Isolation & Resistance

In many dance forms the management of isolations and body tone creates magical moves. In contact-dancing, we are often one big pile of water and muscles, moving the whole body as one piece. I believe there is more than that. I praise for an intelligent and ever-changing body. Let’s use resistance and isolations to maneuver this dance.
In this class we will develop solo and group dances through touch. From small and sensual off-balances into thick and dinamic bodies across the room. Delicate dances combined with rough impulses will change some of our usual pathways.
We will focus on both the isolation of articulations and the resistance and muscular control in partnering. We will be visiting:
- sensitivity and balance in skin-level contact
- trio, quartet, quintet forms
- the transformation effort into focused support and direction
- pushing the floor from any point
- isolation of a reaching point and its supporting structure
- the isolation of different body parts
- understanding the direction of each touch
- learning to match the tone received through touch
- reading how my partner/s move
- providing a constant awareness of what is moving, what pushes, what resists
- the exploration of counterintuitive support, learningto offer resistance instead of lifting someone

Albert Quesada

My education has been based on contemporary dance and choreography through different schools in Europe (MTD, Amsterdam, PARTS, Brussels).Previously I studied Philosophy and Multimedia Engineering in Barcelona.

I organised and curated contact and impro jams for four years in Brussels. I have taught 'contact dance' in several studios in Brussels, and eventually upon invitations from fellow dancers in other countries (Belgium, France, Austria, Germany, India and USA.).

After my studies I started creating work for stage where both listening and dancing to music, and partnering, have been my main focus.

Since June 2009 Albert has been dancing with the company ZOO – Thomas Hauert. Albert’s work have been performed internationally.“Solo on Bach & Glenn” (2005-2008), “Solos Bach & Gould” (2010), “Trilogy” (2011), “Slow Sports” (2012),“Wagner & Ligeti ” (2014),“Slow Sports Outdoors” (2014), “Slow Sports Kids” (2015), “OneTwoThreeOneTwo” (2015), “VIVA” (2016) .

My current activities are both creating, bringing the interests and passions from my work and teaching into dance Festivals and other educational frames. I work in a very intuitive way with other dancers, and let exercises develop as we move forward in a class or inside creation. I look forward to share my current experiences and develop further my skills as teacher.

http://veraalbert.wordpress.com/alberts-work/

Nighttime jungle

presence perception performance workshop 

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.

This workshop is for all adventurers who want to explore diverse improvisational states of mind, body & voice, and question their assumptions about their performance attitude.

Be prepared for perception-bending & assumption-altering encounters and to to be challenged and annoyed. 

Be prepared for serious amounts of playful fun and enjoying full-on collaboration within a community of equals.

Riding the bull home

improvisation for challenging times 

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

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

In this 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—and practice committing to a resolution. 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 investigate how this impacts our performance attitude and audience relationship.

David Lakein

David Lakeinis an interdisciplinary artist, educator and writer who collaborates extensively with other artists and performs-teaches-researches across the globe / around the borders of theater, dance and performance art. Known for his inquisitive nature, he is a well-respected teacher dedicated to a rigorous and playful un/learning process within the fields of the performing arts and somatic movement training, as well as meditation-bodywork practices. Lakein is a fan of generous discipline and a disciple of intelligent laziness, and deeply committed to research as a creative act and dialogue as a transformational encounter. | www.lakeinworkshops.wordpress.com

Flowing fluids

Our body consists of around 70-80 % of different kinds of fluids like blood, lymph, cellular,.... It is is a system of communication and transformation as the fluids flow through the whole body and transform from one to another. Connecting to the fluids we feel and express what is and we are able to flow with sudden changes without putting extra stress into our system. We are able to find balance between rest and activity. 

Contact Improvisation for tall and small

Contact Improvisation is an inclusive dance form, nevertheless it seems not to be a common practice for adult persons to dance with their or other kids. Why it is challenging for adults and kids dancing together? Different height, different weight, different knowledge...How can we use the principles of CI to create a dialogue between young and old without the kid is telling what the parent has to do or jumping on him/her or the adult using his/her authority to again teach the child the form. How can we find dialogue and improvisation? In this class we are exploring the democracy of this dance form, dealing with the difference in age, heights, weight, knowledge and understanding. We are embracing the differences in inviting patience to listen to and learn and grow with each other. It is a try out how we can dance and play together.

Contact Improvisation ist eine inklusive Tanzform, nichtsdestotrotz ist es nicht sehr normal, dass Erwachsene mit ihren Kindern tanzen. Wieso ist es so herausfordernd, dass Große und Kleine miteinander tanzen? Verschiedene Größe, anderes Gewicht, unterschiedlicher Wissensstand....wie können wir die Prinzipien von Contact Improvisation nutzen, um einen Dialog zwischen Großen und Kleinen zu schaffen ohne dass die Erwachsenen den Kindern sagen, was zu tun ist und umgekehrt. Wie können wir Dialog und Improvisation finden? In diesem Unterricht erforschen wir die Demokratie dieser Tanzform. We gehen mit Unterschiedlichkeiten um, umarmen diese und suchen nach gemeinsamen Tänzen und Spielen. Diese Klasse ist ein Start dafür, wie gemeinsames tanzen möglich ist.

Heike Kuhlmann

I live and work in Berlin as a dancer, choreographer, teacher and Integrative Bodywork and Movement Therapist (DiplIBMT). I am teaching movement and dance for the last 18 years. Especially I am researching in the field of somatic based on Body-Mind Centering, how to use that as a tool for teaching movement and dance as well how it enriches creating performances. In Berlin I am teaching regular classes and workshops about Embodied anatomy based on Body-Mind Centering, Contact Improvisation and Authentic Movement. I am organizing jams, researches and workshops for adults. Especially since my daughter was born in 2008 I am exploring dancing and communicating through dance with her. Since than I am creating spaces for adults and kids to dance and be together. More infos you can find on: www. Heikekuhlmann.net

Fotos: Patrick Beelaert

Contact-Improvisation in Water & on Land

We listen to our inner movements which are born in different “worlds”.
Through waterdance , the “Waterworld” brings memories from very early movement patterns
and qualities, which are basic for our highly developed and very complex movement potential .

“On Land” we will give the body space for the experience of ‘being carried’. The movement arises from
an alive and awakened body-centre, which is ‘dancing’ through all levels in space.
We get in touch with our natural movement power by playing with elements of body-mind-centering, early childhood developmental movement patterns, bodywork & improvisation.

A wonderful possibility to learn & to deepen essential material and skills in Contact Improvisation.

Daniel Werner

Daniel Werner works internationally as a teacher for dance and is teaching Contact Improvisation since 1997. He studied Contemporary Dance at the North Karelia College in Finnland. His movement, being and teaching is also inspired by body-mind-centering, asian movement arts and fascia research.

Also he is involved in the following projects: 

Kabiro Eva Scheller

dances Contact-Improvisation since 1994 together with different teachers from the USA and Europe. She teaches Contact-Improvisation and Hawaiian Massage and has a very much experiance to lead people into their unique movement- and life-potential with love and joy. 
She is organising the osterimprofestival.info and the healingheartfestival.de and she accompanies groups to Hawaii.

 

Bodypainting

Come and enjoy with us the tactile experience of wet paint brushes stroking the skin of your face, smell the colour and enjoy their intensity!

Take delight in observing a picture taking shape on your hand and arm.
To what extent do you want to influence the piece of art that’s emerging on your skin?
Can you try and let go, enjoy your curiosity and wait until you can marvel at the resulting image in the mirror?
How does the colour on your body influence your dance?
How does a painted body change the contact with your dance partners?
How do you feel dancing when you are painted and colourful?
We invite you to share the pleasure of this sensual play with colours on parts of your body!

Please bring clothes you don’t mind getting painted on!

Dancing our Picture

In this workshop, we’ll all gently paint together on one big sheet of paper with our hands and feet, letting ourselves be taken into a dance.

How does working with colour on my feet influence my dance?
What kind of picture emerges if I spread colour on a big sheet of paper as I dance?
How do I feel while co-creating a picture with others in this manner? And how do I feel when somebody is dancing in my picture – or if I am dancing in theirs?

How does it feel like to create and dance together?
Let yourself be taken away by a very special kind of dance experience!

This workshop might colour off, so bring suitable clothes! :-)

Lella-Elayla Heindl

I like to associate Contact Improvisation with meditative mindfulness, maximum attentiveness and the pleasure in the distinct play of the dance.

Since 1984, I’ve been engaging myself in the fine arts, and since 1996 painting mandalas in various techniques has been one of my favourite ways of working.
To join these two passions – dancing and painting – is a particular joy to me, one that I gladly share with others!

Self-employed since 1995, teacher for holistic dance and movement pedagogy, part of Vimprodaco-Vienna Improvisation Dance Company, multimedia art therapist, organising and teaching Contact Improvisation workshops, organising teachers trainings, co-organising contactfestivalvienna 2013*** 


Love in Contact – Contact in Love“
For couples!

How does your relationship influence your dance and how does your dance influence your relationship?
There is a particular kind of closeness and distance at play between the two lovers, so meeting each other in Contact Improvisation can also be an individual form of that play.
Trust, commitment and tolerance are some of the qualities that shape this personal connection.
We’d like to work with these topics during this workshop that is explicitly aimed at couples.
We will explore the ways in which the closeness of a couple can inform the shared dance.

Lella-Elayla Heindl, (AT) & Christoph Grupp, (DE)

got to know and soon learned to love each other at the Contact Festival in Glarisegg in 2011 
We live our everyday lives in different countries and arrange ourselves around a long-distance relationship
As a monogamous couple in the Contact Impro scene we strive to consciously experience how this choice influences our relationship and to share these experiences with each other as honestly and thoughtfully as possible.
We’ve been giving workshops and organising trainings together since 2012

With Humor to new ways

As first we study simple CI-Basics, with focus on Precision, for finding new ways for the Movement. Techniques like “Rolling Point”, “Sliding Surface” and “Glued Body parts” will be practiced independently.

From this Basis, we will go towards Exercises that will „shake“ you Patterns and awake your creativity. Combinations like for example: A want to Roll, B want to Slide. L want to be underneath, M also, etc.

We want Practice the Exercise „siriusly“ with an healthy amount of Humor and Release. Let your Playfulness free, find your own game-roles and let yourself on „travel“ journey with your Dance partner.

For all levels. Your motivation to meet new land is more important than what you already can. A Mix of simple Techniques and Room for Playground :-)

Melanie Seeger

Melanie Seeger lives and works in Freibug as dancer, teaches New Dance and improvisation and is teacher in Kidzdanceprojects. She did her education in TIP (School for new dance, improvisation and performance, Freiburg. She did a two years training in dance and expressive therapy and works in a kindergarden.
Through contact improvisation i am there where i always wanted to be, to work as a dancer. Grateful that i came in contact with this big treasure.

Flurin Kappenberger

Flurin Kappenberger is active as Dancer (TIP in Freiburg Breisgau), Circus artist and Musicians.
Born in Ticino, lives in Bern, Switzerland.
His friendship with Contact Improvisation increased through lots of Jams in the past years. CI its for me a special, very precious Playground to Meet, Move and unfold something from inside. When I play than I m alive … and I live …

Moksha Ganesh

As passionate dancer, bodyworker, movement and consciousness teacher, since the mid-90s I create liberating learning and scope for effortless and sensual experience of Being. Inspired by the diverse artistic and therapeutic systems, I enjoy myself more and more in letting go of all concepts.

www.somaart.de

ImproArt

Movement voice language. Live your potential!

ImproArt is physical improvisation training. Starting from the body and leading us into playful flow without preplanning and concepts. A trip into creativity of movement, voice and words.
The ImproArt - practises open new forms of expression, far away from the pedestrian way of behavior.
In this workshop we play with movement, language and qualities of voice. We will surprise ourselves, enjoy intuitive flow and play together.
An exiting journey into the unknown and unfolding of original personal expression.
For more info about this improvisation-method see www.improart.de

Peter Krempelsetzer

Peter Krempelsetzer, born 1964 in munich, studied theater at the Scuola Dimitri in Switzerland, as well as dance and improvisation. He learned Actiontheater™ Improvisation in intensive studies with the founder, Ruth Zaporah, US, and is certified teacher of this method since 2007.
His improvisational style ImproArt is also influenced by the work with Andrew Morrish, Keith Johnstone, Sten Rudström and Philippe Gaulier.
Peters special interest is in improvisation as a performance-art. In his own productions, as performer he explores and expands the borders between acting, dancing and music.
Peter Krempelsetzer is based in munich and teaches ImproArt, Theaterimprovisation, Contact Impro, Contango, Dancetheater and Performance at the ImproArt improvisation school.
www.improart.de

Contact Basics

We warm up our perception for space, the floor beneath us and the people around us. From there we focus on physical touch and its functions in dancing – how does the point of touch serve us?Orientation and support are the most important aspects that we have a closer look at.

We practice some easy tools of sharing weight, which help enjoying a jam situation.

We enter the beautiful world of playing with shared weight!

Open for beginners and anyone else who wants to focus on the basics of CI.

 

Roland Nordeck (Göttingen/Germany)

I see both movement and touch as valuable forms of human communication, as they can reach beyond the field of verbal expression. I have been practicing CI for about seventeen years and for three years fulltime. I studied contemporary dance in Outokumpu, Finnland. For many years my interest in Shiatsu massage has been affecting my sense of perceptive touch and intuition while dancing. I believe that being seen, being heard and being touched are basic human needs that affect the world of dance a lot. Meeting theese needs with profound listening skills – listening to space, sounds, touch, (...) and rhythm can form the basis of improvisational art. Bodywork and improvisational dance complement my general interest in communication.

Shakya: Sounds & Silence

This workshop is for anybody who knows or has a glimpse of the magic gifts of spontaneous music improvisation: leaving written notes and preset structures behind – opening up to a deeply creative process, letting music happen out of consciousness in the moment..

With a little guided exercise we find grounding in our own body and connect with our senses. We will improvise together with an attitude of open curiosity, meeting each other vigilantly. The permission for all of us, to do it wrong, allows us to leave school traumas and the fear of being judged behind. Life will take us by surprise and unfold itself through us and our playing!

We will experiment with some of the following issues:

Listening - the key to the creative source in us.
Playing without knowing – music out of stillness.
Dissolving ‘you’ and ‘me’ – diving into the flow of music together with other musicians:
Rhythm - the root of connection in yourself and with others.
The courage to do it wrong – playing by following your own impulses.
Fear, shame and insecurity pointing you back to your living presence.
To participate in this workshop you need some experience with any instrument or your voice. It is not suitable for people who want to explore making music together for the very first time.

Shakya Matthias Grahe

Shakya Matthias Grahe plays violoncello, dilruba, guitar, keyboard, percussion and is a singer. Countless performances in classical ensembles and bands of latin, pop, world, new age etc. Live musician for silent films, meditations, dance and other workshops and festivals. CD producer and guest musicians on many CDs. Since January 2015 living in the community and working in the seminar business of Schloss Glarisegg, Switzerland.

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