Impulstanz Workshop Schedule 2009

WORKSHOPS & RESEARCH JULY 19 - AUGUST 15 2009

Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Six phrases which can be attended independently from each other (each week-workshop: 1 class per day, each intensive-workshop: 2 classes per day) Week1: July 20 - 25 Intensive1: July 25 + 26 Week2: July 27 - 31 Week3: August 3 - 7 Intensive2: August 8 + 9 Week4: August 10 - 14

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Artists listed by departments

4 - 95

All workshop descriptions listed by artists

96 - 110

All CoachingProject descriptions listed by artists

111 - 114

All ProSeries descriptions listed by artists

115 - 116

All Choreographers'Venture descriptions listed by artists




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CONTEMPORARY DANCE

IMPROVISATION

BODYWORK

Laura Arís Alvarez Iñaki Azpillaga Milli Bitterli Bruno Caverna Marta Coronado Ori Flomin Miguel Gutierrez Ákos Hargitay David Hernandez Danien Jalet Peter Jasko German Jauregui Martin Kilvady Kerstin Kussmaul Juliana Neves Rasmus Ölme Nicole Peisl Lisa Race Samantha Van Wissen Angélique Willkie David Zambrano

Alito Alessi Thierry Baë Olive Bieringa Georg Blaschke Davis Freeman Ami Gamon Philipp Gehmacher Miguel Gutierrez Andrew de L. Harwood Keith Hennessy David Hernandez Ismael Ivo Damien Jalet Kerstin Kussmaul Jennifer Lacey Charmaine LeBlanc Malcolm Manning Rasmus Ölme Nicole Peisl Lisa Race Angélique Willkie

Alito Alessi Thierry Baë Olive Bieringa Gabriella Cimino Libby Farr Ori Flomin Ami Garmon Judit Keri Sascha Krausneker Sri Louise Claudia Mader Malcolm Manning Kurt Mosetter Fabiana Pastorini Shelley Senter Anastasia Stoyannides

REPERTORY & COMPOSITION

BALLETT

MODERN

Libby Farr Zvi Gotheiner Simona Noja Franca Pagliassotto Janet Panetta Antony Rizzi

Joe Alegado David Dorfman Ismael Ivo Corinne Lanselle Milton Myers Richild Springer Risa Steinberg Kenji Takagi

Laura Arís Alvarez Marta Coronado David Dorfman Muriel Hérault German Jauregui Muriel Hérault Milton Myers Juliana Neves Antony Rizzi Shelley Senter Antony Rizzi Shelley Senter Samantha van Wissen

JAZZ/FUNK

BUTOH Ko Murobushi

Russell Adamson Jermaine Browne Marshall Davies Jr. Salim Gauwloos Savion Glover Bruce Taylor

HIPHOP

DANCE FOR CHILDREN & YOUTH

DANCE FOR PEOPLE WITH/OUT DISABILITIES

Inge Kaindlstorfer Terence Lewis aka Shiva Mamadou M'Baye Marjory Smarth Doris Uhlich

Alito Alessi Sonja Browne Fabiana Pastorini Maud Paulissen-Kaspar Johanna Tatzgern

GOLDENAGE

THEORY

MUSIC

Kurt Mosetter Doris Uhlich

Nicole Haitzinger Tanzmed Team

Ibou Ba Mamadou M'Baye

COACHINGPROJECT

PROSERIES

Iñaki Azpillaga Juliana Coles Jozef Frucek Trajal Harrell Martin Kilvady Benoît Lachambre Charmaine LeBlanc Sri Louise Maguy Marin Martin Nachbar Chrysa Parkinson Jeroen Peeters Ibrahim Quraishi Peter Stamer

Christine de Smedt Anne Juren Eszter Salamon Katherina Zakravsky

WORLD DANCE Bruno Caverna Ismael Ivo Koffi Kôkô Karine LaBel Terence Lewis aka Shiva Mamadou M'Baye Franca Pagliassotto Regina Ribeiro Anani Sanouvi




CHOREOGRAPHERS'VENTURE Boris Charmatz

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Nina Kripas Marjory Smarth Storm Bruce Ykanji

WORKSHOPS JULY 19 - AUGUST 15, 2009 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 Week3: August 3 - 7 Urban Styles Int 13:55 - 15:40 Urban Styles Adv 16:10 - 17:55 Intensive2: August 8 + 9 Urban Styles Beg 12:30 - 14:45 & 17:45 - 20:00 Urban Styles Dynamic, Energy & Fun Urban Styles are movements in motion. Everything is constantly changing and the real inspiration is the music! The feeling is like a block party, having fun while experiencing visually and physically the different forms of expression that is going on in todays urban culture from the street to the clubs. So join the party and let loose the dance in you! Constant motion, improvisation, continuity rhythm and harmony. The beat goes on, never final, never finished. Thatʻs the pulse and energy movement we call dance. Included at all levels is a warm up and cool down in the creative process. To convey the energy and movement of dance from HipHop, Funk to Ragga and HouseDance. All technical stuff is put into an easy-to-follow choreography for the beginner's level. As for the advanced level the combinations are physically and technically more challenging. Contemporary Jazz enjoyment,the creative process and working with others The class begins with a contemporary warm up that consists of excercises in various combined forms. These vary throughout the warm up in order to acquire body placement make your tendons and muscles elastic and springy, develop your sense of balance which will be needed for correct execution of technique. 


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Later on a series of various Adagio and Allegro combinations are put together to develop movement phrases in the middle part of the class. Particpants will be required to do floor and airial work as well as traveling in space. The class ends with a choreography. The main goal of the workshop is to work with and encourage the students to embrace the different movement possibilities of the body through nonverbal communication. I would like to give choices that are innovative, exciting, progressive and diverse in the bringing together of the rapidly expanding discipline called dance. The emphasis of the class is also on enjoyment, the creative process and working with others.

Russell Leon Adamson was born in Jamaica and moved to England with his family at the age of 10. He attained 3 city and guild certificates in electronics and engineering at Gloucester City College. His athletic abilities lead him to the Gloucester Youth Gymnastics team and amateur and thai boxing. He carries the black belt status in various Martial Art Techniques. With this physical background he was granted a 4year 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 Company (UK) and Jazz with Deirda 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 expect. With his support many young dancers have chosen dance as their profession. He has also created many choreographies, which have gotten 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 duett 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 (Talinn, 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, Febuary 2008).




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Joe ALEGADO Week1: July 20 - 24 ModernTechnique Int 12:15 - 14:15 Startup Modern Beg 16:30 - 18:00 Week2: July 27 - 31 ModernTechnique Int 14:10 - 16:10 ModernTechnique Adv* 17:30 - 20:00 Startup Modern a sensation of earth profoundly affecting our movement All my teaching reflects a dedication to establishing our relationship to the earth and to the animal in us. 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 in dance. Coordination, rhythm, focus and, above all, honesty in movement, will be some of our goals. Modern Technique ... to achieve movement at a 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 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 posibility, the potential to reach upward to heights always necessary when our goal is to achieve movement at a performance level.

Joe Alegado has been a member and soloist of the Ballet Hispanico of NYC, Alvin Ailey Repertory Ensemble and the Jose Limon Dance Company. He travels extensively throughout Europe teaching and choreographing in diverse festivals, institutions and dance companies. He is one of the original faculty members of ImPulsTanz Workshops (formerly International Dance Weeks Vienna).

Alito ALESSI Week3: August 3 - 7 DanceAbility o 09:45 - 11:45 Conatct Improvisation o 14:35 - 17:05 Intensive2: August 8 + 9 BodyWork o 09:45 - 12:15 & 15:00 - 17:30 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. 


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Through experiencing movement together, misconceptions and/or prejudices that able-bodied or disabled people might have about themselves 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 oneʼs own limits. Following oneʼs own interest and desire, and applying that to the benefit of oneʼs 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 personʼs 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. Contact Improvisation open the instinctive and intuitive mind Contact Improvisation is a dance form of communicating, experiencing, and relating through physical contact between two or more people. Basic skills such as falling, rolling, sharing weight, and moving with momentum encourage a freedom of expression and communication unique to the form. The class will introduce both the roots and a contemporary approach to the form. A special focus will be on the “Improvisation” aspect of Contact Improvisation. Gravity, weight and a meditative entrance into sensing will be used to open the instinctive and intuitive mind of improvisation. Sensing yourself, non-verbal communication with others, and experiencing the environment facilitate reflecting on the past, present, and future of your improvising. Dancing ranges from simple to complex, depending on the experience levels. It is an accessible form where people can meet on equal ground and explore the movement possibilities that exist between them. Bodywork deepen 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 bodiesʼ 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 


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the physical, mental and emotional aspects of alignment. Together we will become aware of what our bodies are telling us but often ignore.

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 of 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.

Laura ARÍS ALVAREZ Week3: August 3 - 7 Ultima Vez Vocabulary Adv* 11:55 - 13:55 Partnering Adv 14:05 - 16:35 Week4: August 10 - 14 Ultima Vez Vocabulary Adv* 18:00 - 20:00 Ultima Vez Vocabulary Power Sources The emphasis of this workshop will be placed on the use of our body centre, our big power source. The class builds progressively from stretching and technical parts to very physical and dynamic phrases. By using the skeleton structure and muscular chains we will find fluidity and freedom in our own movement, learning to recycle energy. We will explore body mechanisms that allow us to reach physical extremes while protecting the body at the same time. Slowly some theatrical inputs will give meaning to the movements and will help us to perform more than just learn them, through a specific energy and clear images not just from a merely technical vision of dance. Partnering you are invited to play This workshop will focus on partner work by exploring different relationships such as the relationships between couples as power, dependency, indifference, protection, combining the physicality of dance with the drama and emotional motivation of theatre. Participants will explore some elements of Ultima Vez but will be invited to play with their own material within this defined context.




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Laura followed dance and choreography training at the Institut del Teatre in Barcelona where she received the studentsʻ Extraordinary prize in 1996. From 1996 until 1999 she was part of Lanonoma Imperial dance company (Barcelona) for the creations of “Identificacion de un Paisaje” and “Cuerpo de Sombra y de Luz”. She was awarded with the prize for the best performer at Festival de Valencia 1999. She was also associated with General Electrica Art Center, where she collaborated on various productions by Tomas Aragay (including the first award winning performance at the Certamen Coreografico de Madrid, 1997). Since 1999 Laura has been member of Ultima Vez/Wim Vandekeybus for the creations and touring of Inasmuch as life is borrowed, Scratching the Inner Fields, Blush, Sonic Boom, Puur, Spiegel and Menske, as well as the dance films Blush (2005) and Here After (2007). She danced in the renewal of the piece What the Body Does Not Remember at the KLAPSTUK Festival in January 2002. Laura regulary teaches international dance workshops.

Iñaki AZPILLAGA Week2: July 27 - 31 Contemporary Technique Adv 12:00 - 14:00 Partnering Adv 14:15 - 16:15 Partnering Participating & communicating in physical dialogues Sharing and communication are very essential aspects in our daily life. Dance expresses those issues through partner work and other collective activities. Physical dialogues propose different exercises to enhance instinct, opening and awareness. By duo and group exercises we will deal with terms such as Trust, Weight, Sharing timings, Leaders & Followers. During the workshop we will learn given phrases as well as experiment matters for research. Contemporary Technique energy & 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 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.

Born in Spain Iñaki Azpillaga is now a dance teacher based in Brussels teaching regular classes to the companies ULTIMA VEZ, NEEDCOMPANY, CHARLEROI/DANSES among others. He has been leading workshops all around 


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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 the past fifteen years he has been connected with the work of Wim Vandekeybus in one way or another. Since 1994 he has danced with the company participating in the creation of the 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. He was the tour coach for 7 for a secret never to be told. Since 1999 he has been the choreographical assistant to several Wim Vandekeybus' productions including his last creations Menske and creation 2009. Since 1997 he has been teaching workshops related to the work of ULTIMA VEZ.

Ibou BÁ Week4: August 10 - 14 Afro-Haitian Percussion o 18:15 - 20:00 Afro-Haitian Percussion hands, senses and heart from Senegal and Haiti Ibou Bá's teaching is based on a mixture of rhythms of the Djembe and Haitian Vodou. The created sound will offer a musical experience to the participants that may head for a kind of blues or to ritual rhythms. Complementarily Senegalesian and Haitian songs will be offered. Ibou Bá will explain the background of the instruments and the philosophy and spirituality of the music. Ibou Bá has been succeeding repeatedly in motivating children and grown-ups not only due to his professional and pedagogical capabilities but as much to his guiding principle: "We do not only play with our hands but with all our senses and especially with our heart." Open to everybody!

Ibou Bá, born in Dakar, Senegal, has participated as solo percussionist and arranger with Ambassadeur Ballet Africaine, Tamboutou, Afrique noire and Auzadialo at festivals in Senegal, Algeria, Mali, Spain, and Italy. In Austria he has performed with Tam-Tam dʼAfrique, Kasumama, at Donau-Inselfest and at Vienne-Africa: Leben zwischen zwei Welten - AfrikanerInnen in Wien. The drummer and composer is well-equipped with a longterm practice in musical accompaniment of dance workshops. He has been working for ImPulsTanz, wienXtra, Musemsquartier Wien, TILIBO DANSE COMPAGNIE, LABEL AND COMPAGNIE, Internationale Bühnenwerkstatt Graz, and Stadttheater Wiener Neustadt.




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Thierry BAË Week1: July 20 - 24 Tai Chi Chuan o 10:15 - 12:00 Composed Improvisation / Improvised Composition Adv 12:10 - 14:40 Composed Improvisation / Improvised Composition nourishing the writing of life The centre of our practice is our consciousness as a support for the dance improvisation – composed improvisation. Being aware of our inner space, the space between body parts, for example between head and chest, the space outside us. How to write, how to save what comes to be improvised? – nourishing the writing of life, structuring, thinking what comes across. Writing, composing, knowledge meeting the innate – giving a spontaneous vital character to a composed structure. Tai Chi Chuan a magnificent tool for our consciousness Tai Chi is a nonviolent martial art form supporting us to develop grounding, fluidity in moving and calmness. The base of the practice comprises form, Chi Kong, practice with partners and self-defense. In a series of movements and postures inner circles are developing: circulation of Chi (life energy), spirals of arms and legs, action of the centre, releasing the spine. Chi Kong is the work with the breath, organising movement and posture, and the circulation of energies in the body. With a partner we practise "push-hands", these are playful exercises for flow (deviation) and grounding (projection). Self-defense means the application of the form aiming to use the inner energies. Tai Chi is a support for meditation, action and health and mainly a magnificent tool for our consciousness, in the beginning superficially for axis and posture, over time Tai Chi effects skin, bones and organs in a subtle and profound way.

Thierry Baë only started to dance after his studies of visual arts in Reims, first with Marcel Marceau, then with Etienne Decroux. He became the assistant of Decroux. From 1986 to 1997 he participated in all works of Catherine Diverrès, and in Canard pékinois, LʼEffet boeuf, and Les Philosophes of Josef Nadj. 1997 he founded his own company TRAITS DE CIEL. He has been teaching at numerous places in France and internationally. As a disciple of Master Chu King Hung he has been teaching Tai Chi for 20 years. He is educated in classical music (clarinet) and plays the guitar, the trumpet and the Japanese flute.




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Olive BIERINGA Week4: August 10 - 14 Body-Mind Centering o 11:55 - 14:25 Improvisational Composition Adv 17:30 - 20:00 Body-Mind Centering© animal-like appetites and childlike curiosities In this class we will holographically explore the human body through movement and hands on study to understand self and increase physical potential using tools from Body-Mind Centering®. Participants are invited to enter their animal-like appetites and childlike curiosities for physical investigation through engagement of the sensorial body. We will explore embodied anatomy and developmental movement through the systems of the body (e.g. bones, organs, ligaments, fluids, endocrine, nervous system, senses and perception) and investigate how these material inform our dance and performing practice. Improvisation Composition Gut, grit + wits We will mine the materials of our bodies (anatomical, physical, mental, social, spiritual, relational, political) as a way to generate material for spontaneous composition. Together we will cultivate a vitality of presence, embodied intelligence, creativity and organisation to put guts in our dancing and our mind in our bodies. We will investigate the subtle state based materials embodied anatomy can offer to our performing practices. Together we will build scores for performing solo, duet and group dances.

Olive Bieringaʼs (Director, Performer, Video Artist) work is informed by her improvisational dance and somatic studies, martial arts and bodywork practices. She is a graduate of Dance from the European Dance Development Center in the Netherlands, a certified DanceAbility teacher, Shiatsu and Body-Mind Centering© practitioner. Alongside nine solo works she has collaborated with numerous artists and has appeared in the work of Deborah Hay, Yoshiko Chuma, Sara Shelton Mann, Karen Nelson, Jennifer Monson, Eva Karczag and Stephanie Skura. As a co-director of the BodyCartography Project with Otto Ramstad, she has created numerous site based dance works, films and installations. Currently celebrating the Projectʼs ten-year anniversary, Otto and Olive were named Artists of the Year 2007 by the Minneapolisʼs City Pages. Their work has toured across the USA, Canada, New Zealand, Japan, Europe, Russia and South America and is supported by the Jerome Foundation, the Archibald Bush Foundation, the Kyoto Arts Center, the Multi-Arts Production Fund of the Rockefeller Foundation and the Headlands Center for the Arts amongst others. Current projects include SEEDS Festival at Earthdance, performance and installation "Half Life and Station/ Stationary" for Cheshire Dance, UK. For more information www.bodycartography.org 


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Milli BITTERLI Week3: August 3 -7 Body Technique Adv 09:45 - 11:45 Body Technique discourse on movement understanding I understand this class as an opportunity for a discourse on the understanding of movement in the diverse disciplines that move around the concept of contemporary dance. On the basis of group games, improvisation and voice exercises we will explore and expand, layer by layer, our individual movement and mind range. We will not only work on shapes, but also engage in bodily sensations and energy of movement. By taking a flexible approach the opportunity will be provided for participants to refer to their own areas of interest, motivating everyone to experience the body as sensual instrument. And there we go! Milli Bitterli, born in 1969, started to dance at the age of four. She was trained as a classical dancer at the Ballet School of the States Opera of Vienna. Later she continued her dance education at the Viennese Conservatory. By travelling through Europe she received further education in contemporary dance training. After finishing school she additionally studied business economics in Vienna and Zurich. During that time she was invited by many companies, such as: ZÜRICH TANZTHEATER, NKK, CHARISMA, IVAN WOLFE COMPANY, KONNEX AND POOL, later WILLI DORNER COMPANY, ELIO GERVASI COMPANY, DV8 PHYSICAL THEATRE and DAMAGED GOODS. She has been working with choreographers: Meg Stuart, Javier de Frutos, Nigel Charnock and Lloyd Newson. In 2000 Milli Bitterli formed her own company ARTIFICIAL HORIZON. Between 2001 and 2004 she was the curator of training and workshop at the Tanzquartier Vienna. Milli Bitterli is giving workshops, classes and master classes on a regular basis.

Georg BLASCHKE & Sascha KRAUSNEKER Week1: Juy 20 - 24 Trainings-Lab Feldenkrais | Contemporary Adv 09:30 - 12:00 The daily training will start with an ATM (Feldenkrais Awareness Through Movement - lesson) that will take around 60 min. Each day will cover a different functional theme (e.g. extension, rotation, flexion etc.) that will bring us to more differentiation of the movement apparatus as well as our perception. With the Feldenkrais Method we can learn to move with ease and to enlarge our comfortable movement range. 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. Possible effects of an ATM can be: improved balance and posture, easier breathing, clarified relationship of bones an muscles in relation to gravity and the floor, more differentiated self organisation, increased presence in our body and in space. 


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In the second part of the training we will explore possible connections between the functional themes of the Feldenkrais lesson and a contemporary dance technique. We will approach that process partly through an improvised movement research and partly through more structured and guided phrases. We will focus mainly on a playful discovery of new and more differentiated qualities of movements that may emerge from an advanced inside awareness to enrich the dance vocabulary. A possible goal may be to question or re-define usual patterns and standards like rolling, spiraling, curving and spinning as well as the extension and dynamics of movement. Furthermore we may experiment with a variety of possibilities to relate the method to personal concepts of centre, gravity and release-based movements or even Yogapostures. On a meta-level we will open up the space for discussion and reflection about our presence and performing attitude within the daily training.

Georg BLASCHKE Week2: July 27 - 31 Physical Theatre Training Adv 12:00 - 14:00 Physical Theatre Training Experimenting with expressive experiences at your own edge Part of the warm-up are ritualised elements of movement and directed exercises for breath and energy which can include the voice. The skin will be well supplied with blood and therefor will adapt easily to various positions. Our bone structure and inner organs will be consciously perceived under the influence of gravity and will assist sophisticated mobility. Our personal concepts on centre, space and presence will be questioned and eventually re-defined. The group becomes an energy pool, nourishing expressive pleasure, mutual trust and transparent presence. We will play with walks (silly walks), visualisations of surfaces in the space and on our skin, and imaginary landscapes that enable individual travelling through the body and improvisations. We will keep asking the question if and when movement is “natural” and by accepting the diverse bodies under the influence of physical forces we will eventually find that question absurd. We focus on technical, muscular and formal principles of expression. Certain ritualistic dance and movement forms such as turns, undulations, transforming processes of walking, and total group movements open the doors to archetypal states preparing the work on phylogenetic/animalistic body layers, surreal physical states - possibly connected to objects - and structured mass movements. Experimenting with expressive experiences and personal limits will be opposed with learning by observing others. We will experience and explore the group as a complete system, reorganising itself under physical and spatial conditions. Small evolutions and transformations with clear beginnings and endings will finally create individual sequences that will be interwoven by a group story. This workshop addresses dancers wanting to expand their habitual expression and questioning their own concept of learning. It invites to take on new challenges in the physical training and in the creative play with imagination. 


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Georg Blaschke is living and working as a freelance performer, trainer, choreographer in Vienna and internationally. He studied contemporary dance, physical theatre and Yoga in Vienna, Paris, and Rome and engaged extensively in action art, improvisation and the Feldenkrais method. Georg Blaschke is working nationally and internationally and choreographing since 15 years. He is invited to attend festivals and teach at institutions and such as ImPulsTanz, Tanzquartier Vienna, tanzpool Vienna, the Conservatory of Vienna, the AntonBruckner Privatuniversität in Linz, Int. Tanzkonferenz Bytom, University of New Mexico, Oster- und Herbsttanztage Salzburg (Tanzimpulse), S.E.A.D. (Salzburg), the theatre university in Krakow, Codarts/Rotterdam Dance Academy, amongst others. His current project, named "körper. bauen. stellen./body. building. places.", is dealing with the body in various combinations and localities under the influence of a specifically developed gravity concept as well as the constant re-defining of memories in a spatially restricted interface.

JERMAINE BROWNE Intensive1: July 25+26 Street Jazz/HipHop Int 12:30 - 14:15 & 17:45 - 19:30 Week2: July 27 - 31 Street Jazz/HipHop Adv 10:15 - 11:45 Street Jazz/HipHop Beg 12:15 - 13:45 Street Jazz/HipHop a sensual remix These classes are a unique fusion of jazz and 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 participantsʼ natural abilities. Students will be guided to be versatile dancers and – in the advanced workshops they will be prepared for performance skills and auditions. Since many years Jermaine Browne has been very successfully working in the field of Pop and R&B industry, fashion and music stage shows. His versatility as a performer brought him some film roles. He is working as a choreographer as well as a performer, and has worked with Christina Aguilera, Jennifer Lopez and Britney Spears. Born in Georgetown in Guinea, Jermaine Browne came to the U.S. at the age of 10. He studied dance and singing, and was discovered through engagements as a dancer in films, on TV and music videos. His carrier started in a commercial video with Cindy Grawford; many more commercials followed. His versatility as a performer led to several roles in films like in Malcom X and Strictly Business. Jermaineʻs true passion is choreography. He created stage shows for Crystal Waters, Ultra Naté and Deborah Cox. His unique way of linking strength and sensuality caught the attention of the Pop and R&B industries. He worked with Britney Spears, Mary J. Blige, Jennifer Lopez and Christina Aguilera (for the video Genie in a Bottle). 


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"Jermaine Browne is an amazing, amazing choreographer and he is so hot right now!“ (Christina Aguilera) Jermaine Browne works as choreographer for fashion shows such as for Seventeen magazine, Latin Model Search and Toyota Commercials. His newest adventure was a series of instructing videos, co-produced by the Broadway Dance Center in New York.

SONJA BROWNE & JOHANNA TATZGERN Week1: July 20 - 24 Futter o 9:30 - 11:30 Wiese - Betreten erlaubt! o 12:00 - 14:00 Since 2007 Sonja Browne and Johanna Tatzgern are collaborating on the project Tanz.montage, that offers dance and performance as field of work in a workshop for people with disabilities initiated by the BALANCE association. Their methods complement one another by their diversity: Roots, concrete matter, professionalism on the stage on one hand (Futter), open mindedness and self-determination of the dancer on the other hand (Wiese Betreten erlaubt!) The modules of this workshop can also be attended seperately. MODUL I : Futter "I do not care about the mechanics of the body, but the motivation for motion“ (S.Browne). "Futter“ uses floor training, in small exersices in space and time, solos, duets, and group dances, to set parameters for motion. The execution will be different for each participant. The movement vocabulary will be extended by trying out new material. Focus will be on combining the so called technique (amongst others timing, space, time, weight, dialogue, presence, stillness and sound) with the individual ideas of each participant. This module primarily serves the function of warming up, becoming conscious of the body, let the artistic soul gain the freedom to improvise. MODUL II: Wiese -Betreten erlaubt! After the morning session's preperations in module 1, this workshop presents the possibility to explore the inner and outer sphere of motion. In warm-up we exercise relaxation and perception, improvisation (solo and duet) that enables the dancer to connect with his/her surroundings, as well as him/herself. An evolving process of movement encourages experimenting with voice and objects. The setting up of a stage and an audience area by seperating the group should evoke impulses according to the things witnessed. We will work with and also without music. Silence can lead to a more authentic examination of the surroundings and it's influence on gestures, form and diversity of movement in improvised dancing. Every 


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dancer has the possibility to work individually on given structures and interpret and resolve them in their own time. Sonja Browne worked as a social worker in 1996-1999. After an education in Ballet, Modern Dance, tap Dance, Acting And Singing and practice in the company AMICI (UK, dance with people with disabilities); THEATER STAP (Belgium, theater created by people with special needs) she danced with artists including Editta Braun, Hubert Lepka, Olivier Gelpe und Willi Dorner amongst others. In 1999 she founded the integrative company DANSE BRUTE which creates dance performances with people with special needs. She taught dance and improvisation classes and workshops for people with special needs since 1999 at Jugend am Werk, Verein Balance and at the education centre in Hernals (Vienna) amongst others. Since 1999 she is committed to found a facility centre for education in dance and dance performance for people with special needs. Johanna Tatzgern studied at the University of Applied Arts in Vienna. Since 1990 she was further educated in the field of "new dance“ (Contact Improvisation, Improvisation techniques, Authentic Movement and bodywork) and is DanceAbility trainer since 2006. Many invitations to festivals, symposia, dance and art collaborations, scientific collaborations realisations of installations and performances involving media, space and visual art. 1999 she founded the association GOLDFLUß UNLIMITED (conception and realisation of process-oriented projects in the social artistic field). Since 1994 she is committed to projects with people with special needs including Institut Hartheim, Kunstraum Goethestraße – pro Mente. Since 2007 she is working on the organisation of a dance/performance group TANZMONTAGE with the association BALANCE (an association for the integration and equal opportunities for people with special needs) and creates artistic projects such as Inter-View (together with Elke Krasny), "Eigensinn-Eigensicht" at the gallery 5020 Salzburg, photo-works (Museum auf Abruf, Vienna), "Synthese: Tanz –Film” (a videopresentation, Tepidarium, Peripher, curated by Bernadette Dewald, Filmcoop, Tanzquartier Vienna), "Portraits afterlife" (installation, performance, curated by Katherina Zakravsky, Academie van Eyck, Maastricht, Holland), aftermath of a Faun - Hybridtraining (together with Katherina Zakravsky), "Interspirale" (installation/performance, Pushkinskaya, St. Petersburg, Russia), Drängen & Sehnen (ImPulsTanz, 8tension, as well as for the Künstlerhaus, a video for the solo work of Ingrid Reisetbauer,Vienna), Between screens (concept: Lisa Hinterreitner, performance/installation, Sommerszene 06 Salzburg), amongst many others.




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Bruno CAVERNA Intensive2: August 8 + 9 Dancing Capoeira o 12:30 - 14:45 & 17:45 - 20:00 Week4: August 10 - 14 Playing in the Extremes Int 09:45 - 11:45 Playing in the Extremes Adv 14:30 - 17:30 Dancing Capoeira ʻrodaʼ for everyone Capoeira is a Brazilian art form that mixes dance and combat, rhythm and acrobatic, poetry and self-expression. It is celebrated as a ritual activity in a circular area called "roda”. This workshop welcomes people of all types to take their very first steps in Capoeira. In a friendly atmosphere everyone will be invited to interact and communicate with each other, sometimes in a dynamic group situation and other times as partner activities, through unusual ways. The foundation is playfulness, the most important point is not what you are able to perform but how to enjoy yourself best within your own possibilities and capacities.

Playing in the Extremes Life is characterised by opposites Bruno Caverna has developed this energetic floor work with the objective to explore the polarities existing in every life situation. The basis is to establish an authentic relationship between breathing and movement. The participants are confronted with investigating which quality of movement and inner state of mind develops through a conflicted moment of breathing: inhaling and exhaling. This polarity could be considered an inherent existential condition present in all our life. Bruno starts with an intense training combing techniques such as gliding on the floor, controlling the breath, turning and twisting, spiraling principles, techniques of headlong in a dynamic flow - to finally let go of them in order to concentrate on a mental and spiritual state, that triggers deep personal expression. These are extremes due to the challenging fact that the physical and mental body captures an unusual floor work with unusual patterns of movement.

Bruno Caverna has danced Capoeira already at the age of 10 in Rio de Janeiro by training with several Brazilian Masters like Peixinho, Nestor Capoeira, Toni Vargas, Gil Velho, and Gato. Since 1995 he has been developing his particular method of teaching not linked to any school or organisation. His 20 years of practice have transformed Capoeira into his profound philosophy of living that he loves to share with as many people as possible. Of big importance to him is introducing Capoeira in different social contexts such as the work with street children in Brazil, with psychiatric patients, with handicapped people, in refugee camps, in Amazonas or in prisons.




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Bruno Caverna was educated in dance in Brazil and danced in Europe with ULTIMA VEZ, amongst others.He is teaching in various dance studios and dance institutions such as SNDO Amsterdam and Laster Studio Brussels.

Gabriella CIMINO Week3: August 3 - 7 Pure Pilates o 16:10 - 17:55 Pure Pilates The art of control of mind and body 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 program 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 therapeuthic.

Gabriella Cimino, born in Italy, has a rich background in contemporary dance, studies in Graham, Limon, Cunningham technique and Classical Ballet as well as African dance and music, experiences in diverse performances in Nairobi, Dakar and Vienna, and an education as a fitness trainer. Since the mid nineties Gabriella Cimino has been a Pilates trainer. She has been teaching in New York, Paris, Weimar, Vienna, Berlin, Rom, Marseille, and Zakynthos. 2003 she opened the Pilates Center Vienna. Since 2000 she has been working in the professional education of Pilates teachers in Den Haag, Paris and New York as well.

Marta CORONADO Week4: August 10 - 14 Release Technique Adv 09:45 - 11:45 Rosas Repertory - Drumming Adv* 11:55 - 13:55 Release Technique Enjoy the intensity of movement The class 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. 


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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. Rosas Repertory - Drumming "Drumming" is a dance piece created by ROSAS in 1998. During the week we will be working in 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 reverse a phrase, how to make a floor version of it, how to apply it in space, spirals, maximum versions, minimum versions, rhythmical and speed alternations, loops, video scratches, shifting... 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.

Marta Coronado, born in Spain, studied ballet technique and graduated as a ballet dancer in El Real Conservatorio de Pamplona. 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 Anna Teresa De Keersmaeker's company ROSAS. In the season 2002 she was awarded a Bessie (New York Dance and Performance Award) for sustained achievement as a performer in Drumming. For more than a decade she has been dancing and contributing to the creation of ROSAS pieces like Drumming, I said I, In real time, Rain, April me, Bitches Brew, Kassandra, Rain Raga, D' un soir un jour and participated in the dance films produced by the company. She has been teaching ROSAS repertory workshops and technique classes amongst others in Buenos Aires, Singapore, São Paolo, Caracas, Honk Kong, South Africa. She has been invited as a guest choreographer in La Salle Singapore and the CDC Toulouse and as a guest teacher in companies like Le ballet C de la B. Since three years she teaches dance technique and ROSAS repertory for P.A.R.T.S. and ROSAS on a regular basis.




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David DORFMAN Intensive2: August 8 + 9 Moving with Momentum Beg 12:30 - 14:45 & 17:45 - 20:00 Week4: August 10 - 14 Choreography as social and Personal Commentary Adv 11:55 - 14:25 Moving with Momentum Adv 18:00 - 20:00 Moving with Momentum Beware: we will have fun! Material will range in styles from release-based work connecting with the floor to an eclectic standing highly technical modern class. Concepts such as a weighted and grounded approach to movement, harnessing the body's momentum and force, varying approaches to Contact Improvisation and Partnering, emphasis on intent and focus, and compositional choices through improvisation may be included. BEWARE: We will have fun! Choreography as social and personal commentary Composition and repertory The emphasis in this workshop will be on personal expression through creation. By working in class on both solo and group projects, we will find compositional means for exploring areas about which we are passionate. As clarity is established, the interface between public and private, political and personal, in these dances and, by extension, a performance, will be brought to light. Sections of repertory works will be taught as both aids in broadening performing range, and as exposure to and material for discussing different types of choreographic processes. Another area of concentration will be text, both existing and original, as it relates to the commentary of choreography. David Dorfman, William Meredith Professor of Dance and Chair at Connecticut College, received a Guggenheim fellowship in 2005 to continue his research and choreography in the topics of power and powerlessness, including activism, dissidence and underground movements. His research culminated in "Underground", performed by David Dorfman Dance and 25 additional dancers, which had its world premiere at the ADF in June 2006, had its NYC premiere at the Brooklyn Academy of Musicʼs Next Wave Festival in Nov. 2006 to conclude DDDʼs 20th Anniversary season and continues to tour internationally. Dorfman has received 4 fellowships from the NEA, 3 New York Foundation for the Arts fellowships, an American Choreographerʼs Award, the first Paul Taylor Fellowship from The Yard, a 1996 “Bessie” for his community-based dance "Familiar Movements/The Family Project". 2003 David Dorfman was awarded the Barrymore Award for best choreography for the original musical Green Violin - Prince Music Theater in Philadelphia, and recently received the Mid-Career Award from the Martha Hill Fund for Dance. "Disavowal", DDDʼs newest creation, inspired by the legend of John Brown/radical abolitionist, has been shown as a work-in-progress during Connecticut Collegeʼs Center for the Comparative Study of Race and Ethnicityʼs Race, Space and Memory Symposium 


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April 2008, and as a completed evening at CC in October 2008 before beginning itʼs tour.

Libby FARR Week2: July 27 - 31 Ballet for Contemporary Dancers Int 10:00 - 11:45 Gyrokinesis o 12:00 - 13:45 Ballet for Contemporary Dancers easier, more joyful, and more human The class continually re-evaluates classical technique focusing on strenghtening the dancersʻ awareness of their own alignment. Libby Farrʼs study of the body technique Gyrokinesis has led her to create a warm-up that invites the students to be more deeply aware of their bodies, taking care particularly of the spine and the breathing. As ballet unfortunately often appears to people as if they would wear the wrong size clothes, it is essential for Libby to make ballet easier, more joyful, and more human. The centre challenges the participants to use placement and release discovered at the barré as a source of strength and individual dynamics. It will be often spoken about the breathing, in order to work against the tendency to overpower movement. How much energy is really needed for a movement? Gyrokinesis Spine and nervous system are essential for the limbs Gyrokinesis is a method developed by Julio Horvath, a gymnast, ballet dancer, and swimmer. Through his recovery from multiple injuries he created the system. The exercises integrate key principles of Yoga, Tai Chi and dance while being an original system. The class begins with self massage to awaken the senses while the use of breath stimulates the nervous system. This is followed by rhythmical spiraling and rippling movements, integrating the spine, the pelvis and the head, in all possible planes of motion. Once the spine and nervous system are prepared to support the limbs circular arm and leg movements are added. As the muscle tone and body awareness increase more advanced exercises are performed. The class offers stretching and strengthening exercises focusing on functional capacity of the spine thereby developing greater. Libby Farr studied the Scholl of American Ballet in New York and has been performing with several Ballets in the U.S.A. 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.




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Libby Farr is now a regular guest teacher at P.A.R.T.S., S.E.A.D. and the London Contemporary School and for Companies including ROSAS, ULTIMA VEZ, CHARLEROI DANSES Brussels, BATSHEVA DANCE COMPANY PINA BAUSCH, BALLET PRELJOCAJ, CRISTINA DE CHATEL and CULLBERG BALLET.

Ori FLOMIN Week1: July 20 - 24 Contemporary Technique Int 15:45 - 17:45 Yoga for Dancers o 18:00 - 20:00 Week2: July 27 - 31 Contemporary Technique Adv 14:15 - 16:30 Shiatsu for Dancers o 17:00 - 20:00 Yoga for Dancers Yoga as an art, a science and a practice In this Hatha Vinyasa based class the Israeli Ori Flomin, member of the Stephen Petronio Company for many years, will present Yoga as an art, a science and a practice. A way for dancers to deepen their knowledge of their own body and understand its connection with the mind, breath and spirit. Strong emphasis will be put into our continued awareness of using breath through challenging postures. This will enable us to find a calm centre and push our physical ability forward without adding stress to our bodies. The class will begin with a brief chant followed by breathing exercises and sun salutation, helping the body to mold and shape into other poses. The class will move to postures that strengthen and stretch the whole body: Balance poses, standing poses, forward bends, back bends, twists and inversions. The class will finish with a deep final relaxation. Some partnering stretches will also be taught. Shiatsu for Dancers a good shiatsu session is like a well choreographed dance Shiatsu is a bodywork technique that originated in Japan based on Chinese acupuncture theory. During a session fingers are pressed on particular points of the body to ease aches, pains, tension, fatigue as well as to maintain health and vitality. To give stronger pressure to the body, practitioners also use palms of the hands, elbows, and knees. Stretching is also applied to increase flexibility and loosen-up the muscles. Shiatsu is an amazing and incredibly effective technique for dancers since it involves movement and has a very strong holistic impact on the body as well as the mind. It is said that a good Shiatsu session is like a well choreographed dance. We will learn the basic elements of touching and working on a partner and will also focus on learning basic movement techniques which create “passive stretching” between giver and receiver. Some stretches are learned as a sequence which can 


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resemble a dance phrase. The work will be done in different positions (laying on the back, on the stomach, on the side and sitting) and will cover the whole body. The workshop will focus on the physical part of Shiatsu, but some basic elements of philoshophy will be introduced. Students are welcome to bring their own specific physical problems and questions and we will try to figure out how to address these issues. Contemporary Technique spatial extremes outside imagined boundaries Elements from Yoga, Ballet and Release technique strengthen the connections within the bodyʻs structure and maximise the effects of gravity for moving into space. Tension between secure and grounded placement and a sense of being out of control will be introduced in phrase work, as well as learning to use breath to maintain a centre out of which one can “explode“.

Ori Flomin is from Israel and has been dancing in New York City since 1989. He was a member of the Stephen Petronio Dance Company (1991-1999) and in 2006 rejoined the company as rehearsal director and assistant to Stephen Petronio. He also danced in the works of choreographers such as Maria Hassabi, Neil Greenberg, Mollisa Fenely, Kevin Wynn, and Michael Clark. His choreography has been seen in NYC at DTW's Fresh Tracks and Split Stream, PS122 New Stuff, Movement Research at Judson Church, Joyce Soho and internationally in Austria, Japan and Israel. His dance and yoga teaching has taken him to P.A.R.T.S. (Brussels), DansesHus (Copenhagen), SEAD (Salzburg), London Contemporary Dance School (London), Sasha Waltz Company (Berlin), and Movement Research (NYC) and others. He received his Shiatsu certification from the Ohashi Institute in 2001 and maintains an active Shiatsu practice in NYC.

Davis FREEMAN Week1: July 20 - 24 Non - acting acting for the performer Adv 12:10 - 15:10 Non - acting acting for the performer acting, doing nothing, or using tricks This workshop explores what it is to sound, look, and be real on stage. We will investigate different ways to use the voice and how to manipulate multiple meanings out of text using volume, tone, and rhythm as tools. We will work with and without microphones, use lists, film texts, novels, and improvisations to generate and inspire our own material. You could consider it acting, doing nothing, or using tricks nevertheless this week we will explore how to consciously reveal the person behind the performer.




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Davis Freeman is an actor, dancer, director, and performance artist who worked with Forced Entertainment (Bloody Mess, The World in Pictures), Meg Stuart (Highway 101, Alibi), Hans van den Broeck (They feed we eat eat eat) and Stephan Pucher (kirschgarten, Snapshots). He started the company RANDOM SCREAM in 2001 with Lilia Mestre; they have created work together and alone which has toured internationally. He toured with Superamas with their piece Empire and developed his piece "Saving Lies" which premiered in the Fall 2008.

Ami GARMON Week1: July 20 - 24 Biology & Biography Adv 12:10 - 14:40 Biology & Biography o 15:45 - 17:45 Biology & Biography Open Level Connecting Mind and Body After 10 years of working with and without a daily practice and with a cynical disregard for my instrument as a performer, body artist, dancer, writer - and recovering from spinal injuries I have come full circle in my approach to connecting mind (thought, belief, desire, imagination and will) with the body and with the lives we live that inform and shape us. How much can we manipulate? When should we transform our bodies or our movements? What are we really preparing our bodies to do in daily life and what tools do we need to be fully responsive both spontaneously and reflectively? My tools are based in methods working with and from the body: Material for the Spine (S. Paxton) Classical Pilates, Iyengar and Vinyasa Yoga, Aikido and chinese medicine. It will be a demanding approach to training both the body, the mind and the will to work directly with our biographies and our biologies their strengths and weaknesses to achieve strong and connected movement ready for any style or vocabulary. Biology & Biography Advanced our secrets and our resistances and a daily physical mind training What does it mean to move with precision, with concentration, centred, connected and completely articulated and intelligent, fully conscious and able to move into extreme forms and power? Is this "technique"? Is this a goal? Is this authentic? Is this "contemporary"? Is it "boring" or worse pernicious? I don't believe so. I believe that our art benefits as body movement artists from having a separate and regular training distinct from the vocabularies each piece may inspire us to investigate. The aim of this class is to bring Intention into full consciousness allowing the ideas and impulses to have healthy and connected access to all tools of expression necessary for the act at hand. 


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I would like to offer a daily physical mind training, working with pilates, yoga, material for the spine and deep tissue touch techniques. This part of the workshop is a technical warm up, tuning and training for precision of movement and muscular and core work. We will be looking at tools of training and creative research and explore what performance and power mean to us. What are our needs as a performer? How well should we know ourselves and our secrets and our resistances in order to perform effectively and if so does acute conscious awareness impede our creativity? Especially as a solo artist working within personal biography and biology, this question of uniqueness of idiosyncratic movement and behaviour is most intriguing to me. After working with Steve Paxton for 2 years the most valuable lesson he impressed upon me was finding my daily practise. Technique is only useful if you can use it. Discipline is the technique. Developing trust to know one's self deeply and work with it, enhance it all the while trusting that our unique voice is more than our obvious idiosyncracies. This is why precision movement and prowess once again became a part of my daily practise. It is in assimulating the entire human mind, body, imagination, facts and fantasy where I find creativity and expression at it's most powerful and still there are layers and layers of mystery and humour that are revealed.

Ami Garmon (USA), lives and works between Berlin and France. She collaborates with visual and sound artists to create performance installations that are intense poetic and immersive atmospheres for her writings, her voice and her dances. She improvises and performs in collaboration with her own group productions or as a performer for others. Her interest has always been on emotion and nostalgia and surfaces both real and projected. Her focus on writing and performance and precision of movement means that her works stretch over diverse fields and mediums. Her latest work "Take me home with you" proposes a threefold project that is a piece, a book and an audio cd, revealing a desire to enlarge the experience of her work into the private sphere of one's own time and home. Her works are mutable collections of expression and reflection. Her latest solo "Take me home with you" was premiered at the Festival Uzes France and Tanznacht Berlin. She was a member of the improvisation ensemble of Jeremy Wade and Meg Stuart for the festival Politics of Ecstacy in HAU Berlin. She is invited to perform and teach in Performatica festival in Mexico. Her current project "Another Fucking Solo", a duo plus live music is planned for winter 2010.

Salim GAUWLOOS Intensive2: August 8+9 Contemporary Jazz Int 10:00 - 12:15 & 15:00 - 17:15 Week4: August 10 - 14 Contemporary Jazz Adv 13:50 - 15:35 Contemporary Jazz Beg 15:45 - 17:30 


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Contemporary Jazz Learn from an extraordinary talented choreographer! A fusion of Modern, jazz, and Ballet, Slamʼs 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 warmup of Modern-influenced, Ballet-based exercises that focus on proper execution of the movement and alignment, the class evolves to the learning of Slamʼs 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.

After training at the Ballet of Flanders in Antwerp at the age of seventeen, Salim Gauwloos auditioned in his native Belgium for a scholarship to the prestigious Steps Dance School in New York City. Out of the two thousand dancers auditioning, Salim Gauwloos, also known as SLAM, was one of the two dancers who have been 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 has also performed in several of her videos, such as Vogue, Hanky Panky and Holiday (live). He has performed in music videos for very popular artists in the entertainment industry such as George Michael, Aretha Franklin, and Britney Spears. 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, and Mambo Kings, The Workshop. Salim has acquired a reputation as an exceptionally gifted choreographer. He was selected to showcase his choreography in the prestigious BALLET BUILDERS 2002, 2004, and 2006. His work choreographing the number for Aida's performance at Broadway “Cares Equity Fights Aids” won "Gypsy of the Year 2003". He recently presented two world premieres set on ORLANDO BALLET under the Artistic Direction of Fernando Bujones, which received rave reviews. The contemporary solo titled “Coming of Age” that Salim created for Joseph Gorak (ABT II 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 NY City Center.

Philipp GEHMACHER Intensive1: July 25 + 26 Practice and theory of the body in motion and stillness Adv 11:00 - 17:00 Practice and theory of the body in motion and stillness A workshop on movement and meaning




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A two days workshop on the body-in-motion, on moving by ourselves and with others. A workshop on movement and meaning, be it retrieved through everyday actions, skills of embodiment or touch and interaction. We will try to analyse the body-in-motion in practice through confronting movement and action with concepts of space, issues of temporality and philosophical ideas on understanding this body-in-motion. Where and when does composition start to take place? Who is in charge of this composition and how do I control what I express or represent? From sensory touch to overpowering interaction, from holding motion to holding stillness, from head to toe, from right here to over there, from the quotidian to the artefact, from myself to the other.

Philipp Gehmacher grew up in Salzburg and in Vienna. In 1993 he went to London Contemporary Dance School where he received a BA in Contemporary Dance in 1996. After the first solo "the mumbling fish" he enrolled for an MA Dance Studies at Laban Centre London which he was awarded in 1999. After ten years in London he returned to Vienna during the Summer 2003. During his final period in London he choreographed the pieces "in the absence", "Holes and Bodies" and "embroyder". For the opening of Tanzquartier Wien in 2001 he created the duet "good enough", which, after a period of international touring, was reworked into a new version with the choreographer Raimund Hoghe in 2004 and last shown at ÖsterreichTanzt 06. With "mountains are mountains" he presented his first evening length group piece coproduced by Springdance Utrecht, Tanzquartier Wien, Podewil Berlin and Vooruit Gent. During the season 2004/05 he realised the project "incubator", which was created over four stops in Vienna, Berlin, Brussels and Lyon. The coproducing partners Tanzquartier Wien, Hebbel am Ufer Berlin, Kaaitheater Brüssel and Les Subsistances Lyon were each presenting a unique version of the developing piece. In Spring 2006 the solo "das überkreuzen beyder hände" with the pianist Alexander Lonquich, initiated by Mozarteum Salzburg, Szene Salzburg and ImPulsTanz Wien, was premiered at the Dialoge Festival in the Mozarteum Salzburg. Upon an invitation of Montpellier Danse Festival, Philipp Gehmacher created in the frame of Le Vif de Sujet the solo "between now and then" for the French dancer Frédéric Schrackenmuller. 2007 saw the premiere of both the trio "like thereʼs no tomorrow (trio)", coproduced by Tanzquartier Wien, Kaaitheater Brussels, Montpellier Danse 07, Centre National de la Danse Pantin and Pact Zollverein Essen and the duet MAYBE FOREVER, coproduced by Kaaitheater Brussels, Volksbühne Berlin, Theatre de la Ville Paris, Wexner Arts Centre Columbus, Ohio, created with the American choreographer Meg Stuart. For Tanzquartier Wien he curated the series STILL MOVING in March 2008, introducing the Lecture Performance format "walk+talk", which he is currently touring. 


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The video installation dead reckoning, created together with the visual artist Vladimir Miller has been premiered at the Academy of Fine Arts, Vienna in January 2009 and will be shown next at steirischer herbst 2009. 2001 Philipp Gehmacher was the Austrian participant of the EU-project apap intiated by Szene Salzburg with Residences in Kortrijk, Berlin and Lisbon. 2002 he was touring with the DANCE ROAD NETWORK organised by dietheater Wien. Philipp Gehmacherʼs choreographic works have been shown at the Choreographic Plattform Austria in 2002, 2004, 2006 and 2009. 2000 he received the Bonnie Bird New Choreography Award and 2002 a prestigious Jerwood Choreography Award. He was Artist in Residence at dietheater Wien in 2002 and at Tanzquartier Wien during the season 2003/04. 2006 the book incubator, edited by Philipp Gehmacher, Angela Glechner and Peter Stamer was published and launched by Passagen Verlag Wien.

Savion GLOVER & Marshall DAVIS JR. Week0: July 17 - 19 Tapworkz o 18:00 - 19:30 Tapworkz Tap Dance-ImPuls Over the course of our three days spent with the students and participants, we will concentrate on the history and some certain specific traditions surrounding the art form of Tap Dancing and The Hooferz. While exploring the theory / musicality in one's approach to tap dance, it is also a part of our mission to help the students be able to identify with the creative process that can revise and refine their own approach to Tap Dancing. I am honored at this opportunity to be sharing with you a taste of the knowledge on Tap Dancing that has been so graciously handed down to us from some of the greatest performing Hooferz to date. Thank you for your interest and we look forward on spending time with all of you as we prepare to continue on spreading the joy through Tap Dance entering a realm beyond the combination.

Savion Glover (hoofer, father, husband) Broadway and film credits include The Tap Dance Kid, Black and Blue, Jellyʼs Last Jam, Bring in ʻDa Noise Bring in ʻDa Funk, the movie Tap starring Gregory Hines and Sammy Davis Jr., Spike Leeʼs Bamboozled, and tap choreographer of the acclaimed Academy Award Winning 2006 Warner Brothers release of Happy Feet. Mr. Glover is thankful and enjoys being able to tour around the world performing with some of the greatest entertainers to date. Praise Almighty God.




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Marshall Davis Jr. (hoofer) was born in Miami Beach, Florida. He began tap dancing at the age of 10 at the African Heritage Cultural Arts Center. By the age of 11, he was a finalist in the Philip Michael Thomas Rising Star Competition and was the 1989 Florida winner for the Tri-Star Pictures Tap Day contest, a promotion for the movie Tap starring Gregory Hines and Sammy Davis, Jr. At age of 13, he accepted a check from Ed McMahon for winning the coveted 1991 Star Search Teen Dance Champion. Since winning, he has performed in Europe, Japan and throughout the United States. Marshall's dancing is most heavily influenced by his mentor, the late Steve Condos of the CONDOS BROTHERS. He has also received training from Buster Brown, Edwin Holland, Paul Kennedy, Ted Levy, Lavaughn Robinson and Sam Weber. He performed in the Tony award-winning Broadway and touring production of Bring in Da' Noise Bring in Da' Funk starring and choreographed by Savion Glover. Prior to that he performed at the Guthrie Theater as Pocket in Babes in Arms directed by Garland Wright. Named "Most Unusual Dance Soloist" by The Miami Herald for his rendition of the Morton Gould Tap Concerto, Marshall is also the recipient of Isaac Hayes' Breaking the Barrier Award for his achievements at such an early age. He was most recently honored by Savion Glover "for giving tirelessly to the Spirit and Legacy of Tap Dancing." He performed at the Joyce Theater and is touring with Savion Glover.

Zvi GOTHEINER Intensive2: August 8 + 9 Ballet for Contemporary Dancers Int 10:00 - 12:15 & 15:00 - 17:15 Week4: August 10 - 14 Ballet for Contemporary Dancers Adv 09:45 - 11:45 Ballet for Contemporary Dancers Int 14:05 - 16:05 Ballet for Contemporary Dancers Int & Adv emphasis on 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. 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, among others.




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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. Miguel GUTIERREZ Week3: August 3 - 7 Ready for Anything Adv 17:00 - 20:00 Intensive2: August 8 + 9 Contemporary Technique Adv 12:30 - 15:00 & 17:30 - 20:00 Ready for Anything Performing with an Available Body I always thought I was the kind of performer who felt comfortable doing anything on stage. And then a few years ago I ended up in a couple of different artist's pieces where I discovered that I still had many inhibitions and frustrating limitations. So I became interested in finding ways to push past this newly discovered layer of selfconsciousness into another level of “fearlessness” as a performer. I have always been fascinated by the way in which perception plays the primary role in how we construct our identities as art-makers. My interests in this workshop are to identify methods to effect transformation in other artists who are interested in challenging their perceptions of themselves as performers. I propose the following: to take advantage of the unique phenomenon of studio/class time to create a fertile space for experimentation, to vigorously warm up the body, voice and imagination, to coach you to move through your inhibitions and improvisation and performance habits into new choices and perceptions, to employ various fictions to create a framework for questioning “who we are,” to find ways of using and sophisticating all of your abilities to create a vital, energised performance practice. We will improvise a lot and work with some set movement and text that I will bring. This workshop is open to anyone. Contemporary Technique 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”, sweating, thinking, feeling, moving for no reason and finding out how. Exercises are boring but sometimes important. Phrases are patriarchal but sometimes fun. Smart movers make good art. I am the teacher and I will do what I can. “At a time when so much art lacks a heartbeat, Mr. Gutierrez's chest pounds,” claims Claudia LaRocco of The New York Times, describing Miguel Gutierrez's work. Gutierrez, an active figure in the New York scene for the past twelve years, is a dance and music artist who creates group work with a variety of dancers, music and 


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visual artists under the moniker Miguel Gutierrez and the Powerful People, while also making solos. His work includes: enter the seen (2002), I succumb (2003), dAMNATION rOAD (2004), Retrospective Exhibitionist and Difficult Bodies (2005) myendlesslove (2006), Everyone (2007), Nothing, No thing, and he instigated the performance/protest/meditation freedom of information. In the fall of 2009 he will premiere a new piece titled Last Meadow. In the U.S. his work has been presented at Dance Theater Workshop and The Kitchen in New York, ODC in San Francisco, the Walker Art Center in Minneapolis, Flynn Center in Burlington, and Diverseworks in Houston. Internationally it has toured to several venues and festivals such as Antipodes Festival in Brest, Politics of Ecstasy in Berlin, Kampnagel in Hamburg, Explore Festival in Bucharest, ImPulsTanz in Vienna, Springdance in Utrecht. He has received support from the NEA, Creative Capital, Jerome Foundation, and Rockefeller MAP Fund. In 2007 he completed a commission for BalletLab in Melbourne, Australia. He is twice the winner of a New York Dance and Performance “Bessie” Award: in 2002 for dancing with John Jasperse Company and in 2006 as a choreographer for Retrospective Exhibitionist and Difficult Bodies. He has enjoyed supporting the work of other artists as a curator for The Kitchen's Dance and Process program, and the now defunct but infamous SHTUDIO SHOW. WHEN YOU RISE UP, a collection of his performance writings, is now available from 53rd State Press. He teaches regularly around the world and he invented DEEP AEROBICS. He has been lucky to work with a wide variety of contemporary dance artists, such as Joe Goode, Juliette Mapp, Jennifer Lacey, Deborah Hay, and most recently, Alain Buffard. www.miguelgutierrez.org

Nicole HAITZINGER Intensive1: July 25 + 26 Analysing Dance o 11:00 - 18:00 Analysing Dance Techniques of Contemporary Choreography After a theatrical event, what and from where do we know of a dance performance? And why and in what media does the memory of dance save this particular or another production? These questions form the point of departure of the media course, which cursorily attempts to negotiate corporal, medial and topographical strategies of memory of dance and of its medial documentation. Staging of dance as medial and cultural (mediation) methods are also to be established via the respective hybridization and synthesizing of various media and via the formation and creation of movement of bodies medialized by movement. During dance, corporal memory strategies are documented through external recording media (writing, image, new media, space…). Each media and each liveperformance enables a specific approach to the kinetic and to the kinesthetic, to the memory of movement, which necessitates a process-oriented approach to analysis. Together with guests we are going to discuss different methods of analyzing dance. 


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The seminar takes place in the summer atmosphere of Arsenal, in the midst of the big number of workshops and research projects for dancers and dance interested people. A place that invites theory and practice to exchange. All participants will be invited to selected performances.

Nicole Haitzinger completed her studies and dissertation at the institute for theater sciences of the University of Vienna. Since 1999 she has been specializing in dance sciences. As a scientific coach, dance dramaturg and curator she participated in several international projects and theory-practice-modules. Her scientific, dramaturgic and journalistic focus is the creative encounter between theory and practice, the history and the present. Her current field of research consists of the „modeling of unfamiliarity in dance theatre of the 19th century“. Since 2004 she has been an university assistant for dance sciences at the University of Salzburg.

Ákos HARGITAY Week2: July 27 - 31 BodyParkour Adv 09:45 - 11:45 BodyParkour Any obstacles? What is Bodyparkour? It is a created word of body and Parkour, reflect ing on the parallel approach of dance (contemporary) and art of movement (parkour). BodyParkour is art and dance related new exiting form of movements. Based on the “global dancing“ method, linking different dance-movement information together and research the connection between them. Influenced and inspired by the current trend sports Tricking, Parkour & Freerunning. Bodyparkour is also integrating information from Open-choreography, Contact Improvisation and Partnering, Breakdance and HipHop, Capoeira. Using any obstacles, architecture to dancing-moving with in-door and out-door. During the workshop we will make specific movements to prepare ourselves for this deeply physical movements, creating dance combinations and easy acrobatic dance movements. Also for our movements we will be using a specific cube assembled together out of scaffolding. The movement quality has a touch of reference to our great comic action hero is Jacky Chan. All kind of dancers, sport, Parkour, tricking and Capoira lovers who are looking for a movement form which can integrate all this information to reach an acrobatic new dance style are welcome! Bodyparkour History: Facts: *dance, contemporary dance is using-working with obstacles since very long time *parallel to the development of parkour Ákos was working/experimenting with very similar movements ( he named this body-stunt-skating), 


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*Ákos started as break dancer in early 80's since then he was always interested in all kinds of urban art forms, like Parkour is. *Now, Ákos is experimenting to connect all this information that he collect over the past 25 years and call it BodyParkour. *1998: Video The Bodyparkour Project 2009/2010 www.bodyparkour.wordpress.com Àkos Hargitay was born in Budapest and lives in Vienna since 2006. Since 1988 he was dancing with various Hungarian and international companies and choreographers, such as: Sasha Waltz and Guests (Berlin), David Zambrano (Ven/NL) at the Ballroom Project (NYC), Scott Wells (San Francisco), Vicky Shick/Joanna M. Shaw/Alan Good (NYC). Up until now he has been teaching Contact Improvisation and Contemporary Dance a.o. at the Tanzquartier Vienna, the dance studio Move On (Vienna), at SEAD in Salzburg, the Anton Bruckner Private University in Linz, as company teacher for Cie. Willi Dorner, the Conservatories in Györ and Pécs, the Ballet Company Pécs, the Summer Academy Stockholm, for the Workshop Foundation Budapest, as well as at CalArts (Los Angeles). In 2002 he initiated together with Michaela Pein the first weekly gathering Contact Jam in Budapest. 1996 he founded the Company TWO IN ONE together with Michaela Pein. Their productions have been shown at various festivals and institutions such as: DTW/NYC, Susan Hess Studio (Philadelphia), Aerowaves/The Place Theater London, Dance Theater Workshop (N.Y.C.), Tanzquartier Vienna, WUK Vienna, Imagetanz/dieTheater Vienna, Tanzsprache und Neuer Tanz Vienna/WUK, Unidram Festival Potsdam, Tanzfabrik Berlin, Contemporary Dance Festival (Warsaw) a.o. Their full-length piece "Free Fall" has premiered in 2003 and was co-produced by the Tanzquartier Vienna and the Szene Bunte Wähne Festival. The Company TWO IN ONE was working - dancing with object- obstacles in 1998 in their project called Le Matin dʻ un Faune. The movement was very physical, with jumps and contact dance movement forms (you even can find the term PK movements in choreography nowadays). In 2001 the Company started to be interested in the youth urban culture and street art. They started to research the crossover with contemporary dance. The first station was at Mains dʼŒuvres Paris. They researched the "mistakes" on "halfpipe" which occur in this extreme sport and how to dissolve the fall. They discovered a new way of moving - including jumps, slides, roll on the halfpipe which they called "body-stunt-skating". Out of this experiment someone pointed out "it is looks like Parkour, in the movie Yamakasi" ! Their full-length evening production Free Fall was premiered 2003 in a public skate park on a halfpipe, in cooperation with Tanz Quartier Vienna and Szene Bunte Wähne Festival at SkateLab Vienna. The performances included professional dancers - extreme sport experts - break dancers and toured throughout Poland, Wales/GB, Austria and Hungary. Awards and residencies: 1999 ArtsLink Award (USA) and Suitcase Fund Residency at DTW in New York. 2001 Artist in Residency at Mains dÒeuvre in Paris, 2005 Artist in Residency at the CCL Linz, 2006 Budapest Fringe Award for best performance. 


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Lately the Company TWO IN ONE has been invited by the Tanzqzúartier Vienna, the ACF New York and Movement Research to present their work at the Judson Church in New York in June 2008. They have been chosen amongst 40 submissions together with three more artists. Another invitation for the season 2008 is the series “In the City” for the Wiener Festwochen. www.twoinone.hu Andrew de LOTBINIÈRE HARWOOD Week2: July 27 - 31 Contact Fundamentals - The Essential Building Blocks o 14:35 - 17:05 Contact Imrovisation - Being Ready Int 17:15 - 20:00 Week3: August 3 - 7 Improvisation for Performers Adv 11:55 - 14:25 Contact Fundamentals - The Essential Building Blocks o 17:15 - 20:00 Contact Fundamentals - The Essential Building Blocks An open level course in Contact Improvisation Contact Improvisation is a system of movement based on the communication between two or more moving bodies and their combined relationship to the physical laws that govern their motion – gravity, momentum, energy, inertia. It is a free play with balance bringing forth a physical/emotional truth about a shared moment of movement that leaves participants informed, centered and enlivened. The body in order to open to these sensations must learn to abandon a certain quality of wilfulness to experience the natural flow of movement. Practice includes rolling smoothly, falling safely, being upside down, supporting and giving weight effortlessly. Alertness is developed in order to work in an energetic state of physical disorientation, trusting in oneʼs basic survival instincts. Contact Improvisation - Being Ready An intermediate course in Contact Improvisation Because of the sophisticated nature of this workshop, this intensive is for those with a solid grasp of Contact fundamentals with at least three years of continuous ongoing practice. Being completely attentive and always prepared on all levels, will enable us to go beyond thinking our way through the dance, and help us be attuned to what is actually taking place. This total presence allows us to be freed of the mental chatter, planning ahead, and judgment, which so often override the bodyʼs ability to make appropriate split second choices. In this way the improvisations can be entirely physical, playful, heartfelt, surprising and enjoyable. Explored themes will include: tumbling, flying, use of variable speeds, use of direct action and initiation, resistance, disappearance, subtle ways of moving weight, flowing through unfamiliar circumstances, extending our personal range of movement, and integrating our imagination. This intensive is for those with a solid grasp of Contact Improvisation fundamentals with at least three years of continuous ongoing practice. (The teacher reserves the right to transfer students to a lower level if need be).




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Improvisation for Performers practising instant inventiveness The core of this advanced workshop will focus on movement structures which will encourage performers of various backgrounds to redefine and expand their solo and duet vocabulary and allow for experimentation with small to large group dances. Through various forms of improvisation, spatial design, images, states, chance procedures, tasks and games, we will practise instant inventiveness, refine our sensing skills and develop various compositional strategies, which in turn will become the framework for in-house performances that we will view and discuss. This entire process relies on the dancers willingness to listen deeply to themselves and each other, to take risks, to call upon their confidence and to allow their skills as interpreters to come into focus. Emphasis will be placed upon collaboration and communication, personalised performing, clear intention, trust and instinct. Instant Instinct entering the instinctive arena of the unknown Each class will begin with a warm-up focusing on releasing and extending the body, awakening the senses and developing an awareness of inner/outer space. We then enter the rich and instinctive arena of the unknown with an open mind and a curious body. Simple directions and basic structures will help us harness our intuitive discoveries, share our current quests, and challenge our dancing's desires while we improvise alone/together. Throughout this practice, we will be encouraged to lower our expectations and accentuate our inventiveness. This will be a mixed level class, open to all levels of experience.

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 devoted to Improvisation and based in Montreal. Andrew studied extensively, taught and performed with Steve Paxton, Nancy Stark Smith and Nita Little, three of the founding members of Contact Improvisation. His background also includes gymnastics, Yoga, Modern Dance, Release Technique, Alexander Technique, Improvisation and Aikido. His work has been presented in numerous international festivals since 1980. Andrew danced for the companies of Fulcrum, Jo Lechay, Marie Chouinard and Jean-Pierre Perreault, and continues to collaborate yearly with the Echo Case since 1993. He has also collaborated in performance with Peter Bingham, Marc Boivin, Chris Aiken, Kirstie Simson, Ray Chung, Lisa Nelson, Benoît Lachambre, Marc Thompkins, and Ginette Laurin among many others. Harwood taught advanced workshops and performed at many major Contact Improvisation festivals in the past few years: Freiburg Contact Festival (Germany), 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 Oʼ 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 Councilʼs Jacqueline-Lemieux award for the year 2000. 


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Keith HENNESY Week2: July 27 - 31 Queer! o 11:55 - 14:55 Shamanic Improvised Presence Adv 17:00 - 20:00 Queer! (Un)Dancing representations of gender & sexuality Queer means odd or strange. Queer is a term of political solidarity for all who are not heterosexual, monogamous, and obedient. Queer is a political and aesthetic strategy of disruption and disobedience. Queer is an attitude towards the body, especially its sex and gender, and how that body is or is not compliant with social norms and rules. Queer is shameless emobodiment of abject, animal, monster, cyborg, feminist, or homosexual. Queer is an alchemical detournement of insult and slander, of violence and rejection. Queer embraces social disruption in favour of sexual liberation, and that includes in the theatre, as well as in the streets, the family, the school and beyond. When queer is dangerous it also transgresses ethnic, racial, and national borders. Queer performance is a utopian fantasia. It fails, but it fails fabulously. How can we dance queer? How is dance already queer? How does our dancing body and choreographic mind reproduce the simplest of binary roles for man and woman? How can we fuck with that? We will dance and play, improvise and compose. Sometimes we will work directly with gesture, action, movement vocabulary, physical attitude. Other times we will work with dialogue, discourse, image, and intervention. Each class will include brief critiques of Impulstanz performances from a queerfeminist-postfeminist perspective. Shamanic Improvised Presence Improvisation and performance as potential shamanic action 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, ritual, and performance. 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 concept of Presence. 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 an award-winning performer, choreographer, teacher and organiser. He was born in Canada, lives in San Francisco and works often in Europe. 


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His interdisciplinary research engages improvisation, spectacle, ritual and public action as tools for investigating and revisioning political realities. He is the director of ZERO PERFORMANCE and CIRCO ZERO, temporal collaborations with artists working in diverse genres and styles of dance, circus, performance, music, visual and conceptual art. Hennessy was a co-founder of 848 Community Space and CounterPULSE, thriving culture spaces in San Francisco. Hennessy was a member of Sara Shelton Mann's legendary CONTRABAND, is deeply curious about improvisation, and has been queering bodies and stages for over 25 years. Recent awards include two Isadora Duncan Awards (2009) for "Sol niger", a Goldie (2007) and the Alpert/MacDowell Fellowship in Dance (2005). Recent commissions include Arsenic, Lausanne ("Crotch", 2008), Centre Chorégraphique National, Belfort ("Sol niger", 2007), Les Subsistances, Lyon ("Sol niger" 2007, "Homeless USA", 2005), Les Laboratoires, Paris ("American Tweaker", 2006), FUSED (French-US Exchange in Dance), and Lower Left Performance Co, San Diego ("Gather", 2005). Keith's 2008 teaching includes UC Davis, Orvieto (Italy)/Zipfest, Vienna/imPulsTanz, Moscow/TSEH, Montreal/Circuit Est, Toronto/IDA, Chicago/NPN-Columbia College, and talks at CI36 events in Berlin and Juniata College PA. In 2009 "Crotch" will tour to DTW/New York and TNT/Bordeaux and hopefully San Francisco. www.circozero.org

Muriel HÉRAULT Week1: July 20 - 24 Ultima Vez Repertory Adv* 12:10 - 14:40 Composition Adv 15:45 - 17:45 Ultima Vez Repertory movement as a “theatrical act” The workshop is based on the repertory of What The Body Does Not Remember, Les Porteuses de mauvaises nouvelles and The weight of a hand. The participants will explore and confront ULTIMA VEZʼ energetic vocabulary through floorwork, partner and contact work and movement as a “theatrical act” rather than as a “technique”. They will experience “trusting” and “sharing”. Bring sport shoes and knee pads! Creative Lab different types of theatrality Muriel Hérault has been working with ULTIMA VEZ, ROSAS and NEEDCOMPANY for the last 20 years. Those varied experiences connect and respond to each other coming together in an understanding of theatrality. The workshop is directed towards people interested in movement “as a theatrical act”. The proposition will be to encourage an exchange between the different types of work, in order for each participant to compose his/her own material throughout the week. They will explore acting (as in the previous term ”theatrical act”), sharing and 


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communicating, trusting themselves and the other, leading and following in order to develop their material into an articulate result.

Muriel Hérault studied plastic arts in the first place, then dance at the Sorbonne University/ParisIV followed by her formation at the C.N.D.C. in Angers. In 1988 she came to Belgium to work for ULTIMA VEZ. Since then she is based in Brussels. She danced in What the body does not remember and participated in the creations of Les porteuses de mauvaises nouvelles, The weight of a hand and in the Roseland film. As assistant and tour director she was part of the revival of Les porteuses de mauvaises nouvelles in 2004/2005. She regularly leads Ultima Vez workshops. In 1991 she joined ROSAS to dance in Achterland, Rosas danst Rosas (revival) and participated in the creations of Erts andMozart.Concert Arias/Un moto di gioia. For the latter she was also rehearsal director in December 2006. Between 1993 and 2005 she has been working with the NEEDCOMPANY. On the one hand she was part of Jan Lauwersʼ Orfeo, SnakeSong/le voyeur, Nedcompanyʼs King Lear and Isabellaʼs room, Grace Ellen Barkeysʻ Tres, Stories(Histoires/Verhalen), Rood Red Rouge and Few things. Since January 2007, she works with ROSAS as rehearsal director for the productions D'un soir un jour and Zeitung.

David HERNANDEZ Intensive2: August 8 + 9 Movement Logic Beg 12:30 - 14:45 & 17:45 - 20:00 Week4: August 10 - 14 Movement Logic Adv 09:45 - 11:45 Elastic Choreography Adv 14:45 - 17:15 Movement Logic efficiency of movement The workshop begins each day with a technical part in which the dancers can develop a personal understanding of geometry and its relation to the body. Impulses will be explored from alignment, movement flow, breath, the relationship to the space and to the other participants, as well as the various ways in which movements can be held and dissolved through extension. After they have achieved this understanding, David Hernandez leads the dancers into improvisation and composition through which they can explore and build on their own abilities as spontaneous agents and performers in relationship to their specific problems, situations, and issues. In this transitional improvisation we begin to experience the weight of the body and its collaboration with gravity which helps us to move through the space with efficiency. Afterwards the class gets more and more physical as we begin to train the various muscle groups and actions working with gravity as our partner until we finally approach a choreographic material in which the previous concepts can be applied.




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For the last 15 years I have been developing a personal approach to contemporary technique that is informed by many influences and experiences. I began concentrating on filling the gap between the research and body works that have been known as Release Techniques and the manifestation of these body works in movement. I concentrate my work on building a bridge between the more static work of discovering body connections and correct muscular usage while lengthening the muscular system in relationship to the bones and the application of this information into physically demanding movement material. Once we find the more effecient use of the body we will concentrate on physicalising these concepts and developing an efficiency of movement while exploring the open range that results from this research. Elastic Choreography composing not tripping, still a trip After a resurgence of improvisation performances in Europe in the mid and late 90ʼs, of which our project Crash Landing (in collaboration with Meg Stuart and Christine De Smedt) played a part; improv as a performance form has seemed to take a back seat once again. Though it is less visible it not only continues to thrive with the hardcore improv crowd but has also found many other incarnations with many different kinds of artists and a plethora of different applications. We are seeing pieces more and more constructed with improv as a base either as an element in research or in the structure of the piece. Choreography has often become an improv hybrid, my own ELASTIC CHOREOGRAPHY-system being an example. For the purpose of this workshop I would like to explore many different facets of the improv world but concentrate on the skill of improvising, but not necessarily the skills required to be an improviser. Normally when I teach an improv workshop I feel compelled to base it on providing, what I believe to be, important basic skills for every improviser; because method is so rarely stressed and taught well, and can never have enough practice. This time out, I would like to concentrate more on the issues involved in the practice of improvising and creating a spontaneous composition that is readable for a viewer. I intend to touch some basic skills as a way to develop a common language and base for the group and as a warm up in to the process. The form the workshop takes will have as much to do with the people and experiences I meet there as with the experiences I have had before. It will be about composing not tripping, though I am not against a trip while composing.

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 COMPANY. In 1993 he moved to Europe with Meg Stuart to help her start 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 CrashLanding (1996-1999), in collaboration with Meg Stuart and Christine DeSmet. Further improvisation projects were developed for festivals such as Klapstuk, Springdance, Sum of the Parts and many 


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more and has danced as an improviser with many artists such as Katie Duck, Steve Paxton, Vera Mantero, among others. He teaches regularly in Belgium and internationally and has been a regular Professor at P.A.R.T.S. for the last 10 years 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. Recently he has been collaborating on projects with Rebecca Murgi (I), LABORGRAS (G), ANOUK VAN DIJK COMPANY, Anna Teresa De Keersmaeker and ROSAS. 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.

Ismael IVO & Franca PAGIASSOTTO Week2: July 27 -31 African Expressive Dance Beg 16:20 - 18:05 African Expresive Dance Beg 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 on 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, making way 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 to dive into a search of body memories making way to a renewal of our personal dance vocabulary.

Ismael IVO Week2: July 27 -31 Modern Flow Int 12:00 - 14:00 Week3: August 3 - 7 Modern Flow Beg 18:00 - 20:00 Week4: August 10 - 14 Partner/Ring Adv 17:40 - 20:10 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 prepare muscles and joints for rigorous movements but focus 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 


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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. Preparing the body and freeing the mind to the richness of movement experience. Partner/Ring Improvisation skills and expansion of movement vocabulary This class is focused in the exploration of the partnering technique. We use the partner in the sense of developing skills to assist with leap and turn or transportation. It addresses the form of duet dance to improve the dancer's capacities for improvisation and discovering of movements. What is instrumental is to develop the capacity of leading and following. The movement shapes are a response of a full body contact technique. In a call response for interaction the dancers achieve and develop possibilities of phrases of movement connected with lifting, catching and carrying. We are going to use as well a dance / wrestling form which refers to the ancient Kirkpinar technique, a Turkish oil fight style. The form of fight gives room to a strong body conditioning, the intuition for improvised clever moves, as well as a high sensibility for transition. Duo Clash is applied at the end of each class session. The use of a mixture of olive oil and water will require the dancers to wear an extra short pants and protective torso or waist-band. This form of duet dance should improve the dancer's capacities for improvisation and discovering of new score of movement.

Ismael Ivo, born 1955 in Sao Paulo/Brazil, was given the Trofeu Pirandello Sao Paulo, the prize for the best solo dancer already in 1983. A scholarship for Alvin Ailey American Dance Center in New York followed in 1983/84 before he moved to Berlin where he has been living since. Ismael created numerous solo pieces including Phoenix (1985), Under The Skin (1986), Delirium of a childhood (1989), Die kreisrunden Ruinen (1991) and Apocalypse (1992). He got internationally wellknown through the choreographies Francis Bacon (1993) and Othello (1996), both productions directed by the German dance theater choreographer Johann Kresnik. He has cooperated closely with Johann Kresnik and the Japanese choreographer Ushio Amagatsu, who has been the director of the recognised SANKAI JUKUEnsemble. These different experiences have merged with his Afro-Bazilian roots. From 1996 to 2000 Ismael Ivo was heading the dance theater company at the Deutsches Nationaltheater Weimar where he choreographed eleven pieces. Particularly in the 90ies he cooperated with theater directors including George Tabori, for several groupworks. 1999 he started his artistic cooperation with Marcia Haydée. The duets Tristan und Isolde (1999) and M.- wie Callas (2002) were created as well as choreographies for Ankara, Rio de Janeiro and Vienna. 2006 the production Die 


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Zofen, created with Koffi Kôkô and Yoshi Oida in 2001 and based on the text of Jean Genet received the Time Out Live Award of London. Ismael Ivo has been the artistic advisor of ImPulsTanz Workshops since the beginning in 1984 until today. Since 2005 he is also the artistic director of the Biennale di Venezia Settore Danza.

Damien JALET Week3: August 3 - 7 Physical Verses Adv 12:15 - 15:15 Contemporary Technique Adv 18:00 - 20:00 Physical Verses to get known of physical concepts In this workshop we will work around certain choreographic ideas developed in my collaborations with Sidi Larbi Cherkaoui. Exploring different qualities of movements, using intuition and personal background, each participant will be invited to develop and transform some taught repertoire phrases. We'll use certain physical concepts and imagery developed in previous pieces (Rien de Rien, Foi, D'avant, Tempus Fugit) for composition. Kneepads recommended. Contemporary Technique explore physicality The class builds progressivly from deep and static stretching to very physical and dynamic phrases. Some of the main focusses of the class are the explorations or natural connections in the body and how to use gravity (centrifugal force, potential and cinetic energy...) and floor as dance partners. We will look towards ways of developing a strong sense of organicity, finding a balance between what you control and what you let happen, how to recycle the energy of a movment into another, how to increase the speed of your dancing in a relatively effortless way. The class challenges the participants to take the risk of exploring their physicality as far as they can, more in their flexibility than in the intensity of their dancing.

Damien Jalet is French and Belgian. After his first studies in theatre at the I.N.S.A.S. (National Institute of the Performing Arts, Brussels) he shifted to contemporary dance studying it in Belgium and in New York. He started his dance career with Wim Vandekeybus on the show The Day of Heaven and Hell in 1998 and danced with choreographers such as Ted Stoffer and Christine De Smedt.




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In 2000 he began an intense collaboration with Sidi Larbi Cherkaoui as his artistic partner within the company LES BALLETS C. DE LA B. They co-created Rien de rien (2000), Foi (2003), Tempus Fugit (2004), and Myth (2006). In 2002 he created the piece D'avant in collaboration with Cherkaoui, Luc Dunberry and Juan Kruz Diaz de Garaio Esnaola; the short movie The Unclear Age in 2005, co-directed with Erna Ómarsdóttir and the movie makers Dumspiro. Together with Erna Ómarsdóttir, Gabriela Fridriksdóttir and Raven he created the piece Ofaett (Unborn) for the Theatre National de Bretagne. In 2006 he created the short duet Aleko for the Museum of Contemporary Art of Aomori, Japan, in collaboration with Sidi Larbi Cherkaoui and Alexandra Gilbert. He has been collaborating with the French director Arthur Nauzyciel and the actress Anne Brochet for the creation of L'image of Samuel Beckett for the celebration of his centenary in Dublin. On the invitation of the philosopher Giorgio Agemben, he also signed the choreography for the contemporary opera Il cielo sulla terra from Stefano Scodanibbio, for the Opera of Stuttgart. In 2008 together with Nick Knight and Bernhard Willhelm he directed the video men in tights, presentation of the Willhelm Men's collection 2008-09, this being a first step of an artistic collaboration with the designer. He also signed the choreographic work of Julius Caesar for the American Repertory Theater, Boston and Ordet for the festival d'Avignon 2008, both pieces directed by Arthur Nauzyciel. In March 2008 he premiered three spells at the Tokyo International Arts Festival, live music by Christian Fennesz. He assisted Sidi Larbi Cherkaoui for the creation of the piece In Memoriam for Les Ballets de Monte-Carlo and Loin for the Ballet of the Grand Theatre of Geneva, end for the Cullberg Ballet and Sutra for 16 Shaolin Monks. Damien Jalet studied Ethnomusicology and polyphonic singing with Giovanna Marini, Christine Leboutte, Nando Acquaviva, and Nicole Casalongua amongst others. He has taught dancers in many international institutions and companies: CHARLEROI/DANSES (Brussels), ImPulsTanz (Vienna), NEEDCOMPANY (Brussels), CHUNKY MOVE (Melboune), Biwako Hall (Kyoto), Panetta Movement Center (New York), HJS (Amsterdam), Iceland Arts Academy (Reykjavik), amongst others.

Peter JASKO Week1: July 20 - 24 Contemporary Technique Beg 10:00 - 12:00 Contemporary Technique Adv 18:00 - 20:00 Contemporary Technique Instinct, Support Action and Fearlessness My class is about working with powerfull physicality related to the floor and air. The focus of the class is to develop movement in different levels - up and down positions, 


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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. Rythmically 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 playfull 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.

From 1996 to 2001, Peter studied at and graduated from 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 the international school of dance P.A.R.T.S. in Brussels (2002). His professional experience ranges from dancing with different international artists and companies such as Zuzana Hajkova, Company ENCLAVE INN - Roberto Olivan, OXOXOX - Juri Konjar, G. Barberio Corsetti & Fattou Traore, Sidi Larbi Cherkaoui (Myth 2007) and many other artists. It has been eight years now that Peter is collaborating with David Zambrano as a performer and as an assistant for his classes and workshops. Performances include: Rabbit project, 3 flies went out at noon, 12 flies went out at noon, Soul project, MAZA-DA-MA and assistance for Morningdog/Dancingday/Piggynight. Peter Jasko is a member and creator of the new collective contemporary dance group called Les SLOVAKS, known for the performance OPENING NIGHT in 2007, based in Brussels since 2005. In the years of 2001, 2005 Peter participated in the danceWEB Scholarchip Program founded by ImPulsTanz. His teaching experiences started in 2002 and at the moment he is teaching in many studios, schools and companies in Belgium, Slovakia, Holland, Norway, Spain, Slovenia, Switzerland among other Europian countries.

German JAUREGUI Week1: July 20 -24 Partnering Adv 15:15 - 17:45 Ultima Vez Vocabulary Adv* 18:00 - 20:00 Partnering physicality of dance, drama and emotional motivation of theatre This workshop will focus on partner work by exploring different relationships between couples as power, dependency, indifference, protection,... combining the physicality of dance with drama and emotional motivation of theatre. Participants will explore some elements of ULTIMA VEZ but will be invited to play with their own material within this defined context. 


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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 arrouse. Bring shoes, knee protections and enjoy!

From 1995 to 1998 German Jauregui Allue followed theatre training in Bilbao. During his studies he participated in A menudo en el bosque by Loïc Touze in Bilbao. At the same time he was active for two years with Jóvenes Coreografos Vascos, a grant program for young Basque choreographers. In 1998 German Jauregui began working for Ultima Vez. He collaborated on the creation and touring of In Spite of Wishing and Wanting (1999), Inasmuch as Life is borrowed... (2000), Blush (2002), Sonic Boom (2003), PUUR (2005), Spiegel (2006), the short-films The Last Words (1999), Inasmuch... (2000) and the dance films In Spite of Wishing and Wanting (2002), Blush (2005) and Here After (2007). For the creation of Scratching the Inner Fields (2001) he was the movement assistant. German Jauregui also danced in the revival of What the Body Does Not Remember during the KLAPSTUK festival 2002. In that same year he collaborated with his brother Jorge Jauregui and Idoia Zabaleta for the performance El Rato de José. German regularly teaches ULTIMA VEZ workshops.

Inge KAINDLSTORFER Week4: August 10 - 14 Kreativer Kindertanz 6 -9 Jährige 09:45 - 11:00 Kreativer Kindertanz 4 -6 Jährige 11:30 - 12:30 Kreativer Kindertanz natural playing - wonderful dances - surprising encounters We roll on the floor, scuttle like bugs, side by side, and slide through under other kids, slip along other kidsʻ bodies like on a slide and land softly on the floor as if it was a pillow. We jump around like rubber balls, catch each other, tumble, roll, fly with the support of others, play like young dogs, are smooth and silent like cats on velvet paws, sometimes scuffle wildly. We crawl close to the floor like lizards, sink onto the 


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floor like a melting icicle. We let our bodies get heavy like sacks of flour, to become light as a feather and twirl through space in the very next moment. Kreativer Kindertanz für 4 -6 Jährige Childrensʻ joy in motion, their natural impulse to move forms the core and starting point of this workshop. Kids follow their natural impulse to move, supported by their natural motion. Forms like running, jumping, spinning, sneaking, walking, crawling, rolling will be taken and varied creativitely. In our fantasy and imagination we become dancing animals, plants, objects and more. Materials like tissue, paper, ropes and music of different kinds, from Bach to African folk-songs inspire us to diverse qualities of movement. New things will be tried in a play like manner. Small choreographies are based on songs, sayings and rhymes, spontaniously picked up by the childrensʻ impulse to imitate and memorised through repetition. Thereby the feeling for rhythm, body and motion is experienced. The unity of the sense for motion and the outer form is expressed. In all those processes we are accompanied by imaginative power, inner images and fantasy, movement-games and dance lead us through wild and animate sequences to quiet, focused action and to relaxing moments. Thus the variety of movement is expanded. In this variety the children can express their own personality and individuality by dancing.

Kreativer Kindertanz für 6 -9 Jährige Even for "older“ Kids the joy of motion, the natural impulse to move are at the centre of attention. Kids follow their natural impulse to move, supported by their natural motion. Forms like running, jumping, spinning, sneaking, walking, crawling, rolling will be taken and varied creativitely. Exercises from the area of contemporary dance, like the perception of body and motion, coordination and flexibility will be transformed to inner images in a playlike manner. Material, simple musical instruments and music of a wide variety - from Bach to African folk-songs inspire different qualities of movement, new things will be tried in a play like manner. Games of dance and movement lead us through wild and animate sequences to quiet, focused action and to relaxing moments, giving us time to quiet down and focus on the perception of the own body. In all those processes we are accompanied by imaginative power, inner images and fantasy. We will work on little choreographies, whereas the kids will learn the sequences by their natural imitation-ability and by repetition. Thereby the feeling for rhythm, body and motion is experienced. Elemts from Contact Imrovisation will complete our possibilities and thus the variety of movement is expanded. In this variety the children can express their own personality and individuality by dancing. 


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Inge Kaindlstorfer is living in Vienna and is teaching body work, contemporary technique, Authentic Movement, Contact Improvisation and Improvisation, as well as Composition in Vienna, Moscow, Odessa, Lisbon, Cape Verde, New York and Bucharest a.o. 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 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.

Judit KÉRI Week4: 10 - 14 August Yoga & Floorwork o 09:45 - 11:45 Yoga & Floorwork the centre of the body as movement engine We practise the ancient tradition of yoga, to tune ourselves up to be ready for the challenges of the day. With the help of energy exercises and the different yoga positions (asanas) we stretch, relax, and strengthen our body. With deep breathing we release tension and gain a lot of energy. We become open to receive information, so that we can express ourselves more freely and creatively. During the floorwork we explore and experience the releasing and energising effect of gravity while we activate our whole body. The engine of the movement is the centre of the body, the more effective use of which can bring revolutionary changes. We focus on the spine, on the relation between the top of the head and the tailbone, the centre and the peripheries. Our ability of coordination develops during the different rolling exercises and we learn how to use the momentum. Spiral movements are going to help us in melting to the floor and going up again. After the floorwork we will be more at ease in our vertical movements and also moving in and out of balance. Judit Kéri is a Hungarian dancer, performer and an experienced english and german speaking teacher in dance, theatre, yoga and meditation. She finished her education in Hungary and studied in a number of major European cities with many renowned teachers and performers of new dance technique, contact improvisation and improvisation. She participated in and organised various festivals and seminars worldwide. Over the last 15 years, she has been teaching children, young adults, adults, older people and people with special needs in Europe, Israel, USA, Australia and in Canada. She has also performed internationally in choreographed and improvised solo, duet and in group works.




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Martin KILVADY Intensive2: August 8 + 9 "ALL INCLUSIVE - Technique of Dance" Adv 10:00 - 12:15 & 15:00 - 17:15 "ALL INCLUSIVE - Technique of Dance" using knowledge, observation and intuition Our focus will be working on developing technical skills through dancing. We will improve stability, strength, flexibility and coordination, building them up simultaneously and making them a basic body equipement, ready to be applied in any kind of movement. Our working tool will be open dancing used in the simply structured group situation. We will use this method as a warm up, technical exercise and full dance experience using the music as a strong inspiration source. I would like to inspire the dancers in building up their own dance technique using their knowledge, observation and intuition. My teaching is coming out of my own experience, the ongoing present research and joy to dance which I would like to pass on.

Martin Kilvady was born in 1974. After school he enrolled in a program for teacher education in contemporary dance at the School of Music and Dramatic Arts (Comenius University in Bratislava), where he received his MA.Choreographers and teachers who most influenced him as a dancer are: Jan Durovcik, Mira Kovarova and Libor Vaculik. 1997 he became a member of Anna Teresa de Keersmaeker's ROSAS dance company in Brussels. He danced in Would, in the reprise of Mikrocosmos and Achterland, and contributed to the creation of Just before, Drumming, I said, and In Real Time. Between 2001 and 2004 he collaborated with choreographer Roberto Olivan in the creation of natural strange days and De Farra. Since 2003 he has been a member of Thomas Hauert's company ZOO performing in Five, Modify, More less said songs, Walking Oscar and Accords. Martin is a member and cofounder of LES SLOVAKS DANCE COLLECTIVE. Martin started to teach in 1991 and since 2001 has done training programs for ROSAS, ULTIMA VEZ, and CHARLEROI DANSE, workshops at P.A.R.T.S. and CDC Toulouse and teaching open classes at the ImPulsTanz Festival in Vienna.




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Koffi KôKô Intensive1: July 25 + 26 Danse Africaine Moderne Int 12:30 - 14:45 & 17:45 - 20:00 Danse Africaine Modern actual experience of the dance Koffi Kôkô, familiar with African dance in his home country Benin from childhood on, focuses on the studentʻs relation to her/his own body and the symbolism of the gestures used in African dances. Repetition of the dances in harmony with the music will allow the participants to actually experience the dance. Koffi Kôkô is a Voodoun priest in his native country Benin and also one of the most accomplished modern dancers, choreographers and dance scientists of Africa. His dance is rooted in ritual, such as initiation to conversing with gods and nature. His encounter with the western world set off a process of transposing his ritual experience into a sophisticated body language, that incorprates both techniques and expressions of modern dance and contemporary theatre. Koffi Kôkô lives in Paris since the Nineteen Eighties and commutes between Europe and Africa.

Sascha KRAUSNEKER Week3: August 3 - 7 Feldenkrais for dancers o 18:15 - 20:00 Feldenkrais Method Public Workshop 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. More Info at: www.feldenkraisinstitut.at




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"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, professional contemporary dancer in Austria and abroad 19992007. Collaboration among others with Georg Blaschke, Pilottanzt, Elisabeth Orlowsky, and Andrea Müller. Feldenkrais-Practice since 2002 in Vienna in the Institut Dr. Schmida, with tanzpool and in the Gesundheitspraxis Lindengasse. Cofounder of the Feldenkrais Institut Wien (www.feldenkraisinstitut.at). Guest teacher at Tanzquartier Wien and the ballet department of the Konservatorium Wien University, section for modern dance and dance pedagogy department as well as at ImPulsTanz. Organiser of Feldenkrais advanced trainings and public workshops as well as the 4-year Feldenkrais International Training Programs in Vienna. "My curiosity orients itself towards the symbiosis of movement and learning – with my wish to let somatic learning happen on all human levels. The fascination for this interface of learning grows out of the touching and moving search for liveliness.”

Nina KRIPAS Week3: August 3 - 7 HipHop Beg 10:00 - 11:45 HipHop Adv 11:55 - 13:40 Week4: August 4 - 8 HipHop Adv 10:00 - 11:45 HipHop Beg 11:55 - 13:40 HipHop Let the music lead you! This workshop is rooted in different "party dance/social dance"-moves and various HipHop-techniques. Nina's style is mainly influenced by Bboying, Popping, Locking, Afro, Dancehall, House, Wackin, Krumpin et cetera. Equally influences of Modern and Contemporary Dance as well as of Jazz add more fuel into her dance style. Nina however considers the joy of dance and the respect for music and rhythm as the most important component in her classes! With a lot of energy and fun she will introduce the wide range of HipHop to you!

Nina Kripas graduated from the Balletschool of the Austrian Theatre Federation under the direction of Michael Birkmeyer. 1997 she became a member of the company Tanztheater Wien and between 1999 and 2002 she danced in the Ballet company of the Volksoper Vienna under the direction of Liz King. This is were she started her career as a choreographer. Choreographic works include: "Atlantis" (2002), parts of Déjà Waltz 3 (2003) for the Festspielhaus St.Pölten, "Apple Tabacco" (2004), "The Nobility of failure“ (2004), "Dream Addict" (2007) for the dance program 


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"Dreamcatcher", where she worked with 16 dancers of the Balletcompany of the opera in Graz, as well as the HipHop-show "Step into da cypher“ (2004). Already at the age of 15 Nina took her first classes at the ImPulsTanz-festival and this is where she got acquainted with HipHop. Her love for this dance style took her to France, the Netherlands, Germany and the USA where she met and worked with artists including Niels "Storm" Robitzky, Karl Kane Libanus, Pascal Couillaud, Marjory Smarth, Brian Green, Superdave, Bruce Ykanji, Poppin Pete, Rokafella, Link, Eddie Morales, Kevin Maher. She attended numerous HipHop-jams and parties in clubs in NYC, Paris, Berlin, or Amsterdam. The exchange with international freestyle artists at the "circle" contributed to her experience of the vibe and lifestyle of the HipHopculture. In August 2007 she got her artist visa and the chance to try her luck in Los Angeles. Up to now she danced with artists including Sean Paul, Will.I.am, Fergie, Avril Lavigne, Craig David and worked with choreographers such as Fatima Robinson, Tanisha Scott, Shotyme, Keith Young etc. Nina is more and more in great demand as a teacher and as such she is working internationally in Austria, Italy, the Czech Republic, the Caribbean, Germany and the USA. She appeared in the film SNOWFLAKE produced by the Wayans Brothers. Most currently Nina is working with the Black Eyed Peas.

Kerstin KUSSMAUL Intensive2: July 25 + 26 SCORE! o 09:45 - 12:15 & 15:00 - 17:00 Week1: July 27 - 31 Gravity Happens: Principles of Movement Beg 18:00 - 20:00 Gravity Happens: Principles of Movement This workshop is designed for movement beginners who would like to feel more at home in their bodies before starting a dance workshop. It is also a tool for promoting well-being in everyday movement and for preventing injury in dance and sports, as it analyses movement patterns and enables movers to develop efficient pathways. We will focus on sensory development, flexibility and strength. There will be time to ask and discuss questions, and the class will be adapted according to what is important for the group. Movement principles are based on the mechanics of the human body moving in a field of gravity. Our nervous system deals with a vertically aligned structure of bones, muscles, joints, organs, liquids, tissue, and more. When moving, all these body systems are involved in a dynamic conversation. Some essential aspects of this conversation we will break down into exercises and explorations: - how to develop efficient centre strength and stability? - how to let go of unnecessary tension by using deep muscles while releasing surface muscles? - how to articulate spinal movement? 


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- how to move the body as a unit and how to isolate movement? - how to integrate the ground into moving by folding/unfolding the body? Our newly acquired knowledge will be incorporated in small choreographies and improvisations. In this practice your body will become more connected developing physical intelligence. Be prepared to work as much with your mind as with your body.

SCORE! In this workshop scores will be used as rules for the reorganissation of our surroundings. Each rule is to be understood as a link of actions as well as a limitation of actions and is a foundation for the improvisation structure. Therefore a set of scores, rules, develop certain characteristics and offer various possibilities for creation in a playful way. Premises for a successful shaping of scores is a differentiated awareness of the body, the group, time and space. In order to enable this awreness we will work on our senses in a specific warm-up. Adequate for people with or without movement experience as the workshop is built on a sef-aware examination of its content. Scores can be a subtext for improvisation in performances, but even so in other situations like classes for children and adolescents.

Kerstin Kussmaul is a choreographer, bodyworker and musician. She received her M.A. in music and dance education and studied Somatic Movement & Participatory Arts as well as Acupressure in San Francisco. She has been practicing Contact Improvisation since 1995 teaching in the U.S. and Vienna. Her teaching philosophy is driven by the desire to develop smart, versatile and mindful bodies. From 2002 to 2005 she was artistic co-coordinator for ImPulsTanz workshops & research.

Karine LABEL Week1: July 20 - 24 Afro-Haitian Dance Int 10:15 - 12:00 Week2: July 27 - 31 Afro-Haitian Dance Beg 18:15 - 20:00 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 


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movements without ever losing the contact with the floor, the participants get their whole bodies to swing. The Haitian 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 dvelve into those dances that Maya Deren described as the "prayer of the body".

Karine LaBel grew up in Haiti, where she got 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 got wellknown as she appeared in numerous performances in France, Germany, Austria and Switzerland.

Jennifer LACEY Week4: August 10 - 14 Class Class Adv 12:00 - 15:00 Class Class Imitation, invention, re-actionism and devotion This class will work on the class form as art object. Using all our experience as class takers we will become class makers, paying attention to choices of form and content as potential meaning generators. Using each other as students we will explore the performative position of teacher, student and of the transmitted information. Language choices, voice modulation, style of transmission, identity of "studio", teacher attire, general ambiance, time framing, invented and existing techniques will be implicated as well as the over-all rhythm of the object. Imitation, invention, reactionism and devotion are all welcome starting points. More creative and compositional than pedagogic, this workshop address itself to dancers who feel comfortable improvising and shifting roles from teacher to student fluidly. Jennifer Lacey is choreographer/dancer from New York presently living in Paris. Her training and performance experience in New york had a wide range, from 5 years with the RANDY WARSHAW DANCE COMPANY to more experimental and improvistional works of Yvonne Meier and Jennifer Monson . She has been presenting work worldwide since 1991 at venues including P.S. 122, the Kitchen, the Klapstuk Festival, the Vienna Festwochen, ImPulsTanz, Tate Britian Danças na Cidade, the Bienale de Lyon, Montpellier Danse, Big Torino, Tanzquartier Wien, Centre Pompidou, Kyoto Arts Center, the Kaiitheater a.o.




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Since her arrival in France in 2000 she has been able to develop in depth her tendency to interrogate the methods of dance production and their relationship to product and form, arriving at work that is often but not always performative. In the last 10 years, Jennifer Lacey has worked often in collaboration with visual artist Nadia Lauro producing performances and installations. Their last production Les Assistantes is currently touring. At present Lacey is collaborating with Antonija Livingstone on a new piece for the Avignon Festival. As far afield from traditional dance performance as the work often goes, Lacey is commited 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, compostion 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 as well as her interest in yoga and Qi Gong. Her teaching, emphasises the form through sensation and action as well as the relationship between process and product. She is currently overseeing the ESSAIES program at the Centre National de la Dance in Angers.

Corinne LANSELLE Week1: July 20 - 24 Modern Technique Adv 10:00 - 12:00 Modern Technique Int 18:00 - 20:00 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 with the goal to strengthen the vitality of the movement. To the advanced she will offer a higher complexity of the combinations, harder technical challanges, 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, choroegrapher 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 theater, dance, music and martial dance. In April 2002 her last piece "Fabrik", a trio for two men and one woman, was presented in Paris. Her international recognition is based on her sense of humor and her great sensibility dedicated to dance.




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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 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.

Charmaine LEBLANC Week1: July 20 - 24 Voice & Rhythm o 15:15 - 17:45 Voice & Rhythm voice as a basic music organ How close can we come to actually producing the intimacy of sounds that live within us? Of all the means by which we express ourselves, voice is by far the most intimate revelation of our essential self. The voice is said to be a repository of everything that we have acquired. It is such an intimate part of us, as characteristically and personally our own that each of us is able to identify the other on the phone after we speak little more than one syllable. After having studied with some of the most renowned figures of the world including members of The Roy Hart Theatre and Meredith Monk, I cannot help but believe that some aspects of the voice are universal and that we are all touched by a certain register of human musical scales that are within each one of us, an ongoing orchestration of sounds and music that reflect the poetry of our singularity. The workshop will be based on a series of technical vocal and physical exercises followed by various performance tools adopted from theatre and performance work that Charmaine has been developing over a number of years.

Charmaine is a vocalist/ composer/ percussionist who has had the opportunity of crossing over into several artistic fields. She has written scores and performed for dance, theatre, film and television. Charmaine has had the privilege of working alongside some of the worlds most renowned voice teachers and has worked with some of the most internationally acclaimed directors and choreographerssuch as: Margie Gillis, Gerald Casel, Risa Steinberg, Angélique Willkie, Luc Tremblay und Les Gens dʼR. Also she is accompyning for many institutions and teachers a.o. at LADMMI Montréal, José Limón Institute, Concorde University, New School for the Arts Amsterdam. She has started her own company THE RED RABBIT PROJECT. Charmaine continues to coach at the CIRQUE DU SOLEIL and FRANCO DRAGONEʼs company in Las Vegas.




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Terence LEWIS Week3: August 3 - 7 Bollywood Kids (12-15 J.) 10:30 -12:00 Contemporary Indian Dance o 15:50 - 17:50 Bollywood Dance o 18:00 - 20:00 Bollywood KIDS Bollywood Star This class will bring the exotic flavour of Bollywood films to you. The high energy singing and dance routine will tell a story, convey emotions, create dramatic scenes, and will have all the spice of a true Bollywood film. Bollywood dance today comprises of moves that are a fusion of Indian folk and classical dance forms such as Bhangra, Kathak, and Western dance styles such as HipHop and Funk. Terence Lewis has choreographed in several Bollywood films, such as: Lagaan, Jhankaar Beats, Shikhar, Naach and is the judge of the most popular television dance show in India called Dance India Dance. He is also teaching for the "Bollyhop"project at two Austrian schools in June. He has been teaching kids for the last ten years and knows how to bring out the Bollywood Star in each one of them! Feel the true flavour of Indian Bollywood - the glamour, the kitsch, the magic ! Bollywood Dance feel the glamour, the spice, the kitsch The class focuses on the uniqueness of the Indian Bollywood Film dance. Bollywood dance borrows from Indian folk dance, the classic Kathak form as well as the new age MTV Culture of the West. This blend of the traditional and the classic with the modern has made this brand of dancing popular all over the world. Bollywood has progressively become a full-fledged dance form in itself. All Indians believe that dance is not only told through the body, but also through the face, the Andaaz, and through the hand gestures, the Mudras. Through his class, the choreographer aims at bridging the cultural gap between the East and West. What makes Terence Lewisʼ class unique is his base in Western contemporary dance. Terence thus aims at offering the Indian dance elements with a western tone and technique which is comprehensible to the European mindset. With conceptual dancing now popular on the European stage, I wish to reach the other extreme end of the scale, get the joy, the fun back into dance. Feel the true flavour of Indian Bollywood - the glamour, the spice, the kitsch. Walk into my class - with or without prior training - and I challenge you, Iʼll make a ʻdivaʼ out of you.




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Contemporary Indian Dance a combination of Kathak and Yoga This is a feel good workshop as it requires to be visceral and expressive bringing your energies out there. I would like to explain the roots of my contemporary dance. When I say that they are a combination of Kathak and Yoga, I want to point out that the class is predominantly contemporary in its approach, only drawing the essence of the Indian disciplines. When demonstrating and teaching an Indian contemporary routine, I break down the Kathak footwork, explain the relationship of the arms with the torso, the focus of the eyes etc. I touch only upon the basics in order to enable the dancers to fully develop and enjoy the movement, without stressing upon greater details and mastery over the Indian techniques. The music plays a great role having predominantly Indian percussive instruments set to a contemporary mood. The movement vocabulary will be very unique to many European/Western dancers who are constantly searching for movement in different planes and a new articulation of the body.

Terence Lewis is of Indian origin and has studied different dance and body disciplines of his own culture such as Indian folk dance, Kathak and Yoga. Additionally he keeps deepening his knowledge of Western contemporary dance, Horton and Graham technique and Classical ballet. He performed in several international shows in Asia and Dubai and choreographed some musicals, winning an award for the best musical 2005 at the Edinburgh Fringe Festival with Children of the Sea created with civil war and Tsunami affected children from Sri Lanka. He choreographed several Indian movies and international shows in India, he appeared in music videos, and works as a fitness and dance consultant for Bollywood actors and several gyms. 1999 he founded his own school and company staging "Surkh“ and "Centerstage“ in all major cities of India in 2001. 2003 he was a participant of the ImPulsTanz DanceWeb-scholarship in Vienna.

Sri LOUISE Week1: July 20 - 24 Yoga o 09:30 - 12:00 Week2: July 27 - 31 Yoga o 09:15 - 11:45 Yoga - Desire & Discipline functional Asanas - the “core structure” I have refrained from giving what I do a name for 15 years, but over the course of time I have also come to understand that my specific approach to yoga can definitively be described as Functional Asana. This workshop will explore the anatomical reality, relevance and utility of the “core structure” as it relates to various 


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poses. I include the illio/psoas, quadratus lumborum, transverse abdominal muscles and the thoracic and pelvic diaphragms in my definition of “core structure”. The mythology of “core structure,” the journey of “finding” oneʼs essential self is the underlining spirit of this class, which at times will ask you to sing your heart out to a little one stringed instrument waking up your inner spiritual minstrel! Sri Louise is an independent, internationally recognised yoga teacher who began her practice at the Jivamukti Center in NYC in 1993. In 2001 she created the Underground Yoga Parlour for Self-Knowledge and Social Justice in San Francisco where in addition to on-going classes in both asana and philosophy, she designed and conducted two rigorous teacher training programs. Her forte as a teacher is in her keen understanding of alignment as it pertains to both asana and ontology. Sri is a disciple of Swami Dayananda Sarasvati, under whose tutelage she studies Vedanta, Sanskrit, Vedic chanting and Vaidika Dharma. Sri Louise currently resides and teaches in Europe where she is pursuing her career as an autonomous, contemporary dance artist. She is ecstatic to be collaborating with her sister, Juliana Coles, on a coaching project that fuses yoga, creative journaling and performance. To view her embarrassingly out of date website, Please visit: www.undergroundparlour.com

Mamadou MʻBAYE Week1: July 20 - 24 Afrikanischer Kindertanz (6-8 J.) 14:30 - 15:00 Afrikanischer Kindertanz (9-12 J.) 15:15 - 16:30 African Percussion Beg 18:15 - 20:00 Intensive1: July 25+26 African Dance Beg 12:30 - 14:45 & 17:45 - 20:00 African Dance If you can walk you can dance For Mamadou MʼBaye 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 musical and physical rhythms. 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. African Percussion a dancer, musician and poet Mamadou M´Baye teaches poly rhythm from Senegal, introduces a wide range of sounds and tones and different forms of musical improvisation: auditory training, simple and complex African rhythms, played either with two hands or with one hand and one stick.




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African Dance for Children (6 to 8 years old and 9 to 12 years old) human beings can learn everything they created, Above all Mamadou intends to convey joy in moving in accordance with the music of the drums. In a playful manner the storyteller will keep to his credo "Human beings can learn everything they created!“

More than fifteen years now the Senegalese Mamadou MʻBaye – 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 gobetween. Mamadou MʼBaye 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 examplary intermediator of the relationship between the dancing body and the rhythm of the percussion. He is a storyteller, which plays an important part in his own choreografies and compositions.

Claudia MADER Week4: August 10 - 14 Feldenkrais-Methode o 18:15 - 20:00 Feldenkrais Method Learn, how it can be done easier To practise Feldenkrais means to do little and sense/perceive a lot. Many people are surprised how such small movements can feel so big and lead to such clear changes and improvements. Feldenkrais functions because it is functional. The learning in movement is playful and pleasurable, at the same time it follows a red thread which guarantees precision and efficiency. Non-habitual movement sequences - often started with lying or sitting positions facilitate to have new views on our own habits and open alternatives. Our self-image gets clearer, the skeleton carries itself better and the musculature becomes free of superfluous tension. With small and effortless movements we stimulate our ability to learn and expand our-self image. We explore how to organise our movements and how to improve them by minimal adjustments. We learn to distinguish meaningful action from exhausting struggle. The improvement of self awareness enables us to trace out our own habits and to shape our individual fields of action with more liberty. “The point is the following: Let be what is, to open up the path for what you imagine will happen next.”

Claudia Mader is a performer and Feldenkrais teacher. She is working as a movement coach and artistic assistant to artists including AKEMI TAKEYA (A), Milli Bitterli/ARTIFICIAL HORIZON (A), CARPA THEATER (A), TEATRO DE CIERTOS 


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HABITANTES (Mex), and is creating own performance works. She has been teaching Feldenkrais for groups and individuals since 2000. She organises post graduate trainings for Feldenkrais Practitioners and open workshops and is part of the team of Feldenkrais training programs in Vienna. She has been teaching in institutions for actors' education as well as for the Tai Chi Chuan and Qigong education at the Shambhala Society in Vienna and teaches at ImPulsTanz since 2002.

Malcolm MANNING Week2: July 27 - 31 Awareness Perception Presence o Perceiving Choices Adv Awareness Perception Presence physical dialogue with ourselves This workshop is a practical exploration of how somatic movement practices can be applied to the performing arts as a kind of "invisible technique". While they do not necessarily teach any performable material, somatic practices can enhance how you perform, your ability to learn new skills and suggest new movement vocabulary. They also offer a way to deal with longstanding aches and pains, and your ability to recover from or, better still, avoid injuries. In these classes, we will use the Feldenkrais Method, experiential anatomy and other specially-devised material to enter into a physical dialogue with ourselves and the environment in which we are situated. I am particularly interested in how the seemingly internal changes that result from exploring these somatic practices are mirrored in the way we perceive the world around us and how the world perceives us. Classes begin with a guided exploration/lecture/dialogue in which the theme of the class is introduced through exploring reference movements and looking at associated anatomical details. Then follows a Feldenkrais Awareness Through Movement (ATM) class which aims to clarify some aspects of the theme and generates a more general state of self-awareness. The final part of the class is spent in self-directed exploration taking the references movements as a starting point and offers the possibility to connect, integrate and further explore discoveries made during the first two parts of the class. Perceiving Choices perceptual principles and improvisation as tool for composition Composing dances is about making choices. About how dancers organise their own bodies and their compositional relationships to their environment and others coexisting within it. These choices can be set before the performance or made live in front of an audience. They can be made by the dancer themselves or by someone else. Whatever the case, it is our perception that presents us with the elements from which to choose. The more fine-grained the perception, the more elements we can choose from and the more subtlety we can employ in combining them. 


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In this workshop, the body is our starting point for compositional choice making and improvisation is our tool. This is a simple back-to-basics study of how we choose to move and place ourselves in space as time passes, taking perceptual skills as the base. We will explore how we make choices inside our moving and also observe each other's choices, in the process gaining some clues as to how they can be read. The working pattern will be first to explore and clarify a particular perceptual principle or focus in relation to our own movement, and then take this into a group situation and see what emerges. The intention is that what you learn through your experience in the workshop can later inform your choices in making choreography, no matter what genre or style you work with. It can also form the basis for performing improvisation.

I am a somatic movement researcher, educator and performing artist - movement is life and just about any situation can be analysed in terms of what moves, how, where, when and with what quality - I am fascinated by how people move and by how I move, both alone and in relation to others. For more info visit www.movetolearn.com

Kurt MOSETTER Intensive1: July 25 + 26 Myoreflextraining o 12:30 - 14:45 & 17:45 - 20:00 Week2: July 27 - 31 Myoreflex/Sensorik/Motorik (G.A.) o 10:00 - 11:45 Myoreflextraining for Dancers Int 14:10 - 15:55 Myoreflextraining muscular functions of feelings „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 systems may be felt via pressure points and special exercises. Thus they may be trained and lossened with widened perception. We may sense emotions and experiences which we do not know consciously but which create limitations in everyday life. Our dynamic self-expression will be given the physical spiritual space for an open step forwards. Through specific movements and kinaesthetic experiences using our hands, we will effortlessly change our perspective by learning to mirror ourselves. Moments of self


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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 recreated in everyday life. Myoreflex/Sensorik/Motorik GoldenAge Health and dance movement for seniors 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 sitting through long years of school and in professional life has become widespread. 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. 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. Myoreflextraining for Dancers Creative and preventive potential of myoreflex therapy This workshop presents the preventive and creative potential of Myoreflex therapy to dancers and focuses on the following issues: + emotions embodied in specific muscle groups + the personality under the skin and individual personal muscle groups + the choreography of emotions + the perspective of Traditional Chinese Medicine (TCM) + increasing performance and optimising the possibilities of self-expression through intelligent use of the KID exercises (strength in stretching) + decreasing the risk of injuries + pain and muscle function Myoreflex therapy works at the level of muscular sensors and thus indirectly reaches the „centre of control“, the brain. As if looking in a mirror, the practising person 


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becomes aware of inefficient patterns and may regulate them him/herself. These „measuring sensors“ at the muscles correlate with the acupuncture points on the meridians. The KID exercises activate the chains of the meridians and lengthen the shortened muscle groups. Thus a neuromuscular self-regulation is stimulated.

Kurt Mosetter developed the holistic technique of Myoreflex therapy based on the pioneer work of the physician Walter Packi in the field of bio mechanics and movement geometry. He considers the „anatomy of the living“ the most important gearshift of his work. He studied acupuncture in Nepal and Darjeeling and worked at the neurosurgery department in Birhospital in Kathmandu. His studies of Asian experiential medicine, of psycho traumatology and of the effects of sound on the resonance of tissues is embedding his discoveries in a wide net of experiences. Kurt Mosetter is a nurse, healer and physician and has his own practices in Konstanz and Gutach in Germany. Since 1998 he has been on the board of directors of the Swiss Doctorsʻ Association for Regulation Medicine and neural Theapy. For several years he has been leading educations on Myoreflex therapy. He published some books on the issue and developed the training program „Kraft in der Dehnung“ (strength in stretching).

Ko MUROBUSHI Week2: 27. - 31. Juli Butoh o 09:45 - 11:45 Week3: 3. August Butoh o 09:45 - 11:45 Butoh freie, persönliche und individuelle Evolution Butoh ist keine Technik, die man systematisch erfassen kann. Es ist eine freie, persönliche und individuelle Evolution. Man muss mit seinen Traditionen und Gewohnheiten brechen und über sie hinwegsehen, um etwas Neues zu finden. Ersticken, Krankheitsverwandlungen, Zwischensein von Schmerz und Lust und die Stimme des Magischen. Wir werden die Geschichte des Butoh in unseren Prozess einschreiben. In diesem Prozess haben wir einen Platz, nehmen einen anderen ein, sind mitten in Experimenten. Wir entwickeln uns, in unserer Sammlung gibt es neue Begegnungen, neue Alltäglichkeiten. Alltäglichkeiten mit ihren Brüchen, mit Selbstbeherrschung und Verwandlungen, Vermittlungen, Übertretungen. Worauf beziehen sich unsere Versuche? 1) Der Atem. Der Atem und seine Verwandlungen, Unterschiede und Kombinationen der Atmungs-“formen", hin zu einer Stimme, die aus dem Rachen kommt. 


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2) Der Gang. Wer geht? Kommend von wo, und auf welches Ziel zu? Können wir uns einen „Gang ohne Füße" vorstellen? 3) Die Erde betreten, springen, tanzen: die Begriffe "Tamafuri" und "Tamashizume". 4) Bewegung in der Form einer 8. Die 8 startet auf halber Strecke, hält auf halber Strecke inne und hat weder Anfang noch Ende. In ihr befindet sich das Außen, draußen das Drinnen. Der eine und der andere kreuzen sich, geraten durcheinander. Die Schleife des Moebius, asymmetrische Spiralen. 5) die Zukunft: tierische, pflanzliche, mineralische Zukunft verrinnen lassen. Kadaver werden, flüssig, fest, gasförmig. Vermittlungen und Verwandlungen lernen. 6) Improvisationen: Die Form schleicht sich ins Tun. Ein Intervall, das zittert, das sich verschiebt. Das simultan mit dem Einsturz ist. Schmerz, Erschütterungen, Gerinnung, Entspannung, Zuckungen zum Humor hin.

Ko ist einer der bekanntesten und gefeiertesten Butoh Künstler der Welt und ist in Japan als führender Erbe von Hijikatas originaler Butoh Version anerkannt. 1968 studierte er mit Hijikata, gab kurz das Tanzen auf um“Yamabushi“ Bergmönch zu werden und gründete nach seiner Rückkehr mit Ushio Amagatsu, Akaji Maro und anderen die Butoh Kompanie DAIRAKUDAKAN. 1974 erschuf er das Butoh Magazin Hageshii Kisetsu (Violent Season) und gründete die Butoh Kompanie ARIADONE für Frauen mit Carlotta Ikeda, für die er viele Choreografien kreierte. Zwei Jahre später gründete er eine ähnliche Butoh Gruppe, nur für Männer, namens SEBI. Mit einer Koproduktion dieser Gruppen brachte er Butoh nach Europa und trug zu dessen Anerkennung auf unserem Kontinent massgeblich bei. LE DERNIER EDEN PORTE DE L'AU - DE LA hatte grossen Erfolg in Paris und wurde 1981/82 gefolgt von einer grossen Tour durch Europa mit ARIADONE. Ab 1988 konzentrierte er sich auf gemeinsame Produktionen mit Urara Kusangi und tourte in den folgenden Jahren durch Europa und Südamerika. Auf der einen Seite öffnet er weiterhin seinen Tanz und Butoh für weltweite Einflüsse, auf der anderen Seite versucht er seine japanischen Wurzeln durch seine Arbeit weiter zu erforschen. Seine Solo-Produktionen [Edge01], [Edge02] sowie die Gruppen Produktion [Edge03] wurden zu mehreren internationalen Tanzfestivals wie ImPulsTanz, Montpellier Dance Festival, London Butoh Network Festival und einigen anderen eingeladen. Er erhielt weltweit zahlreiche Auszeichnungen für Residencies, z.B. in Mexico, Indien oder New York. Ko ist sehr gefragt als Workshop Lehrer. 2003 präsentierte er mit seiner Gruppe KO&EDGE CO mit 3 jungen Japanern [Handsome Blue Sky] für das JADE 2003 Hijikata Memorial in Japan und erntete stürmischen Applaus. 2004 zeigte diese Gruppe eine neue Serie, genannt [Experimental Body], welche Grenzen (edge) auf einem physischen Weg sucht. 2005 ging [Handsome Blue Sky] auf Tour an 5 Spielorten in den USA und Kanada. Kos letzte Solo Performance war [Quick Silver]. Dieses gefeierte Stück führte ihn auf Welt-Tourneen. Seine Choreografien, als auch seine Solo Performances etablieren Ko Murobushi auch weiterhin als einen der am höchsten angesehenen Repräsentanten des Butoh, und jeder Moment fordert Ko heraus die Möglichkeiten des Butoh zu erweitern. 


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Milton MYERS Week4: August 10 - 14 Horton Technique Adv 11:55 - 13:55 Horton Technique Int 14:05 - 16:05 Ailey Repertory Adv* 18:25 - 20:10 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.

Ailey Repertory versatile repertory demanding physical and spatial clarity Based on the principles of the Horton Technique we will investigate the versatile repertory of Alvin Ailey.

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 (Brasilien), DANNY GROSSMAN COMPANY and BALLET CROELE 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, Fordham University Ailey program, and STEPS studio in New York. He has been the director of the modern and contemporary program at Jacob's Pillow Dance Festival for the past twenty three years. 


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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 PARKERROBINSON 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, and for AILEY II 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.

Juliana NEVES Week2: July 27 - 31 Dance & Silks Adv 11:55 - 14:25 Alain Platel Composition Adv 17:30 - 20:00 Dance & Silks not circus but aerial dance This workshop will explore the possibilities of dancing with silks (fabrics), individually and within a group. There will be a warm-up with specific strength exercises for arms, abdominals and lower back as those are important areas in aerial work. We will explore silk techniques, learn how to climb, fall, slide, wrap and unwrap our bodies in different ways and develop choreographic phrases searching possibilities of dancing in and around the silks. Dancing with silks has been Juliana's specialty for the past 10 years. In her solo "Le Volle D'Azala", created for CIRQUE DU SOLEIL in collaboration with aerial master André Simard, they partnered to mix this aerial technique with dance. In 2002, she began working with director Alain Platel (LES BALLETS C. DE LA B.), and under his direction, this act takes a new form and is seen not only for its circus virtuosity but also as aerial dance. Alain Platel Composition "Creating dance-performance material"




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In this workshop we will explore and experience different techniques of improvisation and composition in dance, inspired by Julianaʼs work with the director Alain Platel and Les Ballets C. de la B. The classes will begin with various and versatile ways to warm up the body, followed by guided improvisations to open possibilities to create dance and performance material.

Juliana was trained in Gymnastics, Ballet and later on in Circus Arts. She has a bachelorʼs degree in Sociology. In São Paulo, she was one of the founders and performers of the company CENICA NAU DE ICAROS, winning several prizes in their Circus-Theatre productions. In 1997, she was chosen to represent Brazil at the American Dance Festival in the International Choreographers Residency Program, where she studied with David Dorfman, Lisa Race and David Zambrano and also performed with Choreographer Maria Rovira. Back home, Juliana joined QUASAR COMPANHIA DE DANCA of Henrique Rodovalho, she left QUASAR to join CIRQUE DU SOLEIL as one of the principal characters of their production Dralion. She originated her part and performed 1001 shows over 3 years. Juliana created the aerial pas–de-deux act on silks together with aerial coach Andre Simard. This act and her solo act, also on silks, were between the highlights of Dralion and acclaimed by the critics. In 2002 she performed her solo act in China and Brazil. She is a guest teacher for CIRCUS JUVENTAS (USA), NAU DE ICAROS and LINHAS AEREAS (Brazil) and ESAC in Brussels. Coming to Europe in 2002, she performed at Les Ateliers de Recherche Spectaculaire directed by Phillipe Decouflé, and later joined LES BALLET C. DE LA B., first as a dancer in Wolf directed by Alain Platel and then as his assistant for his piece Vsprs. In 2003, she represented CIRQUE DU SOLEIL at the Festival Mundial Circo do Brasil, with her solo act on silks and once more in 2006 for the launching of Cirqueʼs first tour in Brazil.

Simona NOJA Week4: August 10 - 14 Classical Ballet Adv 10:15 - 12:00 Classical Ballet Beg 18:15 - 20:00 Classical Ballet Beginner Mastering the ABC of Classical Ballet In this workshop I will teach Classical Ballet vocabulary - based on the dynamic imagery of the Eric Franklin method - which I will mediate with humour and dynamic taken from my performance experience. The goal is to find joy in your own timing of learning the ABC of the Classical Ballet and your own musicality.




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Classical Ballet for Advanced Dancers Discover our own strengths in dance Classical Ballet for advanced and professional dancers, following the Vaganova method through neo-classical and contemporary methods. The aims are: the dancersʻ preperation of the body and technique for different kinds of dance. Terminology of the knowledge of the classical technique will be up-dated and the writing of terminology will be explored. We will discover our own strengths in dance through dance and will become acquainted with different variations of classical and neo-classical repertory.

Simona Noja started her career with the Romanian olympic gymnastics team and received her ballet education at the Arts University in Cluj - Napoca. In 1994 she has also graduated in Philology from the University "Babes- Bolyay" in Cluj - Napoca. Apart from engagements with the Deutsche Oper am Rhein, Düsseldorf, the Deutsche Oper in Berlin, she joined the Staatsoper in Vienna. She was a guest soloist with the Teatro Colon in Buenos Aires, the Bolshoi Theatre in Moscow, the Royal Swedish Ballet in Stockholm and the Frankfurt Ballett. She was artistic director of the Romanian company "Teatrul de balet Oleg Danovski". In 1990 she was awarded the Silver Medal at the 4th International Ballet Competition in Jackson, Mississipi. In 2002 she was awarded Best Dancer in "Danza and Danza" and received the "Steaua Romaniei" - the highest cultural order of Romania.

Rasmus ÖLME Week3: August 3 - 7 Horizontal Fall Adv 09:45 - 11:45 Partnering Adv 11:55 - 13:55 Inensive2: August 8 + 9 Questioning Choreography Adv* 12:30 - 18:30 Partnering “hooking up” We will discover partnering work through the sharing of weight. Mostly working with a common balance as in difference to taking eachothers weight. We will develop the consciousness of “hooking up” to another body as an extension of our own and dig into the similarity of manipulating another body and manipulating our own body. We will work partly with thematic improvisations and partly set material to finally see how we can combine the two. Horizontal Fall a generous abandoning gesture towards space Oh, slave of gravity.You can not fly. But by understanding our limits we will find freedom. To use the weight in a movement instead of fighting will give a sensation of weightlessness. The “Horizontal 


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Fall” is a controlled fall that, in difference to the vertical fall, never reaches the ground. Instead of falling to the floor we fall along the floor. The horizontal fall focuses more on the movement in space than the movement in the body and aims to produce knowledge of the difference between doing movement and making movement happen, a generous abandoning gesture towards space. Questioning Choreography creating set material with your body as you move through it The idea here is to challenge set material against improvisation. Mostly they are presented as eachothers opposite and as if it would have to be the one or the other. There is of course a full span in between. Now I am not really thinking about different scores of improvisation which would be a sort of set material. What I am interested in is the mental and physical approach to the material that a performer would have depending on the label of the work on that scale between improvisation and choreography. In that sense this is not an improvisation workshop. I would rather describe it as moving through improvisation, challenge it with set material to then be able to return towards set material with a new approach. Technically this also means looking into the initiation of movement, creating set material with your body as you move through it. It also wanders around choreography asking what it is: the created movement, the performed movement or the idea behind the movement? Or a whole set of other questions. Rasmus Ölme is one of Sweden´s up-and-coming choreographers. Residing in Brussels, he has been producing his own work in Sweden and Belgium since 2001. Ölme is known for highly physical movements and his subtle mix of dance and theatre. His earlier creations have been very well received both in Sweden and abroad, and the Swedish press praises him as one of the hopes of the Swedish dance scene. 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. Since September 2008 Rasmus is doint his PhD in Choreography at the University College of Dance, in Stockholm, Sweden.

FRANCA PAGLIASSOTTO Week3: July 3 - 7 Yoga Ballet o 18:00 - 20:00 Yoga Ballet connected to the breathing Dance technique developed by Marcia Haydée who mixes Yoga, oriental disciplines and classical ballet. Yoga Ballet 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 


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energy channels. Oxigenated blood enables our body to expel toxines which helps 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, with which she created: “Luci della città”, “Omaggio a Bob Fosse”, “Wiener Blut”, “Moulin Rouge”, a.o. In 1998 she started a collaboration 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.

Janet PANETTA Week3: August 3 -7 Ballet for Contemporary Dancers Adv 09:45 - 11:45 Week4: August 10 -14 Investigating Ballet Adv* 16:15 - 18:15 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 humourously 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 Panettaʼs 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 


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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.

Fabiana PASTORINI Week4: August 10 - 14 Dance for Health o 17:30 - 20:00 Dance for Health body and mind in a natural and dynamic balance Dance for health is a combination of dance, kinesiology and breathing exercises with the goal of obtaining energetic balance, vitality and restoring the bodies capabilities for self restoration. The perception of the inner energy flow and variations of tension in the muscular system, as well as effects on the whole body and their resulting emotions are taught and explored. Through special exercises of kinesiology and dance we activate and unharness energy inside the body, by that solving blockages and repair possible dysfunctions. The goal is to establish a kind of energetic auto-balance, that increases life energy and brings body and mind back into a natural and dynamic balance. The released energy adds to power and vitality, encourages creative expression and life begins to flow again. Dance for health, for amateurs and professionals alike unites dance with the insights of kinesiology. content of the workshop: You will be introduced to the location of meridians (can be imagined as canals, channeling the life energy, the so called Qi), as well as several methods to enhance the energy flow by the use of acupressure, knocking method, as well as 


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synchronisation of breathing. Attached to any of the 14 meridians is a group of muscles, organs, bodily functions and emotions. We will observe and activate, specific groups of musclesand train them. Breathing takes a pivotal role in this. Traditional Chinese medicine states: the lung is the Qi. Breathing is the fundament of life. Thus our main focus will be on breathing. practical and theoretical content of the workshop: - refine the perception of the bodies energy flow - feel the body and grant it room - integration of the brain halves - introduction to the map of meridians based on Traditional Chinese Medicine - the five elements - respiratory exercises - improvised dance - knocking technique as pain therapy and activation of the energy flow

Fabiana Pastorini was born in Buenos Aires (Argentina). She received first lessons in dancing at the age of nine and attended the national dance school parallel to her high school years and obtained a bachelor degree of pedagogy. She specialised on modern dance, learning the two most important techniques Graham and Horton -1988 in New York. Staying in Germany she met Ismael Ivo for the first time in 1991, resulting in a cooperation for a span of several years. Since 1992 Pastorini resides in Vienna. She teaches and choreographs at the Ballettschule der Wiener Staatsoper, the Konservatorium Wien Privat Universität, 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 integrative dance for groups of people with and without disabilities. She also followed an invitation to Argentina by EMA, an association to help patients suffering from multiple sclerosis, to work with them. Studying kinesiology helped her on the way to develop her Dance for health technique. This unprecedented system has the goal to help people become aware of themselves.




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Maud PAULISSEN-KASPAR & Fabiana PASTORINI Week4: August 10 - 14 Warum ich tanze, was du tanzt! o 09:30 - 11:30 & 12:00 - 14:00 I am dancing what you are dancing! dance for people with/out special needs In dancing we will use our intuitive communication we have in common in order to dance the relation between perception and movement as a „Gestaltkreis“. Basic elements of dance technique, choreography and solo/duo/group improvisation will be our frame. Dancing is considered a possibility for experience, representation and communication. Contemporary dance is a constant search to press this time of life hard and get a hold of it. The warm-up will be done partially and totally, in place and moving, with technical elements and with improvisations with/out music. Warming up our breathing and working on simple technical sequences and choreographies lead to improvisations with/out music and basic creations of solo, duo, and group work. Maud Paulissen and Fabiana Pastorini share a lively dialogue about people with special needs mutually visiting each other's dance classes. Maud Paulissen may look back onto an extensive experience as a dance teacher and teacher of rhytmics; Fabiana Pastorini is Ismael Ivo's assistant and a teacher at the Conservatory of Vienna.

Maud Paulissen-Kaspar, born and grown up in the Netherlands, studied music and dance in Maastricht, Netherlands, and Vienna, Austria. She has been teaching a long time in professional educations for dance, acting and rhythmics, including the Conservatory of Vienna, the Hochschule für Musik und Darstellende Kunst (Vienna), and the Janacek academy for Music and Performing Arts in Brünn, Czech Republic. For many years she has been a member of the dance advisory board of the city of Vienna. She has been working as a music therapist for a long time, for ten years she has been more involved in dance for people with special needs and supports a "people first"- group in Vienna.

Fabiana Pastorini was born in Buenos Aires (Argentina)… (see above, page 71)




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Nicole PEISL Week4: August 10 - 14 Dance is something that we do Adv 15:15 - 17:45 Contemporary Technique Beg 18:00 - 20:00 Dance is something that we do Ansicht an sich “This is what we do” is a point of view (statement, opinion, declaration) of how we can delve into dance. We will open up the space for observing dance, as well as see ourselves in dance. By recognising the own action in dance per se and by establishing points of reference, we can acquire clarity in order to facilitate the development of an individual movement vocabulary. A gesture can have various points of reference and we enter the arena of different statements and meanings of the gesture. The role of the observer and the action of observing itself are supposed to have the same value as the one performing an action and the action itself. It is about the action in dance (the movement), the observation of dance and the shift from observation back into action. The body, the listening, the close look, the perceiving, the receiving, the deliverance an the arrangement are tools available to us, as well as the space, the joy, the curiosity, the unknown and the discovery of possibilities. We will discover all of these tools through opening up to and the recognising of the action. My background is improvisation and composition is based on the long lasting collaboration with William Forsythe and Michael Klien. My curiosity of looking sharply has been finetuned by my deep studies of craniosacral therapy. Contemporary Technique playful and sensitive interplay with the body What do I perceive? What surprises me? The training offers a playful and sensitive interplay with the body. In the frame of a creative dialogue with the self, everyone will have the possibility to finetune his/her training and discover his/her individual way of dancing. On the one hand we will explore the "availability“ of silence, movement, sound and touch, in order to find ourselves in the many facets of dance. Thus the term "empty" as a "not previously fixed idea" is the centre of our examination and a base for being responsive towards space. On the other hand we will learn how to "finetune" ourselves and experience coordinative flexibility and ease. We will have the opportunity to sharpen and finetune our awareness of focus and its quality. How much of my focus do I use and where do I turn it? The practical exercises we will work with are from Yoga, Chi Quong, Cranio Sacral Therapy and Alexander technique. The goals are the strengthening of the spine (our axis) in relation to space and presence, the awareness of focus, free coordination of 


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the body, find oneself with the appetite for movement and strengthening the body in a physical way.

Nicole Peisl is a member of the WILLIAM FORSYTHE COMPANY. She is teaching at the IDA (institute for dance arts)Anton Bruckner Privatuniversität in Linz. Additionally she is expanding her knowledge about movement and body work through Cranio Sacral Therapy. In collaboration with the at the Tanzlabor 21/ Tanzplan Deutschland she has created two performances with young people at the Herder School in Frankfurt in 2007/2008. Between 2000-2004 Nicole Peisl was a dancer of the Ballett Frankfurt for the choreographer William Forsythe. etween 2004-2006 she worked as a freelancer for the FORSYTHE COMPANY, the DAGHDHA DANCE COMPANY in Limerick and the EPISODE COLLECTIVE. She taught at the Dance Academy in Rotterdam, and worked as a guest teacher at the School for Performing Arts and Music in Frankfurt and the University in Limerick for the master program Dance and Performance. Nicole Peisl's education has always been focused on visual arts and dance. Since 1994 she is working as freelance dancer, choreographer (since 1996) and teacher (1997).

LISA RACE Week4: August 10 - 14 Make A Dance: Fast Adv 15:15 - 17:45 Upside Down/Right Side Up Adv 18:00 - 20:00 Make a Dance: Fast choreographer and individual performer During this process students will create individual phrase material and learn phrases from Raceʻs movement repertoire, then mash them together, pull them apart, stretch them out, compact them. We will also learn movement from one another, all to create a brief dance piece to be performed at the sharing on the last day of the festival. Our structures for creating the dance will be both compositional and improvisational in nature, developing the idea that any movement or series of movements can be guided to enhance the voice of both the choreographer and the individual performer. Upside Down/Right Side Up defy gravity Classes will draw upon an athletic background to develop a comfort with utilising the hands as a weight-bearing source, and as a means to integrate the capability and strength of the upper body into dancing. With these skills we will investigate ways to effortlessly suspend and up-end the body in space, while remaining thoroughly grounded to the floor. Dance phrases will emphasise the use and thrill of momentum 


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and gravity as a means to full-bodied, risky dancing, and at times challenging the body to defy those qualities of momentum and gravity.

Lisa Race has spent most of her career as a performer, teacher and choreographer in New York, where her dances have been seen at venues including Dance Theater Workshop, Danspace Project, Movement Research at the Judson Church, The Kitchenʻs Dance in Progress series, and the Sylvia and Danny Kaye Playhouse. Her work, under the guise of RACE DANCE - as well as in collaborations with Sondra Loring, Tom Thayer and Ginger Gillespie - has also been seen in various locations around the country, in Argentina and Hong Kong. Race danced with DAVID DORFMAN DANCE from 1989-2000, and was honored with a New York Dance and Performance Award (Bessie) in 1995 for her dancing with the company. In May 2005 she returned for performances with DDD as a guest artist. She has danced with Sara Pearson/Patrik Widrig, and Ronald K. Brown among others. Race has taught and choreographed at many universities and festivals around the U.S. as well as creating works on D9 (Seattle), LABCO (Pittsburgh), ATREK (St. Louis) and AABEN DANS (Copenhagen). In addition, she has given workshops at festivals in Europe, South America and China. Race taught at Trinity College/Performing Arts at La Mama in New York City from 1997-2005, at Wesleyan University in 2005, and is on faculty at Connecticut College. She completed an MFA in Dance at Hollins University/American Dance Festival. She has traveled to Siberia, Russia to perform her recent dance work, "Garden: Retreat." In summer of 2008 she taught in a newly created summer dance program, Made In France (in conjunction with Washington University), at the American Dance Festival and at ImPulsTanz in Vienna.

Regina RIBEIRO Week3: August 3 - 7 Afro Brazilian Dance Adv 14:05 - 15:50 Afro Brazilian Dance Beg 18:15 - 20:00 Afro-Brazilian Dance express feelings in a creative and positive way The focus of my class is the development and encouragement of the rhythmical perception. The aim is to enable my students to regain the contact to the element „earth“. Various exercises will help conciliate the own rhythm. This facilitates a conscious perception of the self and strong relationship to the own centre of the body, the stomach. All cultures relating to African cultures, are very bond to the the four elements in nature: earth, air, fire and water. The topic of this workhop is: earth and water. In daily life the element of the earth is corresponding to the present moments, the consciousness and target objects. The element of the water is corresponding to the flow of life.




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In my class participants will experience how to open up; not only external movements shall be perceived more consciously but it is of great importance to me that these movements are felt and sensed in the inner self. Through this conscious dancing we will learn how to permit this energy flow and how to use it for ourselves. Thus we will experience on how to express feelings such as bliss, joy, aggressiveness, love, fears and dreams in a creative and positive way.

Regina Ribeiro, singer, composer, dancer and teacher, was born in São Paulo, Brazil. She was educated in Brazil, USA, France, Austria, the Ivory Coast, Ghana and Switzerland. She studied and delved into Afro-Brazilian, African, Modern, Modern Ethnic (K.Dunham technique) and Jazz Dances as well as Ballet, Barre au Sol, Butoh, Tai Chi, Yoga and anatomy. She toured with her various choreographies, dance pieces and music through Brazil, the USA, Japan and numerous European countries. Since about 20 years she is living in Bern (Switzerland) were she works amongst others as a trainer at the University of physical education of Bern (since 1993). One of the many projects and organisations she is involved in, is the central office for teachers education in the canton of Bern, department of Culture and Development. Since 2001 she is heading the INTERNATIONAL DANCE CENTER, which was founded by her together with her associate partner Anizio Lopes from the Republic of Guinea-Bissau. Over the course of her career she has been working with artists including: Arthur Beat, Talib Kibway, Billy Summers, Teddy Bärlocher, Glaucus Linx, Fábio Freire, Sérgio Otanazetra, Noel Ekwabi, Jon Otis, Mauro Martins, Luis Ribeiro, Dudu Penz, Susanne Daeppen, Paco Yê, Othella Dallas. With her beautiful voice, a great performance and an impressive presence on stage, Regina Ribeiro charms and enchants with great sensitivity the young as well as the more mature audiences. For more information see: www.regina-ribeiro.com

Antony RIZZI Week2: July 27 - 31 Release Ballet Adv 12:00 - 14:00 Forsythe Repertory Adv* 14:10 - 16:10 Week3: August 3 - 7 Forsythe Repertory Adv* 11:55 - 13:55 Forsythe Repertory Adv* 14:05 - 16:05 Release Ballet The Joy of Movement 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. 


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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 Adress", 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 bodytext 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 completly 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.

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 Dancetheatre, 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 most recently "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.

Anani SANOUVI Week4: August 10 -14 The legs of the Chameleon Int 16:15 - 18:00 The legs of the Chameleon Beg 18:15 - 20:00 The legs of the Chameleon go exploring! My teaching is about what I admire and what I understood about dance from the place I came from. In my classes I give the tools for awareness, subtlety, grace and the ability to listen to the polyrythm for a structured improvisation. The relativity between the music, the drum, the drummer and the body of the dancer are important to me. The dancer responds, plays, and talks to the audience, as a music instrument 


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to complete the drumming of the percussionist. Thus my teaching passes through a lot of specific basic elements and a lot of really small details, details that in my point of view make a dancer! For example: how to have the time to taste the floor with our feet in order to be able to give clear conscience and life to the legs? I called this session I love so much: "The legs of the Chameleon" All of the exercises and training I propose in my class and workhops came from a deep analysis and questioning of different traditional dances from countries such as: Ivory Coast, Brasil, Togo, Gabon and Benin.

Anani Dodji Sanouvi, has been hailed for his ability to assimilate different traditions into his own dynamic dance style. Born in Togo, brought up in Gabon and having lived in Senegal, he brings together traditional heritage and modernity, local and universal, ritual and aesthetics. In 1997 he began dancing professionally in Togo. He attended workshops such as at the Ateliers du Monde in Montpellier (France, 2001), the Professional African Contemporary and Traditional Dance program of the L'Ecole des Sables of choreographer Germaine Acogny in Senegal (2002, 2005) and at P.A.R.T.S. in Belgium (2006). Anani taught and performed in Africa and Europe for several years before taking up residence in Brussels as Dance Laureate of the Rolex Mentor and Protégé Program for a mentoring year with Anne Teresa De Keersmaeker, in 2006, at her dance company ROSAS. In 2005 he was also a laureate in the UNESCO-Aschberg Bursaries and in 2004 a Guest artist of the Goethe Institute of Munich. During his period in Brussels, Anani has taught African rhythm and dance to first-year students at P.A.R.T.S., performed and toured with ROSAS, while developing further his research on the relation between primary impulses and sound. Nowadays Anani is based in Amsterdam and Senegal where he is establishing his company and recently his work has toured in UK, USA, Holland, Belgium and Austria. Besides, he has concluded a residency at Danswerkplaats Amsterdam with the performance of his new creation, “Heavy Walking” - a collaboration with tap dancer Marije Nie. Anani passionately negotiates his position of being an African dancer inside a nonAfrican context, not giving away what he considers crucially important in his roots but being able to assimilate different traditions into his own language.




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Shelley SENTER Week3: August 3 - 7 Alexander Principles into Dancing Adv 09:45 - 11:45 Trisha Brown Repertory - Set and Reset Adv* 14:05 - 16:05 Intensive2: August 8 + 9 Trisha Brown Repertory - Glacial Decoy Adv* 09:45 - 12:15 & 15:00 - 17:30 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/Reset “Set and Reset” (1983), Trisha Brownʼs 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.

Trisha Brown Repertory - Glacial Decoy A workshop for learning the movement aesthetic and choreography of Trisha Brownʼs "Glacial Decoy" (1979), the first dance Brown choreographed for the proscenium stage, and one of her most gorgeous works. Emphasis is placed on moving with mindfulness, attention to detail, spatial clarity, performance quality, and dancing with others. This class provides an excellent framework for applying principles of the Alexander Technique to movement, and 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 


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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.

Marjory SMARTH Intensive1: July 25 + 26 HipHop/House Beg 10:00 - 12:15 & 15:00 - 17:15 Week2: July 27 - 31 HipHop for Kids (12-15 J.) 11:00 - 12:15 HipHop/House Int 15:15 - 16:50 HipHop/House the diversity of not only rhythm, but also ways of expression, movement, and dance Marjory whose dance education mainly took place in the streets of New York started her international career dancing in a video for Diana Ross. Her teaching will begin with old school HipHop breaking down the dances, their names and origins. Her workshop will also integrate Classic House dance moves showing the development of this style. As she could fuse different dance styles together forming her own unique style the students will spend some time with learning very special choreographies. HipHop for Kids feel it! Marjoryʻs dance education took place in the streets of New York. Her unique style and her Haitian roots are the base for the groove that makes her class so enjoyable. She blends a mix of styles which also includes House moves. Her humour and patience results in classes full of fun for younger students.

Marjory Smarth was born in Haiti and raised in New York City. Marjory started dancing at the age of 4. She performed in shows and plays throughout elementary and high school. At 17, she danced in her first music video (Superlover C & Cassanova Rud). She continued to dance professionally with artists such as Diana Ross, Heavy D, CeCe Penniston and more. As her career blossomed she did everything from movies, stage performances, and documentaries. To name a few New Jack City, Boomerang, Strictly Business and PBS documentary House Of Trees. Now Marjory is a world renowned dancer/coreographer/teacher and inspirational speaker.




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Richild SPRINGER Week3: August 3 - 7 Modern Technique Int 11:55 - 13:40 Modern Technique Adv 14:05 - 15:50 Intensive2: August 8 + 9 Modern Technique Int 12:30 - 14:45 & 17:45 - 20:00 Modern Technique Intermediate & Advanced complete, fundamental and structured The class starts with a floor bar inspired by the Feldenkrais technique. It is important to loosen the articulations, rid the body of unnecessary tensions and take time to observe the breathing. The movements and directions proposed are simple and each student must find an answer that corresponds to his/her body. These exercises take place while the dancer is lying on the floor which enables the muscles to relax hence eliminating the tensions in the body. These movements are very precise and minimal and concern specific parts of the body mostly the spine and the pelvic area etc. The reason for these exercises is to help the dancer to become aware of his/her body and how it functions. This duration of the floor barre is between 20 or 30 minutes. The second part of the class consists of a series of exercises (we are now standing), working in the parallel position. These exercises concentrate on the mobility of the spine, the torso and the pelvic area, allowing the participants to begin to feel a certain freedom of movement and at the same time helping him/her to understand the two directions of the body in the standing position: the pressure of the feet into the floor, the sacrum to the heels towards the floor and the waist to the head in the upward direction. The next step is the work either at the barre or in the centre. We now move onto working in the turned out position. The exercises proposed in this section of the class combine work on the legs and upper body to assure a total engagement of the body. Each part of the body is related to another and it is very important to be able to direct the movements instead of trying to keep the movement for oneself. After these three stages of exercises we are now ready to move. Cross the floor exercises are the next step. Moving in space, projection, fluidity of energy in the body as it moves through space, turns and jumps. Often it is the upper body that initiates the movements. The class always ends with jumps, imperatively, because to jump aids to understand the connection of space and time which is fundamental to every dancer.

Born in Barbados, Richild SPRINGER carried out her studies in Jamaica. After a dance degree at the Bard College of New York, she entered DONALD MCKAYLE ʻS DANCE COMPANY, before being offered a contract at DOUBLE EXPOSURE, Company created in Germany by the American choreographer Lester WILSON.




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Dance Delegate for the Cultural Affairs ministry of Barbados and Artistic Directress of BARBADOS DANCE THEATER COMPANY, she thereafter created her own company, DANCE EXPERIENCE. As a dancer she also appeared on television in France and England. In London, she has worked with Molly MOLLOY and taught to the London Contemporary Dance Theater. She also occurred in London in the musical Cabaret and went on Tour with Samy DAVIS Jr. She took part in the last Josephine BAKERʼS Review in Monte Carlo and yet at the age of 25, in Paris, was chosen to incarnate Josephine BAKER herself. In France, Mrs SPRINGER was a member of PETER GOSS COMPANY from creation to end, and has ever since been assisting Mr GOSS in his teaching method. Richild SPRINGER also teaches to BALLET PRELJOCAJ, Maguy MARINʼs and Philippe TREHETʼs Companies, to BALLET DU NORD; in Belgium she teaches to ROSAS - Anne Teresa De KEERSMAEKER ʻs Company- as well as CHARLEROI/DANSES, and, in Holland, to the COMPANY ITZIK GALILI. She collaborated with the Producers Andrei SERBAN, for The Master and the Marguerite, and with Yannis KOKKOS as dancer and choreographer, for Damnation of Faust, Salome, Alcester, Sad Tropics, Elektra, Hansel und Gretel, Outis, Orestie, Midsummer night Dream, Phaedra, Dido and Aeneas, Troyens, and The Birds. In 2004, Yannis KOKKOS entrusted to her the role of Nidya in Philippe FENELONʻs world creation opera The Kings, and in 2005 she danced and choreographed for The Bassarides from Hans Werner HENZE. In 2008 she worked with 14 dancers and singers for the opera Julius Cesar, a production directed by Yannis KOKKOS, which toured through Nancy, Marseille, Caen and Bilbao. She worked as company teacher with BALLET PRELJOCAJ on their tour to Prague, Bucarest and La Rochelle.

Risa STEINBERG Intensive1: July 25+26 Limón Technique Int 10:00 - 12:15 & 15:00 - 17:15 Week2: July 27 - 31 Limón Technique Adv 14:10 - 16:10 Limón Technique Beg 18:15 - 20:00 Limón Technique Beginners Full potential 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, center 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.




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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 Week1: July 20 - 24 Popping/Locking o 14:15 - 16:00 Breaking/B-Boying o 18:15 - 20:00 Week2: July 27 - 31 Popping/Locking o 16:20 - 18:05 Breaking/B-Boying o 18:15 - 20:00 Popping/Locking Breaking/B-Boying away from pure acrobatics back to dance! Philosophy and origin of the dance forms Locking, Popping, and B-Boying are transmitted along with the basic techniques. Special emphasis is given to rhythm and musicality. Most skills require many years of practice. Storm explains the way to get there through exercises like Headspin, Windmill, Flares, Popps, etc. The short set routines incorporate a lot of partner work. In the last part of the class Storm will answer questions and explain more specific techniques.

Storm is highly recognised as HipHop expert. He is a self-taught and started to dance and engage in Bboying, Locking und Popping in 1983. In the 1990ies he won three prizes with his dance group, the World Championship in 1991, the "Battle of the year" in 1992 and the "Freestylesession" in San Diego in 1998. He was a member of the New York based GHETTORIGINAL DANCE COMPANY and formed his own company STORM AND JAZZY PROJECT in 1996. Nowadays he is touring worldwide as choreographer and soloist with works such as "Solo 4 two" and "Geometronomics" 


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a.o. He choreographed the opening ceremony for the Expo2000 in Hannoer as well as the HipHop part of the FIFA World Cup in 2006.

Anastasia STOYANNIDES Week3: August 3 - 7 Hatha Yoga - Bien Temperé o 09:45 - 11:45 Hatha Yoga - Bien Temperé feel at home here! "What fascinates me about the practice of Hatha-Yoga - and what I would like to share with you during this week - is the fact that such an ancient discipline can be applied in an artistic ways to the needs of contemporary lifestyle. ADAPTATION Anyone could feel at home here! Anybody who likes to explore movement in an effortless and honest way will be rewarded with the profound benefits of such a practice. In this technique established by Eva Ruchpaul we encourage the student to engage his/her imagination in order to discover a purely personal way of practising while enhancing self-confidence and trust of one's creative resources. TRANSFORMATION Enjoying the transparency of our senses we will playfully expand the body into space and experience a smooth dance between Asana practice and breathing rituals. Profiting from an energetically well-tuned, physical training, we can modify the somatic state of our organism and connect with the life of our psyche. Our perception, free from conventional limitations, is then guided towards the unexpected and the unknown aspects of the body - mind relationship. It is all about a spontaneous quality of listening to the beauty and the mystery of life... " To learn more about Anastasia Stoyannides and the Technique of Ruchpaul, please visit www.anastasiayoga.com

Anastasia Stoyannides is a Certified Yoga teacher in the technique of Eva Ruchpaul, Hatha Yoga "bien tempéré", Paris/France. As a guest teacher she has been invited for the past 20 years to lead various groups of people, while she is organising herself Yoga Intensives internationally. She has been interested in movement since her early childhood. After an intensive study of the moving body she finds her spiritual home at the Yoga practice of Eva Ruchpaul. As a performer she has been enjoying dance improvisation as a key to spontaneous creativity. 


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Originally Greek she is now sharing her life and teaching career between Austria, Greece and Spain. Anastasia is best known for her profound approach to Hatha Yoga. Her ability to inspire students and Yoga teachers to embody their spiritual practice made her work soon very popular.

Kenji TAKAGI Week4: August 10 - 14 Modern Technique Adv 09:45 - 11:45 Modern Technique Beg 11:55 - 13:55 Modern Technique Beginners Get acquainted with principles of modern technique In this workshop Kenji Takagi follows Rudolf von Labanʼs Credo 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 offering a focused practice in basic principles that are essential to human movement in general. Background frame remains nevertheless modern technique vocabulary. The participants are to experience their body-consciousness in relation to those basic principles and to discover the spirit of experimenting with their own bodies. The class starts with a warm up in the middle, followed by elementary to more complex exercises in space, possibly including short improvisational themes. Goal is to experience the joy of movement and to gain an acquaintance with basic principles of modern technique. Modern Technique Advanced Extending and breaking up of the traditional frame In this workshop Kenji Takagi is connecting modern technique in the tradition of Folkwang (Jooss, Leeder, Züllig, Cébron) with his own individual dance vocabulary that he developed while working with Pina Bausch. Thus the scope of the traditional frame is extended and broken up, above all in the dynamics but also in terms of style. The accent lies on playing with oppositions, off-balance moments and dynamic changes, often with rapid tempi, while a lyrical ground-quality stays prominent. The class starts with a warm-up at the barre, in addition to the standard leg- and footwork, coming more for arm- and torso movements (swings, curves, bounces etc.). In the following Kenji Takagi offers mainly his own movement phrases, giving the opportunity to research the principles mentioned above in a concentrated and focused manner.

Kenji Takagi was a member of PINA BAUSCH COMPANY from 2001 until 2008 after being a graduate at Folkwang-Hochschule and member of Folkwang-Tanzstudio, 


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both in Essen, Germany, where he had the chance to collaborate with several other choreographers like Susanne Linke, Mark Sieczkarek or Malou Airaudo among others. He continues to be a guest at PINA BAUSCH COMPANY both as a dancer as well as a rehearsal assistant while teaching at different places (lately at Kookmin University and Chung-Ang University both in Seoul, and Accademia Nazionale di Danza in Rome). In his workshops he is combining modern dance technique in the tradition of Folkwang with his own very dynamic movement vocabulary that he developed while working with Pina Bausch. In 2008 Kenji Takagi received the German Theatre Award “Der Faust” in the category “outstanding dance performance” for his solo in Pina Bauschʼs Bamboo Blues.

TANZMED-TEAM Week1: July 20 - 24 Tanzmedizin o 18:00 - 20:00 Intensive1: July 25 + 26 Tanzmedizin o 09:45 - 12:15 & 15:00 - 17:30 Tanzmedizin medical and therapeutic information Our goal is the improvement of medical information and support. The development during a dance education and thus the quality of the work of a dancer is only assured once it is not impeded by injuries and illness and within a strong collaboration with the dancers. Seven lecturers will provide medical and therapeutic knowledge in five practical modules. This workshop is an invitation for everyone interested in the wellbeing of dancers. For everyone occupied with movement, be it in an orthopeadic, trauma surgical, or simply physiotherapeuthic or artistic way, dance holds a special fascination: leaving the bottom of reality, like it comes true in dance, on the tip of the toes, perfectioned by Mary Taglionis, and further described by Mircea Eliady in her the magic flight: "...the desire to break the chains binding us to earth [...] the quest of human nature to go upwards [...]“ requires perfect balance. Since Dominico da Piacenza formulated the early tracts in dance in Italy in the Renaissance, dance is the interplay of forces, primarily gravitation. This gravitation is, what has to be kept in muscular balance by the agonist and the antagonist, and overcome while jumping. But not only upward motion, as established by the 17th centuries “en dehors“, and demanded by A. Wolynski, the body is opened to the outside and thus all facettes of the body are presented outwards. Modern and contemporary dance relieved and completed the classic tracts, but the interplay of forces stays important. To ensure balance on the one hand, and maintain the power to jump on the other hand, controlled movement of the joints is essential. Not only the extent of flexibility, but the endurance of muscular activity and stabilised flexibility are required. 


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From the medical point of view this depicts two essential factors: the flexibility of the joints and by that the required distension of the tendons' structure and the endurance of the muscular system, to ensure consistant stability in training or performance, without ignoring the muscles fibers quick reaction. The offered workshop "Tanzmedizin“ focuses on the following aspects and demonstrates practical implementation:

Monday: Modul Orthopädie - Univ. Prof. Dr. Gobert Skrbensky sports surgery and improved performance anylysis of movement: connection of muscle and tendon bones, cartillage, joints: nutrition - training - therapy Tuesday: Modul Physiotherapie - Daniela Schnell, Pt., M. Ed und Marie Sophie Kiepe functional bandage with elastic and non-elastic tape Bandaging with different materials and adhesive tapes can help stabilise unstable joints, without hampering the potential movability. Also the variety of bandaging and adhesion techniques can lead to reduced swelling, pain reduction, hightened sensoric capability and easing up the fasciae. Functional bandages are to be used in a prophylactic way against over exposure and therapy against structural dysfunctions, directly before, during and after sportive activity, thus giving the dancer the means to deal directly with the strain on muscles and joints. The many possible uses and their immediate effect help make the colored tapes the most popular adjuvants in sports physio therapy today.the practical part of the workshop will teach you basic techniques and bandages.

Wednesday: Modul Pilates System Europe - Anna Schrefl und Rudolph Wächter Pilatestraining mit dem Triadball™ The Triadball™ was developed by the two dancers and pilates trainers Ton Voogt (NL) and Michael Fritzke (USA) and is a unique tool to vary, modify and intesify Pilates exercises on the mat. Furthermore exercises with Pilates utensils can be added to training on the mat. Working with the balls combines sensomotoric exercises with functional Pilates practices.




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It enhances proprioreceptive feedback and by that stimulates the body to enhance the „powerhouse“. The spinal column is stabilised and sceletal muscles are strengthened. It also helps mobilise single joints in a soft manner. The first step is working on the „Placement“: mobilising of affixed structures, realignment and stabilising of the torso and the pelvis, the legs axis, shoulder area, and head posture. The next step is the flow of motion. The exercises intertwine, muscles stop working in an isolated and mechanical manner, but in harmonic collaboration. The body will become balanced. Respiration and energy flow will be a pivotal part of the training.

Pilates System Europe Pilates System Europe is a renowned Pilates studio and educational centre in Vienna. The studio's philosophy is to maintain the pristine power and clarity of the system devised by Joseph Pilates and to further develop it on basis of nowadays' pysiological insights (like spiral dynamics). Pilates System Europe also likes to function as an international platform for exchange and further education of Pilates professionals.

Thursday: Gyrotonic Friday: Modul Wirbelsäule - Dr. Michael Matzner Saturday/Sunday: Intensive Practice of sports medicine

Bruce TAYLOR Week1: July 20 - 24 Modern Jazz Adv 14:30 - 16:15 Modern Jazz Beg 18:15 - 20 :00 Intensive1: July 25 + 26 Modern Jazz Int 10:00 - 12:15 & 15:00 - 17:15 Modern Jazz modern dance swinging with the energy of jazz The elegant mover and passionate pedagogue Bruce Taylor, educated at Alvin Ailey American Dance Center, about his dance style today: "My style, mixing Modern dance with the swing, emotion and energy of Jazz, rendering the movement honest, direct and clear. With other words: the entire body is used. The loose and subtle energy carries forth another quality of dance. I am letting Jazz dance evolve without aesthetical limits.”




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Bruce Taylorʻs 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 Week3: August 3 - 7 Wilde KerlInnen (12-15 Jährige) 12:30 - 14:00 Ruhestandstanz GoldenAge 16:00 - 17:45 Wilde KerlInnen let's fetz! In this workshop the focus is on power. First a contemporary dance training will help us get into shape, gain strength, flexibility and persistence in order to continue to dance wildly! We will dance so fast, that we will think we are going to take-off... We will jump high, so that we get the feeling of flying away... We will learn cool dance combinations, which can be danced alone and in couples wild fellows are able to lift someone else! For girls AND boys - let's fetz! Ruhestandstanz re-experience the body A warm-up session will wake up our bodies and we will softly stretch and strengthen our bodies. We will have a lot of fun with dance combinations, which are always focused on certain things, such as jumps, turns and the shifting of weight. We will find joy with dancing with good music as well as in silence. The goal is to re-experience the body within this week and discover new ways of using the body. We will find virtuosity in our body and ways of expressing it. Every body has its limits - we will regognise them, work with them and try to go beyond the scope of them. Time for the retirement dance!

Doris Uhlich, born in 1977, studied Pedagogics for contemporary dance at the Conservatory of Vienna 1997-2001. She has been teaching since 1997 e.g. for the Tanzwerkstatt Wien, Conservatory of Vienna. She received scholarships and residencies at ImPulsTanz and brut/Wien as well as the Carte Blanche at Tanzquartier Wien (2007). She performed for the theatercombinat (Vienna). Since 2006 she has shown her own works:"und“ (brut/Wien 2007, Festival Österreich tanzt, BAC/London, Festival Poltitik im freien Theater /Köln), "SPITZE“ (brut/Wien 2008, and ImPulsTanz, Les Subsistances/Lyon, Mousonturm/Frankfurt, Österreichische Tanzplattform, Tanzquartier Wien), "Uhlich“ (Tanzquartier Wien 2008), "Plus qu´il n´en faut“ (Les Subsistances/Lyon 2009), "Glanz“ (brut/Wien 2009).




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She has been named as "remarkable Performer" in the dance magazine "ballettanz" in the year book of 2008. She is also leading lectures and Coaching at the Academy of Visual Arts in Vienna for the Performanceclass.

Samantha VAN WISSEN Week1: July 20 - 24 Contemporary Technique Beg 12:15 - 14:00 Rosas Repertory - Rosas danst Rosas Adv* 14:50 - 17:50 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 complextity 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 hand 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 doesn't include a warming up, so prepare yourself before! Contemporary Technique Begin to move....itʼs never too late We will experience a wide palette of different elements in contemporary dance: exercises for body-consciousness, training, improvisation, composition. ʻThe full experienceʼ. We will start each class with a warm-up, based on exercises coming from contemporary technique and improvisation, going through the whole body. Later on, we will learn a movement phrase. With that phrase and then start to play around 


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and apply some composition tools. You will be working as solo, but also in duos, trios or small groups. Enjoy moving the others and you will be moved yourself!

After following an education at the Rotterdamse Dans Academie, Samantha 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 other places, for example as a teacher for amateur contemporary dance classes.

Angélique WILLKIE Week3: August 3 - 7 Voice & Movement Adv 11:55 - 14:55 Release Technique Int 15:50 - 17:50 Intensive2: August 8 + 9 Voice & Movement o 09:45 - 12:15 & 15:00 - 17:30 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 dancersʼ 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 ‚musicʻ 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 


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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 based in Belgium now, Angélique Willkie has been working primarily on the freelance circuit, including Cie. KARIN VYNCKE, LES BALLETS C. DE LA B., NEEDCOMPANY and as a singer with the Belgian world-music group ZAP MAMA. She is a regular guest teacher of ULTIMA VEZ/Wim Vandekeybus (Brussels), Park Studio/Henny Jurriens Stichting (Amsterdam), CHARLEROI/DANSES (Brussels), CIRCUIT-EST (Montreal), SEAD (Salzburg), amongst others.

Bruce YKANJI Week1: July 20 - 24 HipHop Adv 12:15 - 14:00 HipHop Int 16:15 - 18:00 HipHop HipHop from the very best for everyone Being a veteran of HipHop despite of his young age – at the age of 11 he danced in his first group in Paris - Bruce Ykanji will teach the old and new school of HipHop. Part of that are: Popping, Boogaloo, Waves, Flowing, Pop and in the new school: Hype, Monastory, Harlem and others. He will especially emphasise on the basic moves and on teaching the culture of HipHop very accurately. The dancers will be well equipped to finally play with their technical abilities.

Born in Paris 1976 Bruce Ykanji discovered HipHop dancing in West Africa at the age of 8. When he was 11 years old, he participated in a group in Paris for the first time. From then on he used to dance in many different groups, the last one being YKANJI, which he is still a member of. Bruce Ykanji was invited to the universal exposition in Lisbon 1998, to Pina Bauschʼs festival in Wuppertal, and to La Grande Halle de la Villette in Paris. He was dancing for the wellknown rapper MC Solaar and was part of the famous musical 10 commandements touring France, Belgium, Switzerland and Canada. He was dancing in The Mis-teeq video scandalous and in The Art of the Urban Dance 


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created by Storm. He has been the creator of the “Juste debout” festivals in France. He has been teaching workshops in Italy, Japan, France and Germany.

David ZAMBRANO Week1: July 20 - 24 Flying Low Adv 10:00 - 12:00 Week2: July 27 - 31 Flying Low Int 09:45 - 11:45 Week3: August 3 - 7 Flying Low Adv 18:00 - 20:00 Flying Low The technique developed by David focuses mainly on the dancerʻs 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.

For over 20 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Living and making work in Amsterdam and teaching/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. Many of his projects have continuously influenced Zambranoʼs pedagogic methods, keeping them fresh and interesting for the students from around the globe. He was danceWEB coach at ImPulsTanz 2005.




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CoachingProject 2009 Internationally renowned choreographers coach advanced dancers and young choreographers in autonomous 5 day-projects (6 hours per day). In encouraging a personal dialogue with the coach, the CoachingProjects are designed for the dancer/performer/choreographer to find his/her unique voice. The coach helps to elaborate the dancersʻ individual expression in seeing his/her potential from the outside and encouraging him/her to go beyond the present limits. Eventual obstacles can be removed from his/her way in order to develop new perspectives and to discover new horizons. (Maximum number of participants: 20) Iñaki AZPILLAGA Powerful & Fragile July 20 - 24 The game: "It is an action or a free occupation, developed within limits temporarily or spatially determined, according to absolutely obligatory rules although freely accepted, action that has an aim of its own and has enclosed feelings of tension and joy and the consciousness of 'being someone elseʻ than in current life.” (Quote: Johan Huizinga "Homo ludens“) "Moving" rather than formal technique will define the atmosphere of this CoachingProject addressed to dancers and actors with movement background interested in dance as an art of expression. We will propose games and feelings as an environment to develop our movements. Searching new insights into our behaviours will enlarge our range of performing. Floorwork, partnership and group exercises will introduce terms such as intention, projection, change of dynamics and communication becoming the language of the work. Methods of creation and analysis will show the way towards the techniques supporting the ideas we want to express. The movement vocabulary will confront the energies of fragile states and powerful physical dynamics. Bring sneakers. Iñaki Azpillaga Born in Spain Iñaki Azpillaga is now a dance teacher based in Brussels teaching regular classes to the companies ULTIMA VEZ, NEEDCOMPANY, CHARLEROI/DANSES among others. He has been 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.




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For the past fifteen years he has been connected with the work of Wim Vandekeybus in one way or another. Since 1994 he has danced with the company participating in the creation of the 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. He was the tour coach for 7 for a secret never to be told. Since 1999 he has been the choreographical assistant to several Wim Vandekeybus' productions including his last creations Menske and creation 2009. Since 1997 he has been guiding workshops related to the work of ULTIMA VEZ on a regular basis.

Jozef FRUCEK & Linda KAPETANEA Fighting Monkey August 3 - 7 Partnering is for us The Way of Emptying and Listening. Move together wild but safe. Partnering as a way to understand our own behavioural habits through interaction with our partners. We will be concentrating on anatomical understanding of locomotory system and it's functioning. We will have a look on how to meet the forces, which are acting on us and how we can avoid or absorb them, while being functionally open and ready to respond to any impulse that comes to us. We will work alone as well as with one or several partners on dance orientated wrestling and figthing, to create strength for clear decision and learn about movement functionality. Learn about balanced exchange of centralisation (movement towards centre, to safety, to roots) and extension (actions of daring to risk). Find and build flexible inner stability attentive enough to listen, accept, absorb, leading to free expression so important for a performer. Our aim is to build up conscious development of mental powers, able to direct and coordinate most of the physical and functional capacities of the body. Emotional understanding and physical equilibrium. Including specifics of each individual body proportions: overall dynamics, energy and temperament, its weight, flexibility and power. In our seminars and workshops we are proposing prefixed duo-material as well as free form with some specific physical limitations. Jozef Frucek Jozef Frucek graduated from the Music and Drama Arts Academy of Bratislava, where he also completed his PhD in 2001. As a dancer teacher and choreographer, he collaborates with the Dance Centrum Jette in Belgium, RITS Art School Brussels, DOT 504 Prague, Archa Theatre Prague, 


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KVS-Royal Flemish Theater Brussels, SEAD- Salzburg Experimental Academy of Dance, Budapest State Dance School. Since 2006 he is staff teacher at the Greek State School of Dance. Jozef has been a member of ULTIMA VEZ-Wim Vandekeybus (creations: Blush, Sonic Boom, movies: Blush). Currently, he works on the research program "Fighting monkey" (implementation of martial arts' methodology on performance training and program for injury prevention). He has participated in major theatre and dance projects, experimental and research groups, has won award for new choreographers. He is a founding member of RootlessRoot, a company with which he created performance works, such as: "Sudden Showers of Silence", "Holdin Fast", the Installation "Burned tree is visiting Athens before next summer", "100 Wounded Tears", and "UNA" (Unknown Negative Activity). www.rootlessroot.com

Linda Kapetanea Linda Kapetanea graduated from the Greek State School of Dance in 1994. With a scholarship from the Greek National Scholarship Foundation, she later studied at the Merce Cunningham Studio, Movement Research and Dance Space in New York, where she also worked with choreographer Irene Hultman. In Greece, she danced with several companies, such as: Sine Qua Non, Horeftes, and others, touring extensively around Europe, while in 2002 she was awarded as "Best Performer"; Linda has been a member of ULTIMA VEZ - Wim Vandekeybus (creations: Blush, Sonic Boom, Pure, movies: Blush, Here After). During the last three years she has been frequently invited to teach at SEAD-Salzburg, Budapest State Dance School, Dance perfect studios (Prague) and DOT 504 (Prague). Since 2006 Linda is staff teacher at the Greek State School of Dance. She is a founding member of RootlessRoot, a company with which she created performances "Sudden Showers of Silence", "Holdin Fast", Installation "Burned tree is visiting Athens before next summer", "100 Wounded Tears", "UNA" (Unknown Negative Activity). www.rootlessroot.com

Trajal HARRELL & Sarah SZE Visual Art, Choreography, and The Practice of Performance July 20 - 24 This workshop will explore, question, and generate new parameters of choreographic practice through an intense examination of performance coming out of both: the visual art world, on the one hand, and the dance world influenced by visual art, on the other hand. Through video screenings, critical dialogue, and composition exercises, participants will be guided to increased awareness of pivotal questions and ideas uniting contemporary dance and visual art such as the architecture of the body in space, text as image, the site-specific, objects as subjects in performance, social 


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experience as content and form, durational time, and the facile versus the obsessive, a.o. Alongside working as a group and individually in an attempt to re-create another version of a seminal work of performance, we will each day generate original material and works that expand our choreographic language and invest us in our individual curiosities that lie between the un-described territory of what a work of ________ (art/dance/choreography/performance/fill-in-the-blank) can be.

Trajal Harrell Trajal Harrell is a dancer-choreographer primarily based in New York City. His choreographic works have been seen at Dance Theater Workshop, Danspace Project, The Kitchen, and PS122 in NYC as well as Art Basel-Miami Beach, and most recently in Europe at Melkweg (Amsterdam), CNDC Angers, and upcoming this spring at In Transit Festival (Berlin). As a dancer, he performed in the New Yorkversion of Alain Buffard's Mauvais Genre. He has been an artist-in-residence at The White Oak Residency and Dance Center, Centre Chorégraphique National de Montpellier Languedoc-Rousillon, Centre Chorégraphique National de FrancheComté à Belfort, Centre National de Danse Contemporaine Angers, Bennington College, Movement Research, and Tanzwerkstatt-Berlin. In 2007, he was awarded a FUSED (French-US Exchange in Dance) grant to support the creation and presentation of "Showpony" and the development of "Quartet for the End of Time" at the above mentioned french choreographic centres. "Quartet for the End of Time" premiered in October 2008 at Dance Theater Workshop and was chosen by TimeOut-NY Magazine as one of the best dances of 2008. During 2009, Trajal will be in residency in Belgium at Workspace Brussels and Wp Zimmer (Antwerp). Consistently active in artist-led curatorial and educational initiatives at Movement Research in New York, currently, he is director of special projects and the guest artist editor-in-chief of The Movement Research Performance Journal. He is also working as the New York team leader for the Prisma Forum in Mexico this summer. There, he will present his work "Showpony", head the Prisma publication, and co-direct The Dance Community Picture Mexico City project with photographer David Bergé. Last year, he was appointed as co-artistic mentor with DD Dorvillier for the 2008 DanceWEB program at ImPulsTanz. He is currently working on a series of new performance projects in collaboration with visual artists (including Sarah Sze) to premiere at The New Museum of Contemporary Art and the Performa Biennial in New York City.

Sarah Sze Since the late 1990s Sarah Sze's signature sculptural aesthetic has presented ephemeral installations that penetrate walls, suspend from ceilings and burrow into the ground. The artist creates immense, yet intricate site-specific works which manipulate every space - be that a gallery, domestic interior or street corner - and profoundly affects the way it is viewed. Sze's work can be found in both public and private collections worldwide, including the Museum of Modern Art (New York), The Guggenheim Museum (New York), and 


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the Fondation Cartier Collection (Paris). She has had recent solo shows at Victoria Miro Gallery (London), the Whitney Museum of American Art (New York) and Baltic (New Castle). Sze received a Radcliffe Fellowship in 2005, and was named a MacArthur Fellow in 2003. She currently lives and works in New York.

Benoît LACHAMBRE Body Reflection or Many States Of Being July 27 - 31 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 oneʻs 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 oneʻs positioning into the surroundings. It 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. 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). 


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Benoît Lachambre is well-known for the workshops he has led around the globe. Drawing upon his years of research and vast stage experience, he has developed workshops where dance professionals can explore the complexity of the inner modules of the body and work on identifying their own movement dynamic.

Charmaine LEBLANC & Marlene MILLAR Mediating Intimacy July 27 - 31 Mediating intimacy is a workshop centred on finding new points of departure for coming up with a movement vocabulary. Its areas of research include creating a vocal language for each performer as well as exploring spatial disposition and its emotional impact through the use of video en direct. Video and voice are two strong forms to work with when creating a movement piece. They both serve to focus on the intimate details that one is looking to convey. Marlene and Charmaine will present their collaborative work as seen in "Quarantaine 4 x 4", and discuss their approach, process though the different stages- idea, development in studio, production and editing, integration into live performance. Working from both a documentary and an experimental foundation, participants will work in small teams using basic tools - small videocameras, microphones, and simple lighting to explore possible ways of capturing qualities unique to media arts. Through the process of basic editing the sound and visual elements will be composed and edited together to be presented for discussion amongst the participants. Ideas and concepts of how to integrate these sequences into a live performance environment will also be explored. Voice will be taught throughout the process and participants will be asked to use it whether as a narrative, sung or sounded as their main soundtrack. Charmaine LeBlanc Charmaine is a vocalist/ composer/ percussionist who has had the opportunity of crossing over into several artistic fields. She has written scores and performed for dance, theatre, film and television. Charmaine has had the privilege of working alongside some of the worlds most renowned voice teachers and has worked with some of the most internationally acclaimed directors and choreographerssuch as: Margie Gillis, Gerald Casel, Risa Steinberg, Angélique Willkie, Luc Tremblay und Les Gens dʼR. Also she is accompyning for many institutions and teachers a.o. at LADMMI Montréal, José Limón Institute, Concorde University, New School for the Arts Amsterdam. She has started her own company THE RED RABBIT PROJECT. Charmaine continues to coach at the CIRQUE DU SOLEIL and FRANCO DRAGONEʼs company in Las Vegas. Marlene Millar With a background in contemporary dance, design and cinema, Montreal filmmaker Marlene Millar has worked on productions in the U.S., the South Pacific and across Canada. In 1999 she received a Dance Media Fellowship at the University of 


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California in Los Angeles, and in 2001 founded the arts film production company Mouvement Perpétuel with Philip Szporer. Their dance films and arts documentaries (Moments in Motion, The Hunt, a soft place to fall, Butte, Byron Chief-Moon:Grey Horse Rider, The Greater the Weight, 40) are broadcasted regularly on Bravo! and are featured in festivals internationally. Marlene has collaborated with spoken word artist Ian Ferrier, choreographer Lynda Gaudreau and most recently with Charmaine LeBlanc and illustrator Pol Turgeon on the multidisciplinary performance "Quarantaine 4x4" featuring Ken Roy, Benoit Lachambre, Marc Daigle and Marc Beland. She has taught filmmaking workshops at the National Film Board of Canada, at Main Film and Concordia University in Montreal, Bowling Green University, Ohio and Centre Imagine in Burkino Faso. Ongoing projects include a film adaptation of "Quarantaine 4x4" and a collaborative documentary with Crystal Pite.

Sri LOUISE & Juliana COLES Dance Journal - The fusing of Yoga, Visual Journaling and Performance August 10 - 14 Transport yourself from a three dimensional inner space of creative voices to a tangible, theatrical, external, three dimensional plane. This workshop is the vehicle or tool for authentic, expressive performance. (No prior art, writing, dance or yoga experience required. Come as you are.) Sri Louise, a renowned yoga teacher and free-lance performing artist, joins with her sister, Juliana Coles, founder and director of Extreme Visual Journaling, to create a Coaching Project that fuses yoga, creative journaling and performance. The project will be divided evenly between these three objectives and will use yoga as a way of grounding the artistic exploration with the last third of the day spent lifting the two dimensional visual journalism page into a three dimensional performance reality. Inherent in the journal, which is collage based, is text, character, image, costume, set, lighting, gesture, action, archetype and an abundance of metaphor that will be used as a blueprint for your performance. Through very specific journaling assignments we will create images, representative of the musings of your inner world, which will be used to create solo and group material. The intention of this process is to give you the most personal way to access your work. You will leave with a book, your very own dance journal, as tangible evidence of your creative journey. Sri Louise is an internationally acclaimed yoga teacher and independent performer. Sri was most recently seen performing in Sidi Larbi's Myth and is now dedicating the value of her artistic efforts to her own projects! She is of the seventies mind set that the personal is political and sees her work as an opportunity for philosophical change. www.undergroundparlour.com 


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Juliana Coles is an internationally esteemed visual artist who is known for extending the personal and artistic boundaries of her students to reveal a more authentic selfexpression. She is a creative Shaman widely revered for her unconventional approach to visual journaling. To view some of Juliana!s artwork, please visit: http://www.flickr.com/photos/julianacoles and also view www.meandpete.com Together they will create an inspiring climate that affirms the depth, importance and wisdom of your artistic quest, whether you use it for personal growth, performance or both. These sisters together form a highly eccentric creative powerhouse, and they are both known for their radical teaching styles, so be prepared for a life changing experience!

Sri Louise Sri Louise is an independent, internationally recognised yoga teacher who began her practice at the Jivamukti Center in NYC in 1993. In 2001 she created the UNDERGROUND YOGA PARLOUR for Self-Knowledge and Social Justice in San Francisco where in addition to on-going classes in both asana and philosophy, she designed and conducted two rigorous teacher training programs. Her force as a teacher is in her keen understanding of alignment as it pertains to both asana and ontology. Sri is a disciple of Swami Dayananda Sarasvati, under whose tutelage she studies Vedanta, Sanskrit, Vedic chanting and Vaidika Dharma. Sri Louise currently resides and teaches in Europe where she is pursuing her career as an autonomous, contemporary dance artist. She is ecstatic to be collaborating with her sister, Juliana Coles, on a coaching project that fuses yoga, creative journaling and performance. To view her embarrassingly out of date website, Please visit: www.undergroundparlour.com

Juliana Coles Juliana Coles, award winning artist and pioneering Extreme Visual Journalist, recieved her BFA from the Academy of Art College in San Francisco with a minor in English and Dance. Coles further studied at SMU in Dallas, Columbia College in Chicago, The American Academy of Art in Chicago, and California's New College. She has studied with well known Illustrator Barron Storey who encouraged her Mixed Media Journals, and muralist Juana Alicia Montoya whose passion as an artist and activist convinced Coles to define her own style of Contemporary Expressionism. Coles received the Wildine Fund grant for Artists for her Expressive Visual Journals Workshop at ArtStreet, an Art Center for the homeless, in 2000 and is 2002's recipient of the Madonna Fund for Artists. Coles, based on her expression as an artist, developed Extreme Journaling as a workshop in 1992 for the Epilepsy Society of San Francisco, and has taught and refined her unique creative process that combines journal writing assignments with art making explorations in the safe container of a book ever since. Her Visual Journals are featured in Making Journals By Hand, by Jason Thompson, and The Complete Guide to Altered Imagery, by Karen Michel, and many others. 


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She has written articles for the prestigious American craft magazine Cloth, Paper, Scissors, and has compiled numerous Booklets on her process which can be purchased at http://www.julianacoles.etsy.com. Coles has been keeping journals for 34 years. www.destinyvoyages.com

Maguy MARIN Entrer en scène July 27 - 31 Of all the borders, there is one, which is particularly unique, the one separating the wing area from the stage. We call it "entering the stage“. The action of entering something requires first of all, to leave the space where we lingered for a shorter or longer period of time. Like an exit, crossing the threshold of a new space, which is more or less foreign and unknown to us. Transcending this line is leaving a place to enter another. What happens by crossing this threshold? What changes occurr in the body and the emotion? Which chemical and organic conversions are caused by this movement? How do we feel when watched and observed by others, who came for this purpose? How do we bring to life what we gathered in the rehearsal studio for a long time, in just a moment?

Maguy Marin - Until then now There is a birthplace, other than the city of Toulouse. A place reached as a result of a series of relocations provoked by the political movements in Spain. And so, growing up, here in France, at the very beginning of the 50's. There is the desire of becoming a dancer - a desire confirmed by the progression of studies at the conservatory of Toulouse, with the Strasbourg Ballet and at MudraBrussels. A sequence in which influential encounters already reveal their importance - encounters with the student actors of the National Theater of Strasbourg, and with M. Béjart, A. Goris and F. Schirren. The potential already becoming apparent in the theatrical research group, Chandra, and then in M. Béjart's Ballet of the 20th Century. New encounters. Other things becoming obvious. Creative work begins then along with Daniel Ambash,. The choreographic competitions of Nyon and Bagnolet in 1978 adding to the momentum. A group took form - C. Glik, F. Leick, L. Boomfield, M. Lecoq, C. Polo,, and shortly later U. Alvarez,. Thus giving life to artistic research. Transform this necessity for creating into "savoir- faire". Nourished by an insatiable astonishment at what comprises the world. A world we give order to and which simultaneously shapes us. From research to artistic creation, the sudden emotion never ceases exerting itself, but also redefining itself in the course of encounters. 1981,, an essential encounter with the work of Samuel Beckett: At this time comes the perception of the "being here", without having decided it, between the moment one is born, and the moment one dies. 


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This moment we fill with pointless things, in which we're giving importance. The deeply moving absurdity. May B,. (May B's 600th on august 09 in Paris/France). This moment which is placing us under the obligation to find an understanding with few other people, while waiting to die.Babel Babel and Eden,. 1987, new encounter - Denis Mariotte,. Collaboration. Decisive moment, it opens up beyond music. Points of view begin to shift and dislocate. A space of distantiation opens up (Cortex,) and continues on its multiple paths (Waterzooï; Ram Dam; Pour ainsi dire; Quoi qu'il en soit,). No more illusion, but human beings as they are. From the live music and the "vivre ensemble"- no longer the expression of ego, but of "us, here, now". An intersection of presences operating on common ground (Points de Fuite; Les applaudissements ne se mangent pas,). On stage, we are the elements of a social space. We are also the expression of the space of others. A "how to live together" that will never cease experimentations. (, Umwelt, Ha ! Ha !, Turba,). Searching until this very moment, with a constituent part, a company. And being able to earn a living from it, by pure will's power, with numerous co-workers. By dint of the confidence of the Créteil's Maison de la Culture, directed by J. Morlock (19811990); but also with the help of enduring public aid. (1990, the company became the Centre chorégraphique national de Créteil du Val-de-Marne). 1998, a new site, a new territory for a new ccn at Rillieux-la-Pape/cie Maguy Marin, in the Velette neighborhood. The need to invest once again a public area. To celebrate the wealth of our difference and the pleasure of the living act of artistic creation, with different supports: cities of Rillieux-la-Pape, Bron (until 2006), Décines (until 2006), Villefranche-sur-Saône (until 2000), Villeurbanne (until 2003), and reciprocal public aid (Ministère de la Culture, Région Rhône-Alpes, Département du Rhône). Today the work continues in a plurality of territories - from the new building, to the Velette neighborhood, to partnering towns, to as far away as cities of other countries. Chrysa PARKINSON & Martin KILVADY Developing a personal practice August 10 - 14 The goal of the workshop is for each participant to recognise and find a way to do what they want to do. When are you Dancing? When are you Performing? Whose Dance is it? What is Technique? Whose Technique is it? Whose Performance is it? IS PRACTICE A PRODUCT? IS PRACTICE TRAINING? IS PRACTICE A PROCESS? 


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IS STEALING A PRACTICE? WHATʻS PASSION GOT TO DO WITH IT? We'll begin to develop a personal practice using dancing to make sense (sense of humor, vision, smell, proportion, hearing, justice, meaning, timing, movement a.o.). The class will be active and participatory, with not much talking. We will use open improvisation, partnering, simple scores, and some anatomical work. This workshop is geared toward performers. Martin Kilvady and Chrysa Parkinson have been working together for the past eight years.

Chrysa Parkinson Chrysa Parkinson is a performer and teacher living in Brussels. She teaches regularly at P.A.R.T.S/ROSAS and works as a mentor for the 2nd cycle students. She also teaches regularly at Dancentrum Jette in Brussels, Panetta Movement Center in New York, and at ImPulsTanz-Festival in Vienna. She is a member of ZOO/Thomas Hauert, and has also worked with Jonathan Burrows, Deborah Hay, John Jasperse, Meg Stuart, and David Zambrano. She was a member of Tere OʼConnor Dance for many years in New York where she also performed with Irene Hultman, and Jennifer Monson, among other artists. During that time she taught at Movement Research and at NYU. She was awarded a Bessie for sustained achievement as a performer in 1996. In 2008 Chrysa worked as a teacher researching performance practices in Montpellier with 6M1L and Ex.e.r.c.e. In 2009/10 she is working as a performer on creations with Jonathan Burrows, Mette Ingvartsen, and ROSAS.

Martin Kilvady Martin Kilvady was born in 1974. After school he enrolled in a program for teacher education in contemporary dance at the School of Music and Dramatic Arts (Comenius University in Bratislava), where he received his MA.Choreographers and teachers who most influenced him as a dancer are: Jan Durovcik, Mira Kovarova and Libor Vaculik. 1997 he became a member of Anna Teresa de Keersmaeker's ROSAS dance company in Brussels. He danced in Would, in the reprise of Mikrocosmos and Achterland, and contributed to the creation of Just before, Drumming, I said, and In Real Time. Between 2001 and 2004 he collaborated with choreographer Roberto Olivan in the creation of Natural Strange Days and De Farra. Since 2003 he has been a member of Thomas Hauert's company ZOO performing in Five, Modify, More less said songs, Walking Oscar and Accords. Martin is a member and cofounder of LES SLOVAKS DANCE COLLECTIVE. 


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Martin started to teach in 1991 and since 2001 has done training programs for ROSAS, ULTIMA VEZ, and CHARLEROI DANSE, workshops at P.A.R.T.S. and CDC Toulouse and teaching open classes at the ImPulsTanz Festival in Vienna.

Jeroen PEETERS & Martin NACHBAR Backtracking - A workshop in physical dramaturgy August 3 - 7 Dramaturgy's "what and how" are to be invented anew with each creative process, though the accumulation of experience may very well provide a multiple springboard for sharing knowledge within the field. Informed by their longstanding collaboration, choreographer Martin Nachbar and dramaturge Jeroen Peeters will lead a coaching project centred around "physical dramaturgy". Physical dramaturgy seeks to explore and exhaust the realm of meaning triggered by moving bodies on stage: it insists on analysing one's own practice and stimulating an awareness of the underpinnings and contexts of one's work. Physical dramaturgy embraces an ethics of collaboration and regards practice and theory, research and making, movement and reflection as imbricated activities: as an oscillating in-between space it may become a discursive site, a place that enables a critical understanding of time, space, perception, and the production of meaning. Physical dramaturgy entails a set of methods and strategies, such as: creating containers of collected materials; post-it sessions; walking around a conceptual scene; writing exercises; putting discourse to a literal and physical test; exhaustive reading of bodies wrapped in choreography; shifting awareness toward intention, physical precision, conceptual clarity or urgency; enquiring into the specificity of formats such as "task", "operation", "training" and even "research" itself.

Jeroen Peeters (Brussels) is active as a writer, dramaturge, performer and curator. Trained in art history and philosophy, he publishes on dance and performance in various specialised media, including Contact Quarterly, corpus, Dance Theatre Journal, Etcetera, Maska, Mouvement and TM. Together with Myriam Van Imschoot, Peeters directs SARMA, a discursive working place for criticism, dramaturgy, research and creation in the field of dance and beyond (www.sarma.be). As dramaturge, artistic collaborator and performer, Peeters has contributed to performances and research projects of amongst others Milli Bitterli, deufert + plischke, Sabina Holzer, Anne Juren, Thomas Lehmen, Vera Mantero, Martin Nachbar, Lisa Nelson, Meg Stuart and Superamas.

Martin Nachbar (Berlin) is dancer, performer and choreographer. Occassionally, he also writes for various European dance and theatre magazines such as: etcetera (Brussels), Dance Theatre Journal (London), ballettanz (Berlin). He trained at the School for New Dance Development (Amsterdam), in New York City and at PARTS (Brussels). Nachbar collaborated in different functions with artists of different fields: Thomas Plischke, Alice Chauchat, Vera Mantero, Les Ballets C. de la B., Meg Stuart, Thomas Lehmen, Benjamin Schweitzer, Joachim Schlömer, Carlos Pez, Martine 


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Pisani, Paul Hendrikse a.o. He has been making work and teaching in various contexts in Europe and overseas.

Ibrahim QURAISHI Sexuality_Self Censorship_Extremities July 20 - 24 We all have a general understanding of sexual norms and their relationship to how we see bodies on and off stage, while we attempt to play with our own understanding of performative sexuality and what we define as extremes. This Coaching Project will investigate how often in contemporary reality we subconsciously engage within "pornography", but seem to be afraid to directly address it beyond the supposed moral paradigms. Included is a "historical" research on sexuality coming from both the female and male perspective on contemporary pop culture. We will create work through specific physical scenarios and explore the process of how a body is read or used as a symbol. We begin by shaving each others pubic hair (this is an old Bedouin tradition from the Arab desert that is practiced both by men and women). We are going to find the hooker, pimp and prostitute in each of us and our clients within us. We are going to extend the limits of our socio-physical spaces of what is defined intimacy and public voyeurism. We are going to consciously re-create a bank of individual physical languages that is intimate of ones clichés of performative pornography with a data bank of specific codes triggered by ones physical memory. We are going to go on the street and find "work" with cameras following each participant. We will set up a small experimental red light district in Vienna (in the confines of ImPulsTanz) where we are going to figure out what are the intrinsic differences between lets say a Ukrainian, a Polish or a Palestinian prostitute for example. We are going to set up an "illegal line" of male and female human trafficking. We will further study the "lover boy phenomena" in relations to how dark Turkish and Moroccan boys woo blond blue eye girls for example, or how effeminate East Asian boys go after older white men for money. We will be totally Politically Incorrect in how we use our bodies and how we lay out strategies for a more "enlightened consciousness," concerning the normalcy of our performative sexuality. We will use the seminal text by Xavira Hollander called the "Happy Hooker" and of course we will concentrate on our physicality of how "SEX sells" in the process of our own presence. And finally we will proactively play with dressing up in different ritualistic / religious traditions and see if and how there is a performative market out there for us. And finally with all this baggage we are going to "dance".

Ibrahim Quraishi Ibrahim Quraishi belongs to a new generation of makers challenging our understanding of visual performativity and its relationship to the broader cultural perspective. As one of the recipients of the first Ö1 Prix Jardin d'Europe Prize in 2008 for his Installation "Islamic Violins" at ImPulsTanz (Vienna), Quraishi consciously examines the dynamics of "migration", dispossession and cohabitation within the 


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highly rigid socio-political spheres of imagined communities inside the contours of the visual and performing arts context, while freely playing with the tensions between the complexity of the real and our longing for simplicity. Defined by a nomadic existence, Quraishi divides his time between New York and Amsterdam while escaping the conventional rules of engagement in researching, teaching and sometimes creating works for spaces like MASS MoCA (Massachusetts Museum of Contemporary Art), National Museum of Singapore, The Kitchen (New York), Japan Foundation (Tokyo), Holland Festival (Amsterdam), iDANS Istanbul, Springdance (Utrecht), BAM (Brooklyn Academy of Music Next Wave Festival New York), Frascati (Amsterdam), Asia Society (New York), Biennale Bonn 08 among others. On the level of research, besides working on a series of micro projects on Imposed Architecture, and ritual performances in South and Central Asia at Beacon House University Lahore and National School of Drama (New Delhi), Quraishi has participated in the Open Society Institutes Intercultural Dialogue Seminar in Duchanbe, Tajikistan addressing the relationship of civil society and cultural performativity while simultaneously working with artists from Mongolia, Uzbekistan, Azerbaijan, Armenia, Turkmenistan and Kirgezia. Invited as guest speaker and lecturer at Universität der Künste Berlin, SNDO (The Dutch School for New Dance Development, Amsterdam), AHK in Amsterdam, The Berkshire Conference at Williams College Clark Arts Institute (MA), International Center for Photography (New York), Universiteit Utrecht, Vera List Center at The New School New York, Kyoto University for Art & Design, PSi Conference at Brown University (RI), Montclair College (New Jersey), MQ-Tanzquartier Wien, SEAD Salzburg Experimental Academy of Dance, Université de Paris 8, Université de St. Denis, C.R.O.U.S. de Paris, Gerrit Rietveld Acadamie (Amsterdam) and The Arab Dance Forum (Beirut). Quraishi is a former student of Edward W. Said at Columbia University, New York.

Peter Stamer & Guests On Dramaturgy And Other Artistic Practices August 10 - 14 Dramaturgy deals with three main questions: 1. How does the artist transform his/her concept into practice? 2. What aesthetic strategies does the artist make use of in the art work? 3. How does the art work communicate to the audience? Thus, in this week we will take an active look at the theatre-machine and its productive conditions of creating moving bodies in time and space. Since practice and theory melt in this Coaching Project, the participants are asked to share their working process. Next to discussing and analysing their proposals, participants will work on their practice in the course of the week. Shows of the festival are going to be discussed and presenting choreographers of ImPulsTanz are invited on a daily basis to join the group.

Peter Stamer, free-lance dramaturge, mentor, curator, and performer. Theatre studies at Johannes-Gutenberg-University Mainz. 


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Co-director and dramaturge of and for the Ballet of Nationaltheater Mannheim (Mannheim, 1993-1998). Curator of theory at Tanzquartier Wien (2001). Dramaturge (a.o.) for theatre director Claudia Bosse (Belagerung Bartleby, Berlin 2005) and choreographer Philipp Gehmacher (incubator, Vienna/Berlin/Brussels/Lyon 20042005, book publication incubator, Vienna 2006). Publishes articles in magazines, books, web pages. Peter's projects explore discursive power within performative setups. He develops series of talk performances like at home (Vienna 2005, Bern 2008), sans papiers (Berlin 2006), Head Room - Chinese Whispers - Les Boîtes (Beijing 2006, Vienna 2006, Lyon 2008 with Daniel Aschwanden), Personale (Vienna 2006/2007). He was the author of the radio-play and performance Chinese Whispers (Vienna 2006/2007 with Daniel Aschwanden) and creator of performative installations Les langues de mes tantes (Bern 2006) and lovers' discourses (Essen 2006 together with Paz Rojo and Cristian Duarte). He was the festival dramaturge and lecturer at Young Choreographers' Project (Beijing 2007). Teaching and mentoring credits include: the Coaching project ON TIME at ImPulsTanz 2007 in Vienna together with Philipp Gehmacher and at P.A.R.T.S. (Brussels 2007), CNDB (Bucharest 2007 & 2009) and at APT (Advanced Performance Training, Antwerp 2008, Kortrijk 2009). He was the writer-in-residence at Szene Salzburg (Salzburg 2007) and ImPulsTanz (Vienna 2008). He was Artistic Director of the dance biennal Tanznacht Berlin (Berlin 2008) and of the research project PRACTICE (Performative Research And Choreographic Tools In Contemporary Environments, Berlin 2008), as well as of the theatre project DRAMA QUEENS (Vienna 2009). He is director of and performer in a series of socioeconomic performances and performative installations the path of money (China 2008/2009, Beijing/Berlin/Salzburg 2009/2010 together with Daniel Aschwanden).




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ProSeries 2009 Research projects for professional dancers & young choreographers Movement systems: Philosophies: Processes: Products: ProSeries projects facilitate the exchange between young choreographers and professional dancers and extraordinary artists of international influence on the direction of dance in our time. The ProSeries focus on the individual systems of the choreographer, taking the students through the perspectives and teaching processes of these dance innovators, giving insight into the choreographic world of the artist. Also, the ProSeries aid the participants in positioning themselves artistically through this discussion. In order to enable an in-depth artistic investigation, we extended the ProSeries to 12 working days of 6 hours. (Maximum number of participants: 15)

Eszter SALAMON & Christine DE SMEDT “Transformers” July 20 - August 2 This project aims to produce a performance to be performed on stage, after two weeks of rehearsal. “Transformers” is a research project addressing education and art practice as nonseparated activities. It offers a space for experimentations on choreography, expression and exchange of knowledge based on interpretation of scores. The project is developed through workshop situations and daily practice at La RaffinerieBrussels, Trafo-Budapest, PAF-St Erme, In-Presentable-Madrid, Prisma- Mexico City before happening in ImPulsTanz. Each “Transformers” is a chain link between previous and future “Transformers” whose methodology of development reflects upon the economic and the political issues related to the production of a group choreography today. Each performance of « Transformers » by new participants is based on a choreographic score that has been previously transformed by others and will be subject of modulation to become the score for the next participants of the next “Transformers”. The score passes through an ever-lasting chain of transformation changing like a fairy tale does along its generations of narrators. The central activity is to interpret existing scores and transform them into new ones. The score indicates movement qualities, body tissues and vocal expressions as well as actions and sensation-tasks for spatial, temporal and relational propositions. Between other goals the scores work on deconstructing scenes of love, war and revolution. The work will be developed a) individually to define scores of physical principles and fictional bodies or actions according to different categories, b) and in groups to construct the performance resulting of the scores of each performer. As an introduction for the day we will start with 2h of work around actions of observation, differentiation and integration of movement- and vocal qualities. More then a warm up it's a journey through various movement patterns, states of consciousness and imagination, which will be developed further during the day. 


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About the piece: “Transformers” constructs an experiential world through creating fictional environments and bodies - where the inner space expands into the environment or vice versa - to speculate about a new ordering of senses and expressions. Each new event refers to an imaginary reality, a reality where nature and technology converge on the scene of a world that is elsewhere. The engagement with all the senses is 'baroque' and this alludes to the orgy* of sensations. That could be what the philosopher Maurice Merleau-Ponty calls a 'human space' …the world of emotions, dreams, myth, and madness - as well as the world of reflection. Isn't that what we enjoy about sensual experience? to allow it to unfold in us? Eszter Salamon * 'to work' (to do) or an excessive indulgence in a specified activity

Eszter Salamon Eszter Salamon is a Hungarian choreographer living in Berlin. Following her classical dance studies at the National Academy of Dance in Budapest, she moves to France in 1992 and works with choreographers such as Mathilde Monnier and Francois Verret. Since 2001, she creates her own work: the solos "What A Body You Have, Honey" (2001) and "Giszelle" (2001) in collaboration with Xavier le Roy for 'Le vif du sujet' at the Festival d'Avignon and the group pieces "Reproduction" (2004) at Podewil (Berlin) where she is artist-in-residence, "Magyar Tàncok" (2005) with Hungarian folk dancers and musicians at the Les Intranquilles festival in Lyon, the quartet "Nvsbl" (2006) at the PACT Zollverein (Essen), the film-choreography "AND THEN" (2007) at Les Subsistances (Lyon) and the concert-performance "Without You I Am Nothing" (2007) in collaboration with Aranxta Martinez. Her latest work, "Dance#1/ Driftworks", a duo with Christine De Smedt, was created at the Kunstenfestivaldesarts08 (Brussels). In 2008, she participated in 6Month1Location, an artistic research project based on self-organisation and self-education at the Centre Chorégraphique National de Montpellier. Salamon assisted in the direction of the opera Theater der Wiederholungenby Bernhard Lang at Steirischer Herbst (Graz - cultural capital 2003). In 2005, she staged the music of Karim Haddad in the frame of the project Seven attempted escapes from Silenceat the Staatsoper Unter den Linden (Berlin).

Christine De Smedt After finishing studies in criminology, Christine De Smedt 's interest moved to dance and performance and went to study different movement research techniques. Christine De Smedt is a member of the company LES BALLETS C. DE LA B. (Ghent, Belgium) since 1990. She presented her own work since 1993, a solo "La force fait l'union fait la force", a travelling project in the Balkan "Escape Velocity" (1998) and between 2000-2005 she worked on a large scale choreography project, "9x9", 


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realised in 15 different cities in Europe and Canada. She was artistic coordinator for LES BALLETS C. DE LA B. between 2003 and 2005. De Smedt was collaborating for several years with Meg Stuart-DAMAGED GOODS and initiated the multidisciplinary improvisation project Crash Landing in collaboration with Meg Stuart and David Hernandez (1996-1999). In the last years, she worked with Mårten Spångberg, Mette Edvardsen, Christelle Fillod, Milli Bitterli, Susanne Berggren and was performing in Project by Xavier Le Roy. Lately she collaborated with Eszter Salamon for the quartet nvsbl (2006) and the duet dance#1/Driftworks (2008). In 2008 she was also working with Myriam Van Imschoot on PickUpVoices (mingles historical research and performance), and with Philipp Gehmacher and Vladimir Miller for the video installation Dead Reckoning.

Katharina ZAKRAVSKY & Anne JUREN Lab/p Dance August 3 - 14 This workshop takes the "lap dance", a genre known from film and red light entertainment, as a metaphor and a model for more general questions in the context of contemporary dance and performance. A "lap dance" is a more or less erotic solo performed for one seated person; the dance adds touch to the usual visual perception of dance, but in the well-known club set-up the customer is not allowed to touch back. If he does, a silent witness intervenes. We want to take this intimate situation literally and enact "lap dances" and do "field research". We also want to see the model in a broader context and do theoretical and corporeal research on the relationship of eroticism, gender and intimacy to contemporary performance practices. We address professional dancers, choreographers and performers; but we would also like to emphasise that people with a multidisciplinary background (including acting, theory, fine arts etc.) are very welcome. As this workshop explores the performance and perception of (physical and other) intimacies, also the adventure, the risk and even the embarrassment it can involve, we would like to work with a group of mixed gender, various ages and body types. We plan a possible excursion into the "field" of red light entertainment that could also include a performance there. So people who are interested should have an open mind and not be shy, away from social environments they might not be too familiar with. On the other hand the workshop will also involve some reading and theoretical discussion. We like to get into email contact with participants a while beforehand and propose reading material so we can already built on some common ground. For now we strongly recommend to read the highly poetic philosophical treatise on the body "Corpus" by Jean-Luc Nancy (in English, German or French). 


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Katherina Zakravsky Katherina Zakravsky is a cultural theorist, performance artist, dramatic adviser, based in Vienna. Her work include: a thesis on Immanuel Kant's theory of the University (1999); research and publications on Giorgio Agamben's political theory of bare life; publishing on dance and performance since 1989, Frankfurt: "Revolver" 2006; "Homo Sacer and the Consequences. Two remarks on Holocaust commemoration and 'bare life" in contemporary art”, Documenta Magazines und Frakcija 42/2007, http://magazines.documenta.de/; "Porn Chic im Web 2.0 Zeitalter", Katalog zur Ausstellung The Porn Identity, Kunsthalle Wien 2009; porn and performance studies; "I Do. Some considerations on performativity and agency", in: Martina Hochmuth, Krassimira Kruschkova, Georg Schöllhammer (Eds.) It takes place when it doesn´t. Performance work: 1999-2004 solo series "Faun Montages", since 2003 collaboration with Chris Haring and LIQUID LOFT; since 2007 PATHOSBÜRO (with Daniel Aschwanden u.a.) Since 1995 she is teaching philosophy, Science Fiction studies and multimedia theory at several institutions in Austria and was researching for theory at the Jan van Eyck Academy, Maastricht (NL) in 2001/2002.

Anne Juren Anne Juren (1978, Grenoble, France) is a choreographer, dancer and performer based in Vienna. She studied contemporary dance at the Conservatoire National Supérieur de Danse de Lyon and apprentice at the Trisha Brown Company in New York (2000). Besides her activity as a dancer with various choreographers (Laurent Pichaud, Saskia Hölbling, Jennifer Lacey), she participates in several laboratories of research in dance and works as an artistic assistant with other artists. Her works "A?"(2003) and "J'aime" (2004) in collaboration with Alice Chauchat, "Code Series" (2005), "Patterns of Sport and Dance" (2006) in collaboration with Fouad Asfour, "Look Look" (2007) in collaboration with Kroot Juurak, and "Komposition" (2008) have been shown in venues in Vienna such as dietheater, Tanzquartier Wien, and ImPulsTanz as well as in numerous International dance and theatre festivals. In 2006/07 she was Artist-in-residence at Tanzquartier Wien and took part in the European program IDEE. She recently worked as a choreographer at the Burgtheater. Her most recent work "Magical" was presented in October in Vienna/TQW.




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Choreographers'Venture 2009 The Choreographers'Venture is designed to bring together a dedicated group of dance creators in an intense, highly focused and boundary-extending project that propels questions of contemporary dance to their cutting edge. The Choreographers'Venture adresses dance/performance artists that are beginning to mid career who are seeking exchange and new input from the project leader and participants alike. The content of the Choreographers'Venture depends on the aims of the project leader: The project leader instigates and facilitates the project, and his/her artistic vision embraces the process. The didactic and physical training aspects are present, but they are not an emphasis of the idea. The goal of the choreographic venture is to promote the dialogue in dance, to open new horizons for the participants, as well as to create a setting for the project leader to follow his/her curiosity and to try out new concepts. Showings and performances will be part of the process. General structure The daily schedule is up to the project leader and the group. Days off are in accordance with the festival and the participants. The selection process is made by the project leader in cooperation with the festival. Application is by resume, letter of motivation and photo. Maximum number of participants: 12.

Boris CHARMATZ 50 years of dance (flip book) July 20 - 30 This project is a choreographic work, which has been tested once in Berlin with students from the HZT BA program and once in Saint Nazaire with professional dancers. A third version with non-dancers was shown at the Musée de la danse in Rennes at the end of April. Based on the photos in the book "Merce Cunningham: Fifty Years" by David Vaughan, movements shown in theses pictures will be reproduced and dance will be written to connect them, jumping from photo to photo. The book consists of pictures of every piece of Merce Cunningham as well as of portraits of the artist, starting from the age of five. "By reading the book it occurred to me that not only the entity of the pictures is a choreography within itself, but it is as such even close to Cunningham's working process: dance taking place between two positions/postures. I believe it is possible to create a piece based on this score of images and perform it chronologically. I am interested in transforming this entire history of a life's opus reflected in a book into a piece within a short period of time." - Boris Charmatz

Boris Charmatz After studying at the Ecole de Danse de l'Opéra de Paris and at the Conservatoire National Supérieur de Musique et de Danse de Lyon, Boris Charmatz was engaged 


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by Régine Chopinot to dance Ana (1990) and Saint-Georges (1991). In 1992, he was asked by Odile Duboc to join her company CONTREJOUR to dance 7 jours/7 villes (1992), Projet de la Matière (1993) and Trois Boléros (1996). He also took part in the premier of K de E, choreographed by Olivia Grandville and Xavier Marchand (1993). He founded ASSOCIATION EDNA with Dimitri Chamblas in 1992. Together they choreographed and danced the duet "A bras le corps" (1993), then "Les Disparates" (1994), a piece for one dancer and a sculpture by Toni Grand. Boris Charmatz next presented "Aatt enen tionon" (1996), a vertical choreography for three dancers, then in 1997 "herses (une lente introduction)", quartet for five dancers and a cellist, to music by Helmut Lachenmann. In 1999 he choreographed "Con forts fleuve", a piece for seven dancers and two extras, to texts by John Giorno and music by Otomo Yoshihide. The piece, "heâtre - élévision", a pseudo-show to be watched by one spectator at a time, was created in 2002. With EDNA he is co-ordinating a series of works which evolve as the pressures of the moment allow. He regularly takes part in improvisational events and continues to pursue his performing career. From 2002, and for a period of three years, he was researcher and creator in residence at the Centre National de la Danse in Pantin. As part of this he was developing the "BOCAL" project, a nomadic and provisional school (or perhaps more a research group, driven by an idea of a school for exploring themes in depth) which brought together 15 students from different backgrounds from July 2003 to July 2004. He has co-written a book with Isabelle Launay: Entretenir / à propos d'une danse contemporaine (published jointly by the Centre National de la Danse and Les Presses du Réel). Currently Boris Charmatz is the director at Musée de la danse in Rennes.




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