Für die Workshops ist keine Voranmeldung erforderlich, und sie sind für Festivateilnehmer/innen kostenlos.

Auf dem Festival wird überwiegend deutsch und englisch gesprochen.


Daniela Schwartz & Eckhard Müller : “ The Art of Sharing Weightless Weight ”

In this workshop we will investigate the relation of our body to the "UP" and the "DOWN" in stillness and movement.
We will explore the bone system and its relationship to gravity, as the weight falls through the architecture of the body into the floor, and we project from the ground into the three dimensionality of the space, finding the alignment of each situation. We will investigate the use of the floor, of the architecture of our bodies, of other bodies, the internal/external space, giving our attention to the breath as a tool to invite the active release to happen: into the touch, into the down, into the rising up and into the direction of the movement, all at the same time, supporting each other and the physical communication. Integrating this principles will invite you to be in the present moment, listening to the momentary needs of the bodies moving together, between earth and sky.
Our objective is to offer you tools to find more ease, lightness and freedom in your dance, to be comfortable as mobile underdancer/overdancer while you modulate the weight and tone of your body to open possible ways to relate to someone else.

Eckhard Mueller (Germany/France)

Falling in love with Contact Improvisation in 1988, Eckhard started studying contemporary dance,  including  improvisation and CI at bewegungs-art Freiburg (diploma 93) and with Alito Alessi, David Zambrano, Mark Tompkins, Julyen Hamilton, Martin Keogh, Nancy Stark-Smith, Daniel Lepkoff among many other masters.
Since then, he has been collaborating with various improvisers in research and performance groups to develop his own understanding of “instant composition” as an art form. As a dancer he has worked for choreographers such as Iztok Kovac, Mark Tompkins, David Zambrano. He has been teaching CI since 1994 to professionals of theatres/companies, dance students in academies and non-professionals in dance centres all over the world. For the last 7 years, he has been ‘touring’ in South America, co-teaching with Daniela Schwartz in diverse companies, festivals and institutions. For more than 20 years Eckhard  has been tremendously active to build up  “contact communities” in his home city Freiburg as well as in his new home Strasbourg and supporting others all over the world. He is co-founder of the contactfestival freiburg, a major CI event in Europe. In 2006 he developed SKIN, an interactive performance concept with elements of Contact Improvisation and instant composition. He realized this concept in collaboration with Daniela Schwartz in different cities worldwide, each time with a new group of professional dancers, musicians and videasts.

Daniela Schwartz (Argentina/France)

Dancer, Performer, Improviser and Teacher of Contact Improvisation and Instant Composition since 1998. Graduated in Fine Arts at ESAD, Ecole Supérieure des Arts Décoratifs de Strasbourg. She has participated in different projects, labs and performances in Cuba, Mexico, USA, Europe and South America. Influenced by Martin Keogh, Danny Lepkoff, Nancy Stark Smith, Mark Tompkins, Andrew Harwood, Julyen Hamilton... She has been invited co teaching with Eckhard Mueller in diverse Companies, Festivals and Institutions in South America.  As a member of the dance theater Cie Dégadézo, she co-created «Cabine d’essayage» ,  «Parlez moi d’amour» and has been teaching at Theater Pôle Sud, EMDS Ecole Municipale de Danse, TNS Teatre National, and CIRA, in Strasbourg. Years of jewelery making, objects, textile and fashion studies, video creation, installations, performances, and the different artistic aspects of «the body» informed her physical practice and her intellectual research, questioning the idea of «the human being separated form the world». Lately she assisted Eckhard Mueller to develop SKIN, an interdisciplinary and interactive performance project and realized in many cities worldwide.

Riding the bull home

(day class : 2 x 2.5 hrs)

You’ve stayed open and available, worked hard to follow as much as lead, been careful to neither push nor force, and voilà: Material has been born, themes have developed, and an overarching narrative has emerged…

Now What?
What does is take to reach the final part of your journey?
How do you Ride the Bull Home?

In this advanced workshop we’ll explore how to bring our improvisational material home, looking for end-making in the final chapter—perhaps even in the very last moments of our improvisations—and practice not shying away from committing to a resolution. And we’ll discover how the searching for an organic closure is often an illusion, an unfulfilled desire—regardless of how much it is a natural human longing— and research how this impacts our performance attitude and relationship to the audience.

Through a series of exercises, we’ll investigate how:
- time determines perception of “success” and “failure”
- an alive compositional mind embraces absence and emptiness
- the nature and politics of endings affects our decision-making process

Be prepared to be challenged and annoyed, while enjoying the spirit of collaboration within a community of equals.

Into the night jungle

night class : 2 x 4 hrs (Wed 22:30-2:00 & Fri 22:30-2:30 [or later depending on performance timing])

presence perception performance laboratory

Although it is not possible to plan for transformational moments, we can choose to enter into the realm of mystery. Through humorous lightness and provocative intensity, deep body sensing and expansive imagination engagement, we practice bending our attentiveness towards the resonant present moment. In this unfolding landscape between knowing and not knowing, with our awareness heightened and consciousness expanded, the potential for transformation lives.

INTO THE NIGHT JUNGLE is for all adventurers who want to explore diverse improvisational states of mind, body & voice, and question their assumptions about the performative moment. Be prepared for mental and physical exhaustion, perception-bending and assumption-altering encounters, and for a serious amount of playful fun.

David Lakein (USA / Chicago-Berlin)

He is an interdisciplinary artist, choreographer-director, performer, educator and writer, whose work swirls around the borders between dance, theatre, cabaret, installation and performance art. He collaborates extensively with other artists, and performs-researches-teaches across the globe in diverse venues, festivals and schools. Known for his inquisitive nature, Lakein is a well-respected teacher dedicated to his students and a rigorous learning process. Whether facilitating students in workshops and performance projects or bringing artists together in laboratories or festivals, he is committed to research as a creative act and dialogue as a transformational encounter.

Lakein studied philosophy & literature, and acting and directing in the United States, trained as a dancer and performer in Berlin and Amsterdam, and studied visual arts in Chicago; he holds a BA from Wesleyan University, a BFA from the School for New Dance Development, Amsterdam School for the Arts, and an MFA in Studio Arts from The School of The Art Institute of Chicago.

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Sensual spine

By releasing the energy flow in your spine and by aligning and lenghening the spine we will dive into three-dimensional spacious dancing. We will use elements of yoga, bodywork and simple leaning and moving support exercises. By waking up the vitality and strengh in our spines we can access into animal-like state of alertness and exploding energy as well as sensuality and sensitivity.

Iiris Raipala

Iiris Raipala is a dance artist; performer and teacher living in Helsinki. She graduated in 2004 as Master of Arts in dance from the Theatre Academy of Finland. She has also studied dance in School for New Dance Developement(S.N.D.O.) in Amsterdam and in many workshops around the world. She's been working closely with improvisation and contact improvisation in several performing groups. She is one of the organizers of Goa contact festival and Skiing on Skin -festival in Finland. At the moment she continues her studies as Iyengar yoga teacher. Besides dance and yoga her interests are raw food, osho-meditations and learning spanish.

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Kindern: Feuerworkshop

This workshop gives children the chance handle dangerous things, that they normally not allowed to play with – we walk on glass and dance with fire.
We will have different games and exercises to create clarity and presence.
There will be a performance in the end!

Inge Wöllhaf

My Love to dance I discovered 1997 through work with Keriac and deepened it with two Years of BmC - since than dance and contactimprovisation belongs to my live.Than I found the fun playing with fire. Since then I play with different firetoys like firechains, fens, rope skip etc. - loving the sound of flying fire.
Working in a nursery school, where children play and learn in the forest every day, it is a pleasure for me to have adventures with the children and sensual experiences.

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 - 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.


"Saftiges Zentrum" in der Kontaktimprovisation

In diesem Workshop werden wir unsere Bäuche erwecken und die Weichheit und Flüssigkeiten in unserem Zentrum zu erspüren.

Auf einer Reise zu unserem Verbindung zu anderen "Zentren"...werden wir mit den saftigen Fluss im Contact erforschen in eine offene Improvisation .

Alle Level willkommen!

Kabiro Eva Scheller , Deutschland

Tanz- u. Contactimprovisation seid 1994, Practitioner & Lehrende der Hawaiianischen Massage & Körperarbeit, Festival-Organisatorin:

Osterimprofestival, (D), (Hawaii)

Practiziert aus vollstem Herzen Tanz, Körperarbeit & Beratung.

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What about threesome..?


I love trios...!

...And I am very curious to explore dynamics and possibilities of contactimprovisation in trio-form. How to support, let go, follow in trio?
I am using a lot momentum and spirals in my dance, and especially in trios I find this very useful and fun to play with. How we can create space and air in the trio, but still stay connected?
When to enter and exit into contact? How to read the pathways and be a bit ahead in my choices and directions? What supports the situation, and what actually distracts the dynamics and
logics of the trio?

Simply - Welcome to play and have fun threesome!


Katri Luukkonen



Katri Luukkonen  is a dancer and danceteacher from Helsinki, Finland. She graduated from Theatre Academy of Finland 2008 (MA). She has been teaching at various contact- and dancefestivals all over Europe, Russia, India and Finland. As well as ”SkiingOnSkin” the finnish contactfestival, she is also one of the organizers of "GOA-Contact Festival" in India and "InTouch"-festival in Berlin. Besides contactimprovisation, contemporary dance and theatre, she has been practicing aikido and yoga, OSHO's active meditations and authentic movement.

Katri sings like an angel, looks like a spiralling carrot, smells like Vanilla Tiger, and feels like soft heaven. She is sweet girl, who has spontaneous and passionate relationship with her surroundings, and her inner child is alive & kicking.

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Moving into Writing ? Writing into Moving, If our gut were to speak…


Duration: 2 – 2:30 hours

Language: English and German (I can teach in either). I also speak Spanish, French and Portuguese

Basic description: This workshop integrates elements of improvisation and creative writing. Through movement explorations we uncover words, worlds and stories, organically connecting dance and writing. No dance or writing experience necessary, simply the desire to move and put pen to paper.

Class description: The warm-up begins with breath and the five healing sounds from Taoist Qigong, which I have been using in my Moving into Writing classes as a way of bringing in sound, body-awareness and emotional awareness. As we sound, we focus on a specific organ while encouraging the release of a specific emotion associated with that organ. We then invite in the corresponding color and positive emotion of this organ (i.e. for lungs we sound “ssss”, release sadness, bring in the color white, and invite courage.) The warm-up continues with an open movement exploration, focusing on one of the organs and its associated sound. (I am thinking that we perhaps work here with the liver since in Chinese philosophy/medicine, the liver is associated with spring. If it is warm enough, it could be nice to do the warm-up outside on the grass.) I finish the warm up by guiding participants through a variety of ways and qualities of moving (i.e. light-easy movement, circular movements, stretching, shaking, etc.). I often integrate the basic developmental patterns into the movement warm-up.

The movement warm-up is followed by a 5-10 minute free write.

Body-mapping: We create a drawing, or map, of the body based on a guided scan of the body. (This may also be done in partners with the aid of touch.) For each body part that has drawn our attention and which we have drawn in some form on our map, we write down several adjectives and verbs. From our map, we choose one or two parts (and words) to focus on for a movement study. We then engage in a more focused write (with the option of returning to moving when we want.) We share our movement studies with partners and do a creative write inspired by our partner’s movement. To end the workshop participants show their work—a combination of their writing and moving.

If there is time, I will include in this mix, a 5-10 minute write around spring, green, east.


Liz Erber



Liz Erber is an interdisciplinary artist/performer whose body-based works integrate elements of dance, theater, writing, music and/or video. She performs regularly in her own works, in collaboration with others, and as an improviser. In addition, she teaches various types of dance and improvisation to both children and adults, and is currently teaching classes in moving-writing and contact improvisation in Berlin. For the past decade Liz has worked professionally as a writer, proofreader/copyeditor, and Brazilian Portuguese to English translator. She holds bachelor's degrees in chemistry, dance, and drama(theater).

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Verspielte Physik

Ich glaube Robert Anderson hat das Wortspiel "Verspielte Physik" etabliert. Es beschreibt am Besten die Verbindung zwischen anatomisch orientierter contact Technik und spielerischen Umgang mit der Technik. Die Verspieltheit ist für die Technik wie die Seele/Geist für unseren physischen Körper. Durch den spielerischen Zugang wird der Körper schneller und intuitiver neue contact Techniken lernen.

Markus Hoft

Mir war es wichtig neben Contactimprovisation meinem Körper eine zeitgenössische Tanzausbildung zu gönnen, um mit Improvisation und Technik gleichermaßen spielen zu können (Moving Arts/Köln, SSCD/Dundee). Durch jahrelanges Training fließen Elemente aus Yoga/Pilates, Actiontheater, Tango und Capoeira in meinen Unterricht mit ein. Besonders am Herzen liegt mir mein körperfreundlicher verspielter Zugang zu Contactimprovisation. Neben Unterrichten ist es mir wichtig zu Choreografieren und selbst mit Tanz/Contactimprovisation aufzutreten. Mehr über mich auf:



Das getanzte Seelenbild


Musik, Berührung, Farben, Bewegung, Tanz
Rücken an Rücken und Fuß an Fuß im Kreis sitzend und aneinander gelehnt, bewegt sich beim Zeichnen die Gruppe als verbundene Einheit. Die Bewegung der Hand folgt den eigenen Bewegungsimpulsen und greift auch die Bewegungsimpulse der Person die am Rücken lehnt auf. Gezeichnet wird zu Musik auf einem Transparentpapierblock. Nach einer Weile wird der Block mit der an den Rücken gelehnten Person ausgetauscht und ein neues transparentes Blatt wird über die bereits vorhandene Zeichnung gelegt. Die Blöcke wandern im Kreis. Es entstehen Bildgeschichten auf jedem Block, die am Schluss ausgelegt werden und in freie Bewegung und Tanz übertragen werden. Jede/ jeder tanzt die Geschichte zu seinem Ausgangsbild.


Mela Maresch


*1965 in Wien, Studium Kunstgeschichte, Stipendium am Museum of Modern art New York, Fortbildung zur Kunsttherapeutin, Training in systemischer Aufstellungsarbeit, Fortbildung für Tanz- und Bewegungspädagogik.
Kunstvermittlerin an der Kunsthalle Wien und am Essl Museum, Kunstprojekte im öffentlichen Raum in Kooperation mit dem Verein Wiener Jugendzentren, dem BMUK und dem ÖKS.
Wichtige Erfahrungen für mich waren: längere Reisephasen in Indien, der Türkei und Israel, die Geburt meines Sohnes, das Eintauchen in die Malerei, die Endeckung der Familienaufstellung und die Begegnung mit CI.

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Incantation Voice & Body Impro

The term derives from Latin "incantare" (tr.), meaning "to chant (a magical spell) upon," from in- "into, upon" and cantare "to sing"


The INCANTATION voice workshop is an insight into the power of the voice as an expressive and performative tool as well as a transformative healer.
Through vocal improvisation on the bases of Chant and Song, we will re-connect the voice and the body through a series of vocal & physical exercises that aid us in understanding our personal connection to our voices and to listen more closely to others. Circle sounds and song, words and gesture, tuning through an evolution of voice exploring primitive dialogues from breath into Glossolalia, through to more structured forms such as text on the one hand and song on the other forms of singing and chanting techniques from plainchant to polyphony as improvisation structures to create our own contemporary song and modern folk dance.

The investigation seeks to discover how chanting or singing is relevant to contemporary culture, personal stories and how the body supports the release of the voice in a supportive environment. We would like to create a voice orchestra to perform during the festival


Moss Beynon Juckes


2011: Moss Beynon Juckes (UK/BERLIN) is a performing artist and music maker.
She received her BA in Dance, Theatre & Live Art in Roehampton University, London in 2006. She has been working internationally for the past 5 years on projects that bridge the disciplines voice and body, performance art, theatre, contact-tango, and music. Her work searches for a personal politic, the boundaries between tradition and autonomy and cultural identity. A reoccurring area of study looks into how the body and voice evolved and how this is relevent to theatre training and performance making .She is presently touring the "Incantation: Body & Voice Workshop" and “Acting on Sound and Space” with Javier Cura and has been invited to teach at Hlasohled Voice Centre, Prague. Universitat der Kunste Berlin at Universitat fur Musik und darstellende Kunst Wien,Torino (Teatro Orfeo/ Molecole/Atelier Teatro Fisico), Roma (Societas Artepetia), Helsinki, Strasbourg (Pole Sud), and Paris. Performance Credits include Back to Black with Meyrick Kaminski at the 48 Hour Neukoln Festival. Home Sweet Home Performance Art Festival, Werkstatt der Kulturen, Berlin. Tour Eu Balkans with The Folkloric and Artist Troupe of Dhalaristan. . Minimal TangoPerfomance at Divadle na Pradle, Prague. Lo Sguarda Sospesoat Notte Nera Festival.; . Video Link for workshops:

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