The body with it's cavities, vessels, tissues, structures and sub-structures provide form, structure and space. Spaces that support, seperate and combine. From early embryological development there is continuous movement of being and dissolving, of forming and letting go. 
In this workshop we will navigate through inner spaces in our body and relate them to the space around us. We will travel to the living kaleidoscopic matrix of bones, fluids, cells and sub-cellular structures. We meet different body tissues and let our movements be guided by them. With movement exploration, hands-on and somatisation we will actively align and relate inner movement to bigger movement in space.

 

Nina Wehnert

Nina teaches Body-Mind Centering®, Contact Improvisation and Yoga in Workshops, Retreats and Festivals around Europe. She has great joy to immerse deeply into the exploration of sensing, perceiving and the development of the body. She studied dance, is certified as a BMC® Practitioner, Somatic Movement Educator and Yoga Teacher as well as in Embodied Anatomy & Yoga. She is offering her own Body-Mind Centering® Training in Berlin and teaches Embodied Anatomy in dance and yoga schools in Berlin. www.ninawehnert.com

 


 

I feel it mostly makes sense to share and teach qualities and approaches which fascinates and inspires me right now. How do I like to move on the moment ?

My interest and enthusiasm seems to lie on physical, movement- and composition orientated base. I love to flow in and out of contact, constantly seeing the dance as a composition, playful dialogue which is breathing towards the space as well, and is in connection with it´s surroundings. Based on physicality and presence, and state of concious flow dance can reach towards other dimensions too, like meditation, death of ego ( lol ), meeting our inner child, acceptance, understanding oneself´s emotional patterns and body functions, and believing that the world is a good place, and we can flow with it in harmony – all these phenomenons can emerge, but they are secondary products. Simple joy of dancing, and sweatting for fun are primary reasons to do this stuff... Sometimes it turns into art as well.

One of the on-going themes for me is organic, fluid and functional movement. How do we transition our way from A to B effortlessly ?
Sequentiality. How everything is connected ? Many of the movement principles and patterns are sourcing from BMC, release technique and floorwork. Easy transitions from floor to up and some fun in between. How are our joints involved in this ?

I do like the idea of sharing the underlying principles in contact improvisation, so that we can dive deeper in details, sensitivity and preciseness in our dance. For me these basics are for example the placement of our center, and connection & use of our limbs around. Natural spirals of the body and especially in our spine. How usage of our head & tail is allowing the whole body to enter into three-dimensional movement patterns upsidedown... Also fascinating and fun is to play around ideas of momentum, suspension, inertia, falling and swinging !
Slowing down and breathing, allowing time for listening, sensing and sinking deeper into moments and felt sensations lets us to be more precise in our choices.

Also lightness is becoming more and more important quality for me. How do we distribute our weight intelligently, and when do we give weight ? Finetuning how much is enough to feel each others? Breathing in and out of contact, bringing space in between. Suspending, reaching out.

I like balance between technique and poetry. Struckture and freedom. Rules and random Robin Hoods. I guess it´s not so serious ?

 

VEGA (Katri Luukkonen)

I am dancer, dance-teacher, performance-artist and bodyworker made in Finland, but currently based in Berlin, India, and nomadic temporary moments in time and space. From the formal side of my life I have studied in Finland - in Theatre Academy of Finland (TEAK) and Metropolia AMK, graduated from TEAK 2008 as dance- and theatre-teacher (MA). Though - I guess my dearest high-school and university in dance and contact-improvisation has been finnish contact community, where I have learned so much, by sharing the dance and rolling point with the other spiralling beautiful finns... 

About 15 years I have been teaching contact and dance all around the world, on many internationally acknowledged festivals and retreats, and especially recent years more focused on organising my own workshops, events and festivals. I am one of the organisers of Goa Contact Festival since 10 years, and that has become big part of my life - to live in India, to create platforms and possibilities for cultural exchange, dance and learning - throughout the whole season in Arambol, as I have spent my last 14 winters in India.

Contact Improvisation has been part of my life more than 20 years, so - many kind of chapters I have gone through. More and more I look for lightness and grace in my dance - in the sense of organic, fluid, effortless and integrated movement. I love to find ease and effortlessness in my dance, like water would do. Breath plays as well big part in my dancing, brings me naturally into moments of momentum, falling, flying, suspension, swinging, accelerating and bouncing. Other precious topic for me is the spine, never ending story with our head & tail, and the whole dialogue between them. Life-energy flowing through our spiralling, reaching, twisting spines.

My dance is drawing inspirations from aikido and capoeira - loving all these spirals up & down, and deep understanding about the role of the center in our movement. Developmental movement patterns and flying low for all the lovely floor rolling-sliding-gliding-fun. Bodywork & massage for softening, surrendering and meeting. Listening our whispering fascias. Spicing up the soup with meditation and authentic movement, to look from inside out - to connect with our emotions, intuition and felt sensations. 

For me dance is always combination of technique and intuition. Form and freedom. Being and doing. I try to find ways to explore and teach technique by understanding the underlying principles of movement, so that we can stay connected to our dance and expression, and learn in the spirit of exploration. Where our curiosity can stay alive, and we can always find new details on the way.

 


 

In diesem Workshop begeben wir uns auf eine innere und äußere Reise. Contactimprovisation ist das Zentrum und der Schüssel der Erforschung. Hier erkennen und entdecken wir uns und die anderen neu. Gewohnheitsmuster aus der Vorerfahrung mit Contact und unser Alltag werden spielerisch und mit sinnlicher Leichtigkeit, reflektiert und erweitert.

Welchen Raum gebe ich der Sinnlichkeit im Tanz/ im Leben?
Wie kann ich mein ganzes Wesen mit tanzen lassen?
Welche Ängste hindern mich an einem offeneren Austausch?
Wovor schütze ich mich? Welchen Wert haben diese Grenzen?

Diese Reise geht gleichzeitig nach innen zu mir selber und nach außen in den Ausdruck und den Kontakt mit anderen.
Kann ich in diesem Raum spielerisch mit meinen Grenzen und den Grenzen anderer tanzen?
Die klassischen Elemente der Contact Improvisation, wie Umgang und Spiel mit der Schwerkraft, Wirkung und Einsatz von Gewicht sowie Rolling Point lassen sich durch tantrische Sichtweisen neu erfahren. Der emotionale, spirituelle, und sinnliche Aspekt des Tanzes werden bedeutsamer neben dem Physischem. So entsteht eine neue Sicht auf die (gewohnte) Tanz- oder Contact-Sprache.


Eine Teilnehmerin hat ihre Erfahrung nach einem Wochenende so formuliert:
Am wichtigsten und berührendsten finde ich die Begegnung mit anderen und mir selber. Der Wechsel zwischen "bei mir" - "bei Dir" - "bei uns" zu sein, ist für mich immer wieder eine Herausforderung. Mich nicht zu verlieren im Außen, in der Begegnung, bei mir zu bleiben, auch wenn ich in Kontakt bin, auf mich und meine Bedürfnisse hören, zu ihnen stehen und sogar zu artikulieren... Dann die vielen kleinen, feinen Übungen die helfen im Jetzt zu sein, Achtsamkeit, berühren, spüren, tönen, innehalten, Raum und Zeit entfalten lassen - reinlauschen... Für mich sind kleine Hinweise/Wachrufe immer sehr hilfreich: Bin ich noch achtsam? Bin ich im Moment? Bin ich entspannt? Verliere ich mich in Gedanken? Trägt mich mein Ego hinfort? Tief Durchatmen. Ankommen. Körper spüren. Raus aus dem Kopf, rein in das Gefühl. Gefühle fühlen und nicht "weg haben wollen"...

 

Benno Enderlein

Benno studierte 1989 bis 1993 am "European Dance Development Center" der Hochschule Arnheim(NL). Er unterrichtet seit 1991 Contactimprovisation und praktiziert auch seit dem Shiatsu. Seit fast 15 Jahren erforscht er das Zusammenspiel von Contact & Shiatsu sowie die Arbeit von Contact im Element Wasser.
Er forscht und lehrt gerne an den Randbereichen des Contacts, so auch Contact Tango, Contact & Shiatsu, Contact Tantra und Water Contact. All diese Formen am Rande des gewohnten Contacttanzes ermöglichen uns, Gewohnheiten zu erkennen zu überprüfen und das volle Potential unserer Möglichkeiten auszuschöpfen.
Weitere Schwerpunkte sind Bewußtseinsschulung und Studium von Meditationstechniken, im speziellen ADVAITA-Bewusstsein und Lichtarbeit.

 


 

Als vielzelliges Wesen beginnt unsere Entwicklung in flüssiger Umgebung: Durch den Fluss von Flüssigkeiten in Spiralen entwickeln sich Faltung, Entfaltung, Widerstand und Nachgiebigkeit unserer Körper- und Bewegungsmuster. Später begegnen wir der Erde und in der Kontinuität der Entwicklung unterstützt die Beziehung zur Schwerkraft unsere Bewegung. Neugier und Interesse lassen uns in die Welt hineinreichen. 
In diesem Intensiv bin ich interessiert, wie frühe Entwicklungsbewegungsmuster uns in Stabilität, Leichtigkeit und Freiheit in unserer Bewegung und unserem Sein unterstützen können. Wie können wir die Unterstützung des Bodens, unserer inneren Kraft sowie unserer „Flügel“ nutzen, um in den Raum zu greifen? Wir werden rollen, krabbeln, einsinken, schieben, greifen, ziehen. Aspekte der verschiedenen Körpergewebe wie Knochen, Flüssigkeiten, Organe und Nervensystem unterstützen die Bewegungsfreiheit. 
Die innere Stütze einer weichen Wirbelsäule und die Wechselbeziehung zwischen Zentrum und Peripherie werden die Klassen durchdringen.  
 
Ich bin an einer Klassensituation interessiert, in der Neugier und Aufmerksamkeit für das Improvisieren allein und mit einem Partner oder einer Partnerin entstehen kann.

 

Nina Wehnert

Nina unterrichtet Body-Mind Centering®, Contact Improvisation und Yoga in Workshops, Retreats und Festivals in ganz Europa. Sie hat große Freude, tief in die Erforschung des Fühlens, Wahrnehmens und der Entwicklung des Körpers einzutauchen. Sie studierte Tanz, ist zertifiziert als BMC® Practitioner, Somatic Movement Educator und Yogalehrerin sowie in Embodied Anatomy & Yoga. Sie bietet ihr eigenes Body-Mind Centering® Training in Berlin an und unterrichtet Embodied Anatomy in Tanz- und Yoga-Schulen in Berlin. 
www.ninawehnert.com

 


 

I wish to offer you diverse range of core principles of contact-improvisation. We will work both technically, focusing on building up functional understanding of underlying physical principles and structures of contact improvisation, as well as widening the trust to our instincts, impulses and intuition. Letting ourselves completely free, and following the flow. But also understanding how do our bodies work? How do our joints, bones, muscles and skin function?

I use lot of images of water. Inner oceans. Slow, soft liquid flow in us is inspiring me. If we move like water, we will never get tired, cause we don´t need to use our muscles to move. Following the organic flow of water will show us the effortless way. Also working with the breath is something essential for me. Expanding, unfolding & folding, allowing our breath-cycle to get deep and wide, we can fully surrender and tune in with our partners, and find shared rhythm in our dance. We can drop the doing, and fall more into being. And let the dance happen through this image of water moving, letting the river show us the way. 

I love to build up dance softly, from inside-out. Slowly ending up towards more technical material and challenges. We often start with individual floor-work, offering particular principles and tasks, and then gradually building up to standing using the natural spirals of the body. Material will alternate between contact- and solowork, and also connecting the group as whole. Creating an open, safe environment to explore. Emphasis will move on to improvised duets where we use each others energy to spin off into moments of freedom and individuality, then seamlessly reconnecting with our partner.

We will develop our dances from inside out, from down to up, exploring organic movement on different levels. Finding soft strength and support, preparing our bodies to listen and connect with the others, as well as with the space, and our surroundings. We´ll cultivate deeper awareness of listening, breathing, giving, receiving, and very importantly - timing.

We will explore basic tools of contact - as sharing weight, center-to-center, leaning and supporting, rolling point of contact. Using physical laws of momentum, suspension, inertia, bounce and swing to find most effortless ways into lifting and weight transfers. Different qualities of touch, impulses. Leading and following, falling and spiralling... Playing with the gravity, pushing and pulling, counterbalance and more...

We will explore the head & tail -connection, spinal push, and spirals of the spine. We are also going to look at techniques for lifting and being lifted. But thinking lifting just as a small weight transfer. Lifting should not have so much to do with effort. Using the momentum and right timing we can fly like a feather. Letting our breath to soften our bodies, and synchronizing with our partners. Finding effortless and easy ways to move together through the space - finding the flow, and joy of dancing. 

We´ll also play with energetical space around us - flowing in and out of contact. Creating a sphere of listening with all our senses, touching without touching. Developing sensitivity to read and follow each others in movement, and cultivating playfulness - breaking the rules and being surprised.

We will also include different dance-scores into our practice, which allow you to get into the flow of your own dance, giving time and space to integrate the learnt technique into your own movement and spontaneity.

 

VEGA (Katri Luukkonen)

I am dancer, dance-teacher, performance-artist and bodyworker made in Finland, but currently based in Berlin, India, and nomadic temporary moments in time and space. From the formal side of my life I have studied in Finland - in Theatre Academy of Finland (TEAK) and Metropolia AMK, graduated from TEAK 2008 as dance- and theatre-teacher (MA). Though - I guess my dearest high-school and university in dance and contact-improvisation has been finnish contact community, where I have learned so much, by sharing the dance and rolling point with the other spiralling beautiful finns... 

About 15 years I have been teaching contact and dance all around the world, on many internationally acknowledged festivals and retreats, and especially recent years more focused on organising my own workshops, events and festivals. I am one of the organisers of Goa Contact Festival since 10 years, and that has become big part of my life - to live in India, to create platforms and possibilities for cultural exchange, dance and learning - throughout the whole season in Arambol, as I have spent my last 14 winters in India.

Contact Improvisation has been part of my life more than 20 years, so - many kind of chapters I have gone through. More and more I look for lightness and grace in my dance - in the sense of organic, fluid, effortless and integrated movement. I love to find ease and effortlessness in my dance, like water would do. Breath plays as well big part in my dancing, brings me naturally into moments of momentum, falling, flying, suspension, swinging, accelerating and bouncing. Other precious topic for me is the spine, never ending story with our head & tail, and the whole dialogue between them. Life-energy flowing through our spiralling, reaching, twisting spines.

My dance is drawing inspirations from aikido and capoeira - loving all these spirals up & down, and deep understanding about the role of the center in our movement. Developmental movement patterns and flying low for all the lovely floor rolling-sliding-gliding-fun. Bodywork & massage for softening, surrendering and meeting. Listening our whispering fascias. Spicing up the soup with meditation and authentic movement, to look from inside out - to connect with our emotions, intuition and felt sensations. 

For me dance is always combination of technique and intuition. Form and freedom. Being and doing. I try to find ways to explore and teach technique by understanding the underlying principles of movement, so that we can stay connected to our dance and expression, and learn in the spirit of exploration. Where our curiosity can stay alive, and we can always find new details on the way.

 


 

Usually in order to manipulate our dance partners we use our hands and fingers. Even the latin root the of the word manipulation (manus = hand) suggests this connection, and we tend to grab/ push/ pull using our hands. Open manipulation allows my partner manifold options of reacting. Less habitual points of contact like the inner side of the elbow and knee or the neck can be used to invite our partner in a specific direction.
We will take a lot of time to warm up our joints by a bodywork and prepare them to be open and soft for dancing.
How can a manipulation be soft and inviting? Let's discover the playfulness in a manipulative dance!

 

Angela-Mara Florant

Angela-Mara Florant had her first experience with CI during her performence arts studies in Besançon, France. In 2005 she moved to Hamburg. She teaches several regular contact classes, gives workshops and organizes jams and festivals (NORDTANZ Festival). Since 2015, she is co-director of the dance studio “Triade” in Hamburg. When Angela-Mara is not dancing or teaching contact she is teaching Pilates, directing independent theater productions, choreographing dance pieces (mostly based on CI) and teaching theater and dance to children.

For me CI is an art form. I love allowing my dance to be inspired by the composition of the room.
www.angelamaraflorant.de

 

 

“Let each move evolve from mutual agreement, rather than having an image in our own mind dictate what happens next. Mutual trust is based on uncompromised attention, so let's stay in the present moment.”
Bruce Curtis in “Exposed to gravity

This workshop is dedicated to people wishing to gain a deeper understanding of their interactions. For that purpose, we will engage in setting and partnering exercises that enable us to explore our needs and clearly signal them while composing with other bodies and souls.
Shall I alter my dance so that I fully enjoy it and my partner’s? Can I be listening to my partners when daring new steps? Am I refraining for fear of hurting others?
Aude and Jo wish to call for more freedom in the movement, share the joy of a mutual composition anchored in the present moment, and not let personal history hinder a continuum of rolling, gliding, jumping, lifting and more.

 

Aude Fondard

lives as a dancer/actor, poet and translator. Her first CI evening took place in London, 2009, it was joyful and empowering, but somehow a bit strange. While she trained in contemporary dance in Sydney and Berlin, CI was always nearby and at some point a whole surprising world of sensations and images opened to her.
She worked in multiple productions before creating her poetic performances, indoor and outdoor, combining text and improvisation. Intrigued by the idea of presence and dancing in nature, she attended the 6-month Jinen Butoh School led by Atsushi Takenouchi in 2016/17.
Based in Marseilles since 2018, she stood in for Natalie Hofmann’s CI class We are all Bambi and started sharing her passion for dance. (Inside/Outside influences, Butoh workshop, Rostock Universität, June 2018; Smell & Dance and The landscape and I, CI in nature, Contact Time Festival #4 and #5.)
http://oddinmotion.info/en/home/

 

Jo Bruhn

is a performer, CI dancer, CI teacher, festival organizer.
More than 10 years ago he met Contact Improvisation on his quest to find dance forms he could combine with his shows.
He was fascinated by the universe which unfolded to him with countless layers to focus on.
Especially the flowing way to deal with acrobatic skills and the communication happening through bodies became an important part of his research, work and teaching.
To go beyond CI he took part in the Dance Intensive at Tanzfabrik Berlin.
He has trained extensively with Nancy Stark Smith, Mike Vargas and Britta Pudelko, among many others.
He is co-organizers of the festival “Contact Time @ Steigemühle".
www.jo-bruhn.de

 

 

The breath is our constant companion ... throughout our lives. It adapts to the outer movement and the inner movement. Sometimes we catch our breath, sometimes we slide carried by the flow of breath through the flow of life.
In this WS we focus on breath in dance:
How can I use the power of the breath for my dance?
When is the breath flatter, when is it deeper .... when do we hold our breath while dancing?
How can I deepen the respiratory flow?

Can I connect with myself and my dance partners through my breath?

What quality arises when I consciously invite the breath as my dance partner, play with it?

 

Babett Kaluza

Babett has been working as a dance and movement therapist in various clinics for more than 25 years. She is particulary interested in the meetingpoint of therapy and spirituality. She has been practicing CI fore almost 20 years. To keep in touch with her own power house she teaches Pilates. Since 2004 she enjoys beeing a mother.

 

 

Tango and Contact Improvisation is a fusion of two creative forms of dance. In CI Tango, we play with liberating the tango and enrich CI with new, unexpected and fluid movements as well as closeness and intimacy. This is caused by the surrender to the moment and the presence in the meeting. Beyond rehearsed or planned movements we let ourselves be lead by the whole being. An inspiring enrichment is the courage to clear impulses and directions that enlives the dance. Here's the point: Dancing the fire, the sensuality, the courage to show oneself and to invite a play of forces.

 

Benno Enderlein

Benno studied from 1989 to 1993 at the "European Dance Development Center" of Arnhem University (NL). He has been teaching contact improvisation since 1991 and has been practicing since Shiatsu. For nearly 15 years he has been exploring the interaction of Contact & Shiatsu and the work of Contact in the element of water.
He likes to research and teach at the edge of the Contactimprovisation, as well as Contact Tango, Contact & Shiatsu, Contact Tantra and Water Contact. All these forms, on the edge of the usual contact dance, enable us to recognize habits and to exploit the full potential of our possibilities.
Other focal points are awareness training and the study of meditation techniques, in particular ADVAITA awareness and
LIGHT WORK.
He has been organizing CI dance events for almost 30 years. For 15 years he was co-founder and organizer of the International Contact Festival Freiburg.


 

 

Dieser Workshop erlaubt Kindern mit „gefährlichen“ Dingen umzugehen, mit denen sie normalerweise nicht spielen dürfen – wir gehen über Glasscherben und tanzen mit Feuer.
Wir werden verschiedene Spiele und Übungen machen um Klarheit und Präsenz zu schaffen.
Die Kinder können zum Abschluss dem Festival präsentieren, was sie gelernt haben.

 

Inge Wöllhaf

Inge Wöllhaf - Meine Liebe zu Tanz und Körperarbeit habe ich 1997 durch die Ausbildung bei Keriac entdeckt und durch Fortbildungen in BMC bei Petra Vetter vertieft – seither gehört der Tanz und Kontaktimprovisation zu meinem Leben. Dann habe ich das Spiel mit dem Feuer entdeckt und seitdem spiele ich damit – mit brennenden Feuerketten, Fächern und Springseilen – ich liebe das Geräusch die um mich fliegenden Flammen.
Ich arbeite in einem Waldkindergarten, in dem Kinder täglich im Wald spielen und lernen, es ist mir ein Vergnügen mit Kindern Abenteuer zu erleben und sinnlich Erfahrungen zu ermöglichen.

 

Unterkategorien

Pre-workshops

Der Pre-Workshop wird von beiden Lehrer*innen gemeinsam unterrichtet, also eine*r am morgen und der/die andere am Nachmittag.

 

Intensives

Bitte bei der Anmeldung auswählen.

 

Workshops

Für die Workshops ist keine Voranmeldung erforderlich und sie sind im Festivalpreis enthalten. Auf dem Festival wird überwiegend Deutsch und Englisch gesprochen.

 

Musik