safe place. Actually - literally - in a safe. But one can also consider this valuable site as a space for extreme contradictions. Thanks to passionate and greedy collectors these items embody and acknowledge the fights they bear to finally end up before your eyes. Let me try to lay out a few words that eventually register the contradictory journey one goes through in a museum: Wealth/Courage/Arrogance/Theft/Preservation/Killing/Comprehension/Taming/Curiosity/ Misrepresent/Openness... you name it! For this welcoming act around ten performers will dance the fear and the pride of hunting and being hunted. This performance is designed as a tribute to the past and upcoming fights for a better world.

Philippe Riera / SUPERAMAS is a founding member of the SUPERAMAS group. Superamas is an artist collective based in Vienna (AT), Ghent (BE) and Amiens (FR). In French "Superamas" stands for a big migrating galaxy cluster, the biggest known structure in the universe. Founded in 1999 the collective is known to search for creative impulses in all areas of life. They mingle their source material with performance, dance, lighting, film, installation and music by equally treating each of these media. They call their method "dé- montrer" which originally described an entity to be broken down and dismembered, thus the

143 visual facts become disputable. Superamas creates stage performances, visual art work, books and films. They are invited to create, curate and to participate in exhibitions and visual parcours at galleries, museums and at site specific implementations.

In 1999 they debuted with "Building", which was followed by many productions for theatres and festivals in Europe and the US, such as: "BIG-Triology" (2002, 2004, 2006), "Empire (Art & Politics)", "THEATRE". 2011 Superamas published a book with Les Presses du Réel and Jeroen Peeters on the "BIG"-series. The installation "High Art", the performance "Youdream" (2011) and their latest piece „SuperamaX“ are currently on tour throughout Europe.

Superamas was presented at renown festivals like Festival d`Avignon, ImPulsTanz Vienna, Szene Salzburg, Tanz im August/Berlin, Mettre en Scene/Rennes and at many venues including HAU/Berlin, Tanzquartier Wien, Centre Georges Pompidou, Kampnagel/Hamburg, The Kitchen/NYC, Walker Art Centre/Minneapolis, MCA/Chicago, Maison de la Culture Amiens and many more. www.superamas.com

Angela SCHUBOT & Robert STEIJN Week3: 03 - 07 August no holding back between magic and healing

Can we let the body speak, by itself, by moving, breathing, dreaming, resisting thoughts, by talking not too logically, by not talking at all, body talk, body silence, body noise, acceptance of everything that could happen, would happen, should happen, do we need a direction to find things that can inspire, why look for imagination, when the body is already so complicated in sensing and creating moments, movements, memories, milestones. Falling in love with dance is that really necessary to be able to fly, flow, forget.

Robert Steijn and Angela Schubot share their practices how to get into the moving body, without a pre-thought concept or a desired aim. How to get in contact with the vitality, laziness, and creativity of the body? They like to redefine together with the Field Project members how one can get in a body state of discoveries, going to things one did not experience before, how to refresh constantly an attitude to let things happen, instead of controlling them. And when there is an aim, we only could describe it as finding qualities of deep listening to what is there already and discovering forces that guide us beyond ourselves and touching realms of magic and healing.

Angela Schubot is co-founder of Two Fish (2000-2012) with Martin Clausen. Since 2009 she works with Jared Gradinger, developing pieces about the topic of debordering of the body, which tour successfully. Since 2011 she has an on-going collaboration with Margret Sara Gudjonsdottir, developing a unique body language based on the exhausted body. Beside she works and has worked with theatercombinat Wien, Dorky Park/Constanza Macras, pictoplasma, Rahel de Joode and Jefta van Dinther among others. Besides her most continuous collaboration partners Martin Clausen, Margret Sara Gudjonsdottir and Jared Gradinger she is deeply influenced by the artists Rosalind Crisp and Benoît Lachambre. In 2016 Robert Steijn and Angela Schubot plan to premiere their first collaboration duet- work. Angela Schubot is still interested in Solo works based on intensive phases of movement research, which are the core of her collaborations. In 2015 her Solo "Körper ohne Macht" will premiere in Hebbel am Ufer, Berlin.

144 Schubot is teaching movement research and is coaching a.o. at DOCH/University of Dance and Circus in Stockholm, ImPulsTanz Wien, HZT-Berlin and SMASH Berlin. In 2013 she started her education in fascia-therapy according to the method of Danis Bois and will be working as a healer/ health practitioner soon.

Robert Steijn is performer and writer, formerly based in Vienna, but now he tries to settle also in Mexico City. Influenced by shamanism, he likes to investigate the transformative power of imagination. He is charmed by the snake as totem animal and obsessed by the question how to stage human sexuality in a lucid and sensitive way. As a dancer he looks for the intuitive and instinctive body. At the moment he works with Ricardo Rubio on a duet about male intimacy, called "Prelude on love". In Mexico he developed an artist gathering called "facing the smell of death", a chain of performative acts to reflect the actual political situation. In Austria he directed the band performance, called "no nothing", a mixture of physical actions and songs, around the theme the death and the maiden with Frans Poelstra, Gabriela Hiti and Norbert Wally as musicians/performers. This year he wrote also the theatre monologue "this could not be written by a woman", tours in the work of Maria Hassabi, performs in a duet with Geraldine Chollet under the direction of Jessica Huber and joins in a collaborative event with Angela Guerreiro, Ari Hoffman, Jochen Roller and others in Hamburg.

Jefta VAN DINTHER Week4: 10 - 14 August Gesamtkunstwerk

Through many of his previous works, Jefta van Dinther has been developing performances that merge the elements of body, sound, light and material into a new – fifth body. An amalgam where the definitions of each separate element dissolves to become a perceptive bastard. In this Field Project the question will be how to relocate this working method from the stage onto the body, creating a «Gesamtkunstwerk« out of the performing body. By letting visual and external perceptions give way to subjective and internal ones and coordinates of time and space outside of the body be replaced by sensations of time and space inside of the body, the dancing body becomes the site of attention. Starting from sound as a motor for movement, and gradually letting this sound be confused with touch, expression, communication and emotionality, the body starts to perform through its lack of control. By heightening the present moment through a continuous «practising of materials« by ways of explorations and scores, this operation vehemently stages each individual practitioner, broadcasting them and putting their very existence at stake. In this way, the navigation through one’s own experience and the bumpy ride of sense-making in each individual person turns into the very performance we watch.

Work will focus on guided movement explorations and then the layering of activities, parameters and time and space coordinates into complex practices. These practices are framed performatively, finding how they can be managed by the practitioner and at the same time holding the attention in the spectator. Scores will be created and tested, in a continuous exchange between performing and watching, talking and feedbacking. This Field Project is for dance and performance artists, students and professionals with experience of performing and making.

145 Jefta van Dinther is a choreographer and dancer working between Stockholm and Berlin. He grew up in Sweden, after which he moved to the Netherlands and graduated from the Amsterdam School of the Arts (MTD) in 2003. His work is characterised by a rigorous physical approach and always implies a staged research of movement itself. The moving body is centrefold in his work but belongs to and interacts with a body of light, sound and materials that constitute an environment of perception and sensation. The dancers work and dance their way through various environments: their processes exhibited live on stage become performances. Jefta's work deals with illusion, the visible and the invisible, synesthesia, darkness and light, labour, the uncanny, affect, voice and image. They often play with formats of presentation, and range from traditional dispositifs to installation like settings as well as from smaller intimate performances to large-scale productions. Currently on tour are "As It Empties Out" (2014), "Plateau Effect" (2013 - a commission for Cullberg Ballet), "THIS IS CONCRETE" (2012) as well as the previous "GRIND" (2011). His other works include: "The Blanket Dance" (2011), "Kneeding" (2010), "The Way Things Go" (2009) and "IT'S IN THE AIR" (2008). His next work will premiere in January 2016. Between 2012- 2014 he was appointed artistic co-director of the MA program in Choreography at the University of Dance and Circus in Stockholm together with Frederic Gies.

Pro Series 2015

Ko MUROBUSHI Week 1+ 2: 20 - 24 + 27- 31 July Midnight

In an encounter with the inscrutable, the unknown, the experience of a loss of words, a loss of self – dance is the sensual form in a transient moment. Back then, in Paris, I felt that Paris is in danger. But Japan is even more in danger nowadays. Thus it is even more necessary that «the body of dance» becomes open for «the other». This is the moment when we must learn from the hybridity of dance, from the transformation of the dancing body. In addition we have to learn about fragility from each other. Our own body is the first «other» and the first «alien thing» we confront. Far from the myth of identity, and «outside» of the myth of identity – this is dancing. In this Pro Series participants will be confronted with the following topics and questions: Are there possibilities to dance only with your breath? What happens to your body when breathing becomes impossible? "Eternal Retour"/ Figure 8 Movements & Spirals / Spasm & Shaking / Cutting off the movement / What is the body? = Dead body = Corpse? / Death & Return / Transformation into animals / Confusion / Distraction / Insanity & Sanity etc. What happens in/to your body at "Midnight"? What does "Midnight" mean to you and your body? Friedrich Nietzsche said in his work Thus Spoke Zarathustra "Midnight is midday". This Pro Series is addressed to professional dancers with questions about their own professionality looking for experimental challenge and will lead to a Showing at the end of the 10 days.

146 With a co-production of these two groups he brought the Butoh to Europe and contributes to the recognition of Butoh in Europe: "Le Dernier Eden - Porte de l’au - delá" succeeded in Paris in 1978, and was followed by a big tour through whole Europe with Ariadone in 1981/82. From 1988 Ko concentrated on duo-productions with Urara Kusanagi, and toured in the following years in Europe and South America.

His choreographies as well as his solo performances continue to establish Ko Murobushi as one of the highest reputed representatives of Butoh, and every moment Ko challenges to reach new possibilities of Butoh.

Mårten SPÅNGBERG Week 3, Intensive 3 & Week 4: 03 - 14 August The Substance, The Internet, The Planet

Mårten Spångberg’s last two dance projects have been highly celebrated opening up for new forms of choreography, relations between stage and spectator, consumption and contemplation, action and time, and not least between subject and object, attention and experience. In this Pro Series the group will engage in a number of practices developed for these projects next to a theoretical overview. The group will also look into notion of geopolitics and its relation to dance.

The Pro Series will contest the performative regime in favour of speculative and object oriented notions of dance, in regard to indifference, affirmation, the performance of form and the production of publicness. It approaches dance as indigo and considers dance 2.0 along side post-internet dance.

This Pro Series towards high-end choreographers and dancers, but forbids people identifying as performers. This is of course all bogus, let’s have fun for a while and challenge ourselves dancing around and talking about it all. It’s going to be super nice, like a really nice brunch nothing special in a really great way. Always, like awsm.

147 toured internationally. He has collaborated with Xavier Le Roy, Christine De Smedt/Les Ballets C. de la B., Jan Ritsema and Krõõt Juurak a.o.

Mårten Spångberg initiated with the architect Tor Lindstrand the International Festival, an interdisciplinary practice merging architecture and choreography/performance. From 1996 - 2005 Spångberg organised and curated festivals in Sweden and internationally and initiated the network organisation INPEX in 2006. His experience in teaching both - theory and practice - is thorough. Mårten Spångberg was director of the MA programme in choreography at the University of Dance in Stockholm.

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