LEVELS:

The classes are not divided into levels. In case the teacher found it necessary to ask for certain abilities you will find it inside their class description.
Please read the descriptions and respect your own limits.

In the registration process you will choose your intensive. Just make your decision depending on the themes of the intensives. The classes you can choose spontaneously at the Festival.

On the first day the focus will be on Contact Improvisation principles.

Intensives Classes           Friday Saturday Monday Tuesday   Alejandro Cáceres Javiera Sanhueza & Alessandro Rivellino Jordan Fuchs Caterina Mocciola   Iwona Olszowska Bastien Auber         Keith Hennessy Dorte Bjerre Jensen Jenny Doell Nuria Bowart Paula Zacharias   Konstantinos Mihos Emily Bowman Alessandro Franceschelli       Vera Mantero Edo Ceder Anne-Gaëlle Thiriot         Marion Ramírez & Jungwoong Kim       Musicians: Alex Zampini, Klaus Donarski, Charlie Rabuel, Romain De Mesmay
Get the schedule, biographies and descriptions from 2018 as pdf-file - 10 s. (415 KB)
last update 7th of Jul 18
INTENSIVES
Alejandro Cáceres CL   Is a dancer, choreographer and professor in BA in Arts, his studies include Theater, Dance, Music and Aikido. He starts his practice in Contact Improvisation through the exploration between physical principles from Aikido and Dance, developed in different choreographic works. Since then, he has nurtured his CI practice in workshops in Chile and abroad with teachers such as Alito Alessi, Daniela Schwartz, Eckhard Müller, K.J. Holmes, Fernando Neder, Ricardo Neves, Florencia Martinelli, Autarco Arfini, Martin Keogh, Carmen Beuchat, among others and has been part of encounters and jams as dancer and teacher in Santiago and other regions of Chile, Buenos Aires, Oregon, New York, Porto Alegre, and Montevideo. His choreographic work has been crossed by the research of movement through the improvisation and collaboration with other artists and choreographers, creating diverse pieces with which he has performed in dance festivals in Chile, Brazil, Uruguay, Mexico; Spain and EE.UU. As a teacher, he has worked in the education process of actors and dancers in theater and dance schools in different Chilean universities. Actually, he develops his creative work as performer and choreographer in independent dance projects. Listening & molding the tone   Since some years from now, my perception of dance and its training has opened to the exploration of the tone and the connections of the bodies to themselves, the gravity and the others as a space of knowledge and vital experience for the improvisatory exchange. This workshop it’s about giving time to perceive and to explore the layers and inner connections with the aim to listen to the intelligence of impulses and muscular responses of our will for movement and for the exchange with others. At the same time, our patterns and bone – muscles configuration, induce us to certain degree of response, that we can, from the attention and lucid touch in the different layers of our body, move towards new exploratory possibilities or at least refresh them for the development of our dance. In this sense, our basic coordinations rooted in our movement patterns, are a place for the ludic play of variants that empower the intelligence and sensitivity for the organization and conversation between the bodies. In sum, it´s about an exploratory and sensible work and how we modulate in the play of improvisation in contact; an invitation to observe the permanent and exquisite response and graduation of the tone.
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Iwona Olszowska PO   is a dancer, improviser, contact mover, choreographer, dance teacher and certificated Somatic Movement Educator in Body Mind Centering. She studied contemporary dance, bodywork based on BMC, Laban Analisys, Bartenieff Foundamentals, F.M. Alexander-Technique, Feldenkrais Methods, Skinner Release Technique, Kinetic Awarnes, Axis Syllabus, Passing Trough, Butoh, Authentic Movement and Contact Improvisation. She is based in Cracow, founder of the Experimental Dance Studio EST and curated Obszar Tanca (Dance Zone) in the Barakah Theater. She teaches regularly at Hurtownia Ruchu Studio in Cracow and the Academy Of Music in Cracow and Lodz. She was teaching for 8 years at the State Actors School in Cracow. Iwona also travels to teach workshops in Poland, Lithuania, Ukraine, Russia, Moldavia, England and Portugal, in the fields of Improvisation, Somaticts into Improvisation and Contact Improvisation. She danced for the Aurora Project in St. Petersburg, for the Liz Lerman Dance Exchange in Poland, Dance Across Borders in Estonia and Sweden amoung others. She showed her own work (solo, duo, … partially in collaboration with life musicians and video artists) all over East and West Europe and the US. She choreographs for different theaters all over Poland. Her choreographies were awarded for developing her own style and stage personality. She got the ArtsLink scholarship through the Soros Foundation. IMPROVISATION stimulated by BMC   This intensive will focus on the Body Mind Centering somatic practice, that helps us to observe our body systems to understand its functioning by exploring little physical details and developing our own movements out of it. We will also work on skills for the improvisation or qualities for the touch and communication. We will find to our „body-mind” and the different „body systems” like bones, joints, ligaments, fascia, organs,.. and experience the potential of each system for: stability, mobility, clarity, expression, rebound, grace… We will recognize it, tune into it, find movement through it and then explore its possibilities for the dance improvisation in touch and without touch. We will be also very much following our sensation and perception as base for our presence, but also as a stimuly for the improvisation. We will dive into 6 senses of kinestetic, equilibrium, proprioception, lower brain for finding intuitive and reflexive movements. We will recognize our own personality in our movement, evolve new potential of qualities of movement, an infinit amount of movement choices and widen the use of our movement patterns. We will look also for the embodiment of creativity and structure in the improvisation, searching a bit in the right and left brain hemisphere. We will improvise solo, with others and in contact…
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Keith Hennessy CA/US   dances in and around performance. Born in Sudbury Canada, he lives in San Francisco since 1982 and tours internationally. He started dancing CI in Montréal in 1979 and has been practicing-teaching-studying-critiquing improvised dance and CI cultures ever since. Practices inspired by anarchism, critical whiteness, contemporary dance, activist art, the Bay Area, wicca/witchcraft, punk, improvisation, indigeneity, and queer-feminism motivate and mobilize Hennessy’s work. Keith’s 2016-17 collaborators include Peaches, Meg Stuart, Scott Wells, Jassem Hindi, J Jha, Annie Danger, Gerald Casel, and the collaboratives Blank Map and Turbulence. Keith's recent teaching in universities, independent studios, and festivals includes Ponderosa (Germany), FRESH (SF), HZT (Berlin), Movement Research (NYC), Impulstanz (Vienna), VAC Foundation (Moscow), and Warsaw Flow International CI Festival. Awards include the Guggenheim Fellowship, United States Artist Fellowship, a NY Bessie, and multiple Isadora Duncan Awards. Keith's writings have been published in Contact Quarterly, Movement Research Journal, and many others. Hennessy directs Circo Zero and was a member of Contraband with Sara Shelton Mann. Hennessy is a co-founder of CounterPULSE (formerly 848 Community Space) a thriving performance space in San Francisco. MFA and PhD from University of California (Davis). www.circozero.org Improvising Relationship, Dancing Tarot   A dance laboratory for experiments in touch, sensing, struggle, collaboration, support, resistance, and relationship. We will work with failure and flow, with struggle and pleasure. The goal of the class is to extend the possibilities of Contact Improvisation. Exercises and scores will be inspired by the four categories of the Tarot: cups/water, swords/air, discs/earth, wands/fire. Accessing ancient esoteric intelligence of Mediterranean cultures, we will diversify our practices and understandings of improvising in contact. Keith says, “My primary teaching/research is on the politics of relationship and how dance practices can be a laboratory for new social relations based on queer-feminist-antiracist-decolonial ethics. I tend to work mostly with duet practices, improvisation, and experimental ritual.” Dancing together will be a place to feel, observe, and respond to recent political movements in the US, Europe, and beyond: #metoo, antifa, black lives matter, refugees welcome here. top Konstantinos Mihos GR   in the summer of 1980 while living in Athens Greece read a very brief description of Contact Improvisation. Immediately he recognised Contact as the way to an art form that would be based on the communication and empowerment of its practitioners, to constitute a valid theatrical form. He proceeded to have a full formal dance training, studied with choreographers/ teachers in New York and San Francisco, founded his own dance company, created numerous works for professional dancers, amateurs, elderly people, young children and refugees, presented in mainstream venues in Greece and in international festivals, as well as in a refugee housing complex, hospitals, old prison cells, a military museum, shipyards and received awards for choreography, taught Contact and Improvisation in academic environments and professional dance schools, created the Wrong Movement Dance Studio which today has evolved into a collective space for teaching, C. I. jams, performances and concerts, introduced working with disability in dance in Greece, organised the 1993 and 2004 European Contact Improvisation Teachers Exchange in Athens. During the 2008’s uprising in Greece, Konstantin Mihos taught a C. I. class under the title “Touch the cop” for two hundred people in the occupied Opera House of Athens. Up until today this is the C. I. session he remembers most On the 13th of August 2018 he will enter his 59th year of age. Still he keeps searching and pursuing what he first thought Contact might be(come). Before and after Contact   A man comes from the country that is surrounded by the sea with the floating dead bodies. He comes to teach a summer Contact workshop in Freiburg, Central Europe. Yes! We will touch, share weight and play with momentum. We will follow our point of contact and explode in space together. But, what is there before and after the contact? What do we carry into the dance to be manifested and transformed? Which stories and desires do we bring with us and how do we change physically, mentally and emotionally? We will take inspiration from Bruce Lee through Merleau-Ponty to Bonnie Bainbridge Cohen to answer these questions and brake away from Contact as a specific vocabulary. This class does not demand expertise of Contact but asks for the absolute hunger and dedication to the revelations of improvisation as a path for our individualities to meet and pass together.
top Vera Mantero PT   Vera Mantero studied classical dance with Anna Mascolo and danced with the Gulbenkian Ballet (1984-1989). She abandoned classical training after a year of studies in New York, where trained in release techniques, theatre, voice and composition. Started choreographing in 1987 and has been presenting her works in Europe, North and South America, Singapore and South Korea. Of her pieces mention goes to “Perhaps she could dance first and think afterwards” (1991), “Olympia” (1993), “one mysterious Thing, said e.e. cummings” (1996), “Poetry and Savagery” (1998), “Until the moment when God is destroyed by the extreme exercise of beauty” (2006) and “The clean and the dirty” (2016). She participated in improvisation projects like “On the Edge” and "Crash Landing", with improvisers and choreographers as Lisa Nelson, Mark Tompkins, Meg Stuart and Steve Paxton. She continuously teaches creation/composition and improvisation in Portugal and abroad. For me, dance is not a given fact. I believe that the less I acquire it, the closer I will be to it. I use dance and performance work to understand what I need to understand. I don't see any sense anymore in a performer specialized in a single discipline (a dancer or an actor or a singer or a musician) and I now see some sense in a performer specialized in the whole. Life is a terribly complicated and rich phenomenon and I see the work I do as a continuous fight against the impoverishment of the spirit, both mine and others, a fight that I consider essential now and always. THE THINKING BODY   Vera Mantero’s process of work is in deep and close relationship with her particular understanding of the world and with her political and philosophical views on it. Thought, the necessity and almost obligation to think, is an intrinsic part of the work. Thinking our way of life, thinking society, thinking the systems in which we are involved. This means questioning, rethinking and experimenting in action alternatives to that way of life. The work is a tool to think and people attending the workshop should be genuinely interested in thought. A non-hierarchical perspective of relations is fundamental. As is the idea that one individual is much less capable of achieving a vision than several individuals who join to think and understand something together. Therefore, the working process is unconceivable in any other way than as group thought and group work. Relaxation, the use of voice, writing, breathing and free association are some means to be used in this workshop in order to find the movements and actions going on inside us. We will explore some of them separately first, to incorporate them later in longer and more complex improvisational processes. The idea of getting inside a specific state of consciousness will be very important. Awareness and use of space, and the exploration of objects and materials will not be forgotten. Irony and empty hands will take us further.
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CLASSES
FRIDAY
Javiera Sanhueza & Alessandro Rivellino CL & BR Double class Javiera is a Dancer performer and Researcher of movement. Trained in Dance and in continuous search around practices such as C.I., somatics, martial and meditative practices. She starts practicing C.I. 12 years ago and since then she has been dancing and organizing Jams, festivals and workshops. She has been teaching in many places in Chile and also in Brazil, Uruguay and Argentina. Alessandro has been danced by Contact Improvisation for many years. Organizing festivals, doing residences and classes at many places in the world, and with wonderful people, he found some animal states and full silent experiences in movement. He had also studied somatics and many diverse approaches into dance. Javiera and Alessandro started dancing together in 2014 and cannot explain anything about this samurai dance field that opened up, nourishing their research of being danced by the forces and travel beyond the arguments. Bases for freedoms Principles The experience of the one is possible by the no-two. If we don´t share our center, are we really together? Is the center a fixed point? On these classes we will work with many possibilities for the dance to happen starting from the spine. How to mold the torsos one to another, search the zero point of balance and have a mobile center at each moment? This danced information can open the possibility for a smooth way to share weight and to engage fluidity in the tissues. Taking advantage of the breathing process to expand and relax the spine, we can find tensegrity to dance and enjoy more power and less effort, increasing the quality of presence and touch at our improvisation. Bastien Auber FR   Since 2011, he teaches Contact Improvisation in regular workshops, courses and festivals in France and abroad (Germany, Spain, Italy, Israel, USA, Russia, Ukraine, India). He trained in dance by traveling and working with many teachers of CI, instant composition and somatic approaches. His approach of bodies dynamics bodily is linked with the existing movements in nature (microcosm and macrocosm) and with the 5 elements. He teaches also "dance with ropes" workshops. He is also a geologist, practice meditation, Authentic Movement and attaches importance to the poetic dance. Currently he is interested in the field of subtiles bodies forming in Geobiology and Bioenergy. http://bastien-auber.jimdo.com/ Earth-Body-Sky Principles This workshop is a way to go together since the roots of the planet to the edge of the cosmos through this fabulous channel : the body! The first step will be based on the links with the environment, with the simplicity of conscious breathing. The next step is about our roots, our link to the floor, our anchor to the ground in order to intensify our stability, to strengthen our center (of mass). Then, the last step is linked with the space around (near and far) to facilitate the experience of lifts in Contact Improvisation. This dance workshop is an approach that is both holistic and technique, it is a journey proposed between earth and sky! Dorte Bjerre Jensen DK   teaches CI nationally and internationally, in dance and acting schools, at festivals and in open workshops. She offers her work to professional dancers, actors, people in leadership roles, and to the general public. She is deeply interested in bodily movement and expression as an art form both in practice and in theory. As an artist Dorte creates, directs and performs. She is educated as a school teacher, yoga teacher, Rosen Method® therapist, Conscious Touch® therapist and at The Danish National School of Performing Arts (a 2-year postgraduate education for professional dancers). She has accumulated many years of teaching experience in a wide range of different disciplines and contexts. www.dortebjerrejensen.dk Animal movement exploration Principles I´m interested in our body´s innate ability to respond physically to the environment and it´s ability to trust it´s own physical intelligence. How can survival and bodily readiness be a motivation for movement? With a sense of subtle readiness and playfulness, we will in physical contact with other moving bodies meet the moment with our senses open. We will allow ourselves to move spherical with a clear powerful connection from center to extremities.
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Emily Bowman AU   is an Australian dancer and choreographer based between Melbourne and Western Australia. Her practise is grounded in Improvisation and CI. She works nationally and internationally as a performer, choreographer and teacher. Emily has travelled to India, Canada, Europe, USA and across Australia for CI teaching and research/performance projects. She graduated with a Bachelor of Arts in Dance, from the Western Australian Academy of Performing Arts in 2013. She has trained with CI many masters teachers. Emily approaches Contact as a physical dance technique in a traditional sense, with the belief that the learning is in the dancing. She is an organiser and facilitator of the Australian CI Convergence which hosts 120 dancers from around Australasia. She is a founding member and teacher of the annual Kamshet CI Intensive at The Company Theatre in India. Falling now, and now… Principles What does the body need to do to organise itself to take a fall, a crash? How can we absorb the fall and work with the momentum? Are we really falling, or are we faking? In this class we allow the fall to happen and for it to constantly inform the dance, from the very subtle fall to the gross. Sharing weight, falling with our partner: can we do less? And yes, the ‘misses’ are (if not more) exciting! We have stored information in our bodies to rely on and to keep us safe. We will work with ‘not knowing’ and see where it takes us. We will explore some simple and safe ways of falling in and out of the floor and gradually build speed. We aim to integrate falling as a natural pathway that can invite a dance that is continuously releasing and ready to go in any direction.
Edo Ceder IL   has been practicing and studying Contact and Improvisation, as well as contemporary dance since 1999, and teaching since 2006. He is holding weekly classes of CI and Improvisation, as well as hosting a monthly Jam. He created and danced in contemporary dance pieces and performed with them in Israel and abroad. He has worked with people in personal processes through the “Grinberg method”. He carries a 2nd degree black belt in Jujitsu and used to teach to children and adults. He has a B.A. in Psychology. "I look at CI as a practice and play with weight and the physical forces, while at the same time honing skills of non-verbal communication, presence, attention and plain fun” Nice to meet you Principles Two dancers meet. Two bodies meet. Two worlds meet. What do we "listen to" when we dance? How do we start a dance? How do we let it develop? Meeting each other in dance consists of finding a mutual language, understanding each other's movement patterns, the skills we share (how much keeping a strict point of contact is important to us, how much weight can we take, patterns we know, etc). We also have our basic intrinsic dynamics - our natural rhythm, our basic muscle tonus, character of movement, the state of mind we are in today, the kind of attention we can master, energy level and intentions. In this class we will explore the elements that we bring to the dance, increase our awareness to our own and to our partner's, notice what are our natural responses to our partners, and expand our response-abilities.
Marion Ramírez & Jungwoong Kim US/ PR & KR Double class are dance artists and educators based in Philadelphia committed to the practice of movement as a way to communicate while honoring personal agency, respect and the power of touch. Jungwoong’s work integrates his background in Korean traditional dance/martial arts and Marion’s approach is inspired by her upbringing of improvisational based social dances and immersion in somatic studies. They are highly influenced by their research of Deep Listening with Pauline Oliveros, Kinectic Awareness with Elaine Summers, and Improv. forms with Kirstie Simpson, KJ Holmes, Katie Duck, Merian Soto, Kurt Koegel, Ishamael Houston-Jones, Christine Cole and Dr. Martha Eddy. Their co-teaching practice is inspired by12 years of artistic and performance experience in numerous multi-media site-specific and theater productions related to their cultural identity, displacement, loss and empathy. Together they co-teach during university residencies & festivals in the US, S.Korea and Puerto Rico. Inner - outer environment Principles In this classes we will focus on a site-specific approach, as a way to expand our connection with what is present in our inner and outer environment. We will focus on deepening our sensory awareness to prepare the body for responding to touch, sounds, found objects, dancers, and the particularities of each space. We will use contact improvisation principles such as ways of giving into or challenging gravity, resonating with the rhythms we perceive, playing with how to match or oppose the quality of movement while coming in and out of physical contact and dancer's shared weight. These practices will support ways to find the multiple layers of meaning, personal memory, questions and collective actions that emerge when we are fully present and in relationship with our environment.
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SATURDAY
Javiera Sanhueza & Alessandro Rivellino CL & BR Double class   See description above       Jenny Doell DE   is a teacher and performer, working with Contact Improvisation and Instant Composition in dance and music. Her original studies were movement-and music education which has a big influence on her way of moving and looking at composition. She studied at universities of the Arts in Essen, Berlin and at bewegungs-art Freiburg (today: TIP). She performs in various collaborations and teaches classes and workshops in Europe since 2010. For her, the body is a field of experience of one’s vitality, through which the world and the self are experienced and in a constant dialogue. In her classes and her performances she seeks to make this vitality perceptible Dependence/Indepence   In CI we become comfortable with physically being (inter-)dependent. But how can a sense of independence fit into this picture? How much disagreeing can we allow ourselves and what - besides the necessary - can we play with while moving in connection? Which opportunities arise when we allow contradictions? Can we enjoy what tension and antagonism bring to a dance? We start by building a safe ground for trust in our duets and then play with individual compositional principles. We find “solo possibilities” in our duet and discover freedom in our interdependence and vice versa. We make independent choices while being in a dependent situation, and discover surprising new possibilities.
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Alessandro Franceschelli FR/IT   iI live in France, where I work as choreographer and writer since 2004. I started CI fifteen years ago with Lisa Nelson. Since then, I practice CI, teach CI, and let CI belong to my everyday life. The list of teachers I met is long... I own a lot to Daniel Lepkoff and Julien Hamilton, among the others. Practicing CI is to me a mix of technics and poetics. It deals with desire, as well as improvisation deals with desire. I teach CI regularly in Marseille since 2009. My body experience as a dancer and a teacher is deeply attached to the art of touching, shiatsu and Chinese medicine, that I studied during four years. Starting studying tango four years ago refreshed my desire for dancing and teaching CI. Poetics of touch   Listening and perceiving what is touching us, what we are in touch with, what we are touched by, how we are touching ourselves, the others, the space, we will let different landscapes arise, real or imagined, from our senses or from our memory. And let this information transform in movement. We will explore and talk about the nature of touching, the way our body touches another body. We 'll take a look to our desires and the way they arise. Practicing listening and touching, we will stimulate our body to expand. To be aware of the different qualities existing in time, space, weight and flow, that influence bodies and minds and unable us to create a dynamic and creative dance.
Anne-Gaëlle Thiriot UK/FR   I am an Independent Dance Artist working in the field of contemporary dance, choreography, CI, research, creative learning and writing. My training spans across quite a few dance styles with an emphasis on perceiving and creating movement from the inside out. My work takes place across a wide range of publics and settings, from international institutions and stages, to local community centers and informal settings. My artistic taste is visceral and compositional, with an acute attention brought to the interface between process and product. Through my processes of work, I aim at championing Inclusion and Diversity, collaboration and people’s individual artistry and empowerment. Since 2003 I have taught, assisted, led, choreographed and facilitated many dance and interdisciplinary projects in France, Italy, UK, locally and internationally. Mapping under & over dances   How do we become an under/over-dancer, using and challenging our natural tendencies? In this session, I’ll be offering some tools to develop a mobile under-dancing and a light over-dancing to increase our dancing options. Through simple and layered duet exercises, we will get to connect and direct center, spine and extremities; weave together listening, articulating and structuring our body to find efficient and supportive points of contact; nuance our weight, get the option of lift/no-lift, make the most of dancing with different bodies; let an athletic quality emerge through including more and more space in our dance.
Marion Ramírez & Jungwoong Kim US/ PR & KR Double class   see description above
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MONDAY
Jordan Fuchs US   is an experimental choreographer, performer and educator, who creates dynamic, engaged states of presence and physicality for dancers, able to work in a variety of solo, ensemble and contact improvisation based partnering contexts. A practitioner of CI since the late 80s, he has been on faculty at Movement Research in NYC, and taught workshops at numerous universities and festivals across the US and internationally, including in Taipei, Moscow, Puerto Rico and Tokyo. The founder of the Texas Dance Improvisation Festival, which he continues to coordinate, he is an Associate Professor of Dance at Texas Woman's University. www.jordanfuchs.org Undersurface into lightness   Undersurface: the surface of the body facing the pull of gravity. Valuing extended durational focus, we will take time to integrate an awareness of undersurface through first working in stillness on the floor, before then working in more complex and faster paced movement contexts. The class facilitates a heightened awareness of light touch as both direction and invitation, leading to a heightened permeability to impulse from our partner. At times disorienting in its magnification of subtlety, this focus on undersurface yields to surprising moments of easeful disorientation and surging momentum. Nuria Bowart US   has been dancing her whole life. She was introduced to CI in 1990. She studied on the east coast with master improvisers such as Nancy Stark Smith, David Zambrano and Andrew Harwood until 1995 when she moved to Colorado. In 1998, after graduating from the Rolf Institute, Nuria moved to the Bay Area to begin her practice as a Rolfer and continue her studies of CI, Capoeira and dance. After a few years of continued practice and study with movement masters Nuria began teaching CI. She also graduated and formally became a professora of Capoeira in 2001. Nuria began her studies of the Axis Syllabus in 2009 with Kira Kirsch, and became a teacher of the Axis Syllabus in 2016. The work of the Axis Syllabus quickly became the place where she could connect her love of anatomy and healing, with her path as a mover and performer. Nuria enjoyed teaching at the WCCIJam this past July 2017, and looks forward to more teaching within the CI community. http://nuriabowart.com Moving through soft hands Somatics into CI This class will focus on the laws of movement as they can be experienced and explored with the human body. Movement can be like a massage to your tissues, promoting mobility and pumping fluids as kinetic energy is harnessed, and momentum ridden. Gravity can be an assistant, working to move the bones and press the tissues. This class will be an opportunity to understand more about the body as a part of space, and movement as an act of inhabiting time. With the information of anatomy, biomechanics, basic physics; and the power of curiosity and focus, we can develop a greater understanding of our movement potential.
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TUESDAY
Caterina Mocciola IT/DE/AU   is an independent performer, teacher and producer, also an interpreter and a translator. Her practice is based on Contact Improvisation and Composition while related disciplines, such as Feldenkrais, BMC, Viewpoints, Release Technique, Body Weather and Kung Fu play a strong influence in her approach to teaching and movement. She has taught regular classes, workshops, also at festivals and Universities, in Australia, New Zealand, Argentina, and Europe. For over a decade she lived in Australia, for two years in Berlin, where she taught at Tanzfabrik and Marameo, co-organized the Berlin Underscore and ECITE 2017. She has now returned to Italy to build a dance studio on the Apennines and continue the BMC training Embodying duality   I am currently fascinated by how opposing forces are working together to create harmony in the dance. I experience it in relating with gravity, with the natural expanding and contracting of the body, in relating to myself and to my dance partner/s, in the coexistence of technique and improvisation... how they merge in the three-dimensionality of the dance itself. In this class, we will work with apparent dual "forces" looking at how they come together, how can we observe the process and become aware of it, in support of our dance. Paula Zacharias AR   Photographer, videographer. Butoh, CI dancer and Alexander technique teacher. I teach improvisation and composition in dance, using video and photography tools for research and on scene. My work is influenced by the Tuning Scores method, developed by Lisa Nelson, with whom i had been researching and performed. I had worked with Andrew Harwood giving workshops on tour from 2008 to 2012. Developing various residence dance and video projects (like Miscellaneous Misunderstandings (2010 to 2012.- Imperfecto 2017- Jaque – 2017-2018 among others) I am a group member of AATA (Alexander teachers association in Argentina) and ExperimenTA, a group that explores the Alexander technique in relation to other disciplines. I give private lessons and group workshops in BA Argentina and abroad. Freedom, balance & expansion Somatics into CI In this class we apply the tools of Alexander Technique to CI to offer a more efficient availability in relation to the use and functioning of our body as psychophysical unit. We explore different patterns of stability and movement stimulating the neuromuscular system in response to weight and gravity. We study the curves and spirals of the spine as the origin of an integrated action as well as the eye-head-neck-back connection and its relation to the extremities. The potential of our structure increases through the economy of resources according to their mechanical advantages, from a conscious use of the different tension tones in relation to the individual, group movement and its environment.
MUSICIANS Alex Zampini IT/DE   I am a Berlin-based interdisciplinary artist active in the field of music, film and performance art. My focus lies on improvisation, especially on the relationship between body, sound and image and as both filmmaker and musician I collaborate with art-makers from diverse backgrounds and cultural ecosystems. I like to trigger questions rather than finding answers. I am hungry for process. My projects are indeed about creating long term process-oriented experiences. Contaminated by the endless diversity of the sonic multiverse, I perform instrumental sound sculptures made of hybrid textures, silence and harmonic dissonances. My approach to music is bidirectional, always nourished by the surroundings which inspire my sound and vice-versa. www.alexzampini.com   Charlie Rabuel FR   Charlie Rabuel is a musician, composer and pedagogue from France. Multi-instrumentist, he comes from classical and jazz percussions that he studied in conservatoire before diving in contemporary esthetics, turkish music and free improvisation. For 5 years now he plays for contact events in Turkey and Germany, listening and reacting to bodies and movements in a playful and light way. Constantly reflecting on the links between sound and bodies, movement and music, silence and breath, Charlie developed a personal musical approach to contact music nourished with his second passion : photography and filmography.     Klaus Donarski DE Klaus Donarski is a Freiburg based musician, contact dancer, graphic designer and photographer. He loves to play at contact festivals and jams and hosts music/singing/dance/healing spaces. Coming from music production and DJing he made his way through many musical traditions, always searching for what is touching and finding nourishment in the magic of sound and silence. Toning, Mantra and Nada Yoga as pure, reduced and essential forms of music became inspiring practices. At least the combination of music and dance improvisation is steady drawing his attention to further explore the dynamics of sound and silence, movement and stillness, connection, inner and outer awareness, relation, flow, harmony, chaos, contradiction and surprise. He is focusing on opening space for the experience of participating consciously in our creative living energy field, from which the movement of the body as well as the sound comes. Klaus uses presence, resonance and openness applied on piano, guitar and voice to empower and sustain space for this movement, a vivid process of giving and receiving on many levels – improvisation as a basic human gift of communication, healing and joy. www.embodylove.de     Romain De Mesmay FR Romain received a training in classical music (violin and viola) and has a long practice of chamber music (string quartets). His interests have shifted towards popular music, improvisation and music for the dance. He created in 2008 an ensemble mixing French popular songs and tango (www.larmenonville.fr). In parallel, he regularly accompanies milongas in Europe with Orquesta Silbando (www.silbandotango.com) and is an active member of TAXXI - Tango siglo XXI (www.taxxitangoxxi.com), an explosive ensemble mixing contemporary tango and rock music. Ever since he encountered Contact Improvisation in 2012, as a dancer and as a musician, he is mingling the sounds of his violin and viola to the Parisian jams. He plaid in various Tango-Contact festivals (Wuppertal, Ponderosa) and Contact festivals (Freiburg, RiCI, Fuerteventura, Skiing on Skin, 1001 festival, Madrid, Paris Contact Impro Gathering, Italy Contact Camp...). He is also giving workshops on relation dance-music. One of his main focus in music for CI is the question of resonance : how the music affects dance when it stops.
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