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.


 

 

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.

 

Authentic Relating Games are a collection of experiences that give dancers a hands-on taste of both the joy and skills of interpersonal connection. The Workshop will take you through a series of interactions that are designed to:

Highlight and train body awareness
Create a sense of connection
Boost empathy
Strengthen community and a sense of belonging
Be fun!

I invite you to listen and reflect in realtime, to share your emotional state, to notice and reach into your desire, and to become self-aware within connection.
We will put this practice then into our contact dance and see how it shapes our experience of the dance..

 

Irina Trippel

Irina is a cultural pedagogue, dancer and networker born in Kirgistan, based in Freiburg. Her passion goes for collaborative projects that connect meaningful interaction with the body as an artist, group sharing practices and various body-mind connecting practices.
To unite the necessary dialogue between feeling and thinking, experiencing and reflecting is a major interest of her.
She is practicing and researching within the field of human body language since 8 Years. Her bachelor thesis „Contact Improvisation- percieving, moving and creating in relationships“ brought her a deeper and wider understanding of the origin of the form. The future potential of the form inspires her massively to contribute to its continues shaping.

 

 

This Jam is empowering you to become one with your sensations and body intuitions. Having the ears under water You will connect with your inner body wisdom and release the present tensions with movement and sound.
The sensation of floating and being one with the water, the freedom of moving without gravity and the extreme relaxation are some of the amazing experiences of this Jam.
We will dance in Solo, float each other and have a score so that the Jam feels safe and fun for both the unexperienced as well as experienced water dancers.

After your water experience you can keep the graceful flow in the Jam of the Studio and apply & explore for example the waves of the air as a supporting element.

Noseclips will be available.

 

Irina Trippel

Irina is a cultural pedagogue, dancer and networker born in Kirgistan, based in Freiburg. Her passion goes for collaborative projects that connect meaningful interaction with the body as an artist, group sharing practices and various body-mind connecting practices.
To unite the necessary dialogue between feeling and thinking, experiencing and reflecting is a major interest of her.
She is practicing and researching within the field of human body language since 8 Years. Her bachelor thesis „Contact Improvisation- percieving, moving and creating in relationships“ brought her a deeper and wider understanding of the origin of the form. The future potential of the form inspires her massively to contribute to its continues shaping.

 

 

To me lifts and jumps are a fundamental part of Contact Improvisation. A lot of my research went towards the question how these movements can happen effortlessly. Rather with momentum than with muscular power.
Another field of interest for me is the balance between precise technique and the free flow of improvisation.
In this workshop I want to share some of this with you. We will deal playfully with gravity, momentum and the joy of falling.
The workshop is open to all levels, some experience is recommended.

 

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 one of the organizers of the festival “Contact Time @ Steigemühle".

“I like to surprise myself and others in my dance by spicing it up with spontaneity and a bit of humor”.

www.jo-bruhn.de

 

 

In this class we will explore relationships between our senses & our dance. How do I experience the dance? And from where do I experience it?
Using principles and skills from Contact Improvisation, we will particularly work with touch and vision (proprioception) to enter new ways to respond to stimuli from the inside and around us. We will playfully explore how our senses can inspire and influence our dance and learning.
Dancing alone and with others, we will work with observing and being observed, as an active and engaging tool for our improvisation.

 

Jori Snell

is a physical performing-and visual artist from Holland/Denmark (1972). She works as a freelance performer, improviser, director and teacher in Europe, transforming her training in physical theatre, contact improvisation (CI), butoh/martial arts and visual arts into a personal language. Companies she has worked with are: Odin Teatret (DK), Teatret OM (DK), Corona la Balance/ZeBU(DK) and Panthéâtre (Roy Hart Theatre, FR). Between 2008-2016, she was based in Cape Town, South Africa, creating works for/with companies such as FTH:K & Ubom! (Physical/Visual Theatres) and Remix Dance Company (Mixed Ability Dance). She initiated and sustained the CI scene in Cape Town. Her inspiration in CI and Improvisation has come from Kirstie Simson, Bo Madvig, Lucia Walker, Ray Chung, Nancy Stark Smith, Scott Wells and Andrew Harwood.
In her work she aims to bring alive an authentic expression in body, mind and space, moving between physical theatre, dance, myth, & poetry with a love for visual magical image-making.

 

With partnerwork in warm water our system opens and let go.Through floating & waterdance , the “Waterworld” brings memories from very early movement patterns and qualities, which are basic for our highly developed and very complex movement potential.
Through melting deeper into the fascia liquidity in water , we connect in a collective web and intensify our feelings and sensations.
Please bring : noseclip, goggles and towel.

 

Kabiro Scheller

teaches and practise Hawaiian Healing Massage, Body-Awareness ,Yoga, Counseling and Contact-Improvisation since over 15 years.She has a very  joy- and truthful way to lead people into their unique movement- and life-potential. She dances Contact-Improvisation since 1994 together with different teachers from the USA and Europe and is organising the OsterimproFestival and the HealingheartFestival and she accompanies groups to Hawaii.

 

Daniel Werner

works internationally as a teacher for dance and somatics since 1997. He studied Contemporary Dance at the North Karelia College in Finnland.Essential influences for his work come from Body-Mind Centering, Fascia Research, Satsang, Somatic Experiencing, NARM and living in nature and community.He loves creating evolutionary and conscious spaces to facilitate learning, development and celebration.He is the Co-director of the CI Training Program in Tanzfabrik Berlin. www.dancecontact.de und www.bodymindpresence.de

 

 

Every dance exists only in the present. A one-time event, irretrievable and yet it creates a trail. Visible it is only for the moment and in the next second already invisible again. Often, this invisible trace still lingers within us for a long time - we can feel it - perhaps even dancing it again with pleasure in our mind.
In this workshop, we let our dance / movement traces become visible with colorful colors. So that we can then consciously look at them and through this visual level take them deeper into us. Our dance will create a great picture in which we can rediscover the uniqueness of each individual.
After experiencing and watching together, we will go into silence.
To look again at the whole, to see into oneself and to express for oneself the own experienced trace on a separate paper.
It is not about creating a work of art that pleases and appeals to a recipient, but about following one's own inner path, which is completely devoid of value and requires no artistic talent.

 

Linda Maria Tinsobin

Linda Maria Tinsobin has been teaching and danced (on stage) different dance styles for over 15years. In particular, the health-preserving and health-promoting aspect of movement and dance is one of her favorite fields of research. Whereby she means physical, as well as psychological and, above all, emotional health. "It's all interwoven." Her research is accompanied by a curiosity for a mindful language, attentive listening and conscious observation. The love of curious, value-free encounters at eye level shows up in her creative projects with people of all ages.
Dancer | Choreographer | freelanced Artist | AwakenBody and BeHold accompaniment | Malspiel server with training at Arno Stern | Dipl. Aviva-Method Trainer | Advisor for natural baby care - "conscious parents-conscious children" | 2 times mother | life-researcher.

 

 

Together, we'll pick a favorite song from you, work on a storyboard, find dance moves for the dance scenes, film, cut the movie, and add all together to create your very own DanceMusicVideo.
It would be fantastic if you tell me in advance your favorite song. Simply short title and artist by mail to: litiensemble (at) posteo.de THANK YOU!
(At) = @

 

Linda Maria Tinsobin

Linda Maria Tinsobin has been teaching and danced (on stage) different dance styles for over 15years. In particular, the health-preserving and health-promoting aspect of movement and dance is one of her favorite fields of research. Whereby she means physical, as well as psychological and, above all, emotional health. "It's all interwoven." Her research is accompanied by a curiosity for a mindful language, attentive listening and conscious observation. The love of curious, value-free encounters at eye level shows up in her creative projects with people of all ages.
Dancer | Choreographer | freelanced Artist | AwakenBody and BeHold accompaniment | Malspiel server with training at Arno Stern | Dipl. Aviva-Method Trainer | Advisor for natural baby care - "conscious parents-conscious children" | 2 times mother | life-researcher.

 

 

This workshop invites you to explore how a conscious acknowledging of seeing and being seen can free us from the pressure to achieve. Let’s play some games in which we can embrace being looked at and seen as we dance, well as our own looking and seeing. Find a place where the constant duality of performing and being performed for becomes playful. Or becomes meaningless. Find different ways and shades of looking, being with, seeing, being seen. Ignoring, accepting, embracing.

Mara and Rudi like to dance in an atmosphere of trust. To source from an non-judgemental spontaneity, in which simple is enough, and the mess is lovingly danced through.

 

Mara Natterer

Mara started dancing at young age, first classical ballett and later on contemporary dance and improvisation. She studied Community Dance at the Laban Institute in London, and has worked in community dance projects with different groups of people in England, Spain and Brazil.
In Brazil, Mara fell in love with contact improvisation, on earth and in water. For her, CI is a way of encountering herself and her environment, of falling into presence, learning to act from a sensed reality and practising the art of relating. For three years she has been part of an intentional community project based on the common practice of CI and Improvisation in Spain, called The Monastery.
Mara lives in Switzerland, where she teaches movement and organizes Jams and CI research labs. Currently she dances in a performance project with choreographer Gisa Frank together with Rudi.

 

Rudi Natterer

During his studies of philosophy, at age 21, Rudi Natterer encountered CI and Capoeira. A short break from University in order to focus on dance and somatic practises turned into a four year full time training at SEAD, Salzburg Experimental Academy of Dance, where he became acquainted with various contemporary dance techniques.
His mixed-style background ranging from basketball and freestyle rap to baroque piano music is currently blending with his professional dance training, informing an ongoing research of embodied experience, musicality and expression as well as their facilitation.
The practice of CI has served as a laboratory in Rudi’s life for the past five years. It is a place and space where both individual and social dynamics manifest themselves. Where they can be researched, experimented with and be worked on. It is a place where a flux of embodied relationships is possible and observable.
Rudi currently works with “Dschungel” (Vienna, Austria) and “Het Paleis” (Antwerp, Begium) on a theatre play for adolescents called “PLAY!”, as well as with “frank-tanz” (Switzerland) on a dance performance on the impact of changing social dances on how people interact.

 

 

In this workshop we explore solo movement and contact improvisation using elements inspired by Body-Mind-Centering as a point of departure. We experience our center and our limbs as well as their relationship to each other through movement and touch as a basic organisational principle of the moving body. We investigate our resting and moving bodies and how they relate to gravity as well as to different objects and subject in space and time. Through somatic explorations and pathways we deepen our understanding of ourselves, others and our contact improvisation practice.
Every body and every starfish welcome!

 

Marielle Gerke

Marielle discovered her passion for dancing – especially for Contact Improvisation in 2012. Since then she is continuously fascinated by this unique and exciting danceform. In her practice as a dancer and teacher the exploration of developmental movement patterns described by Bonnie Bainbridge Cohen, principles of leading and following over the soft tissues of the body and water work are very useful and exciting. She is interested in exploring anatomical structures in hands on work and while dancing.
Marielle assisted twice Daniel Werner's and Joerg Hassmann's CI Training Programme in Berlin. In Witzenhausen she organises the weekly Contact Impro Jam together with Katja-Bahini Mangold and teaches Contact Improvisation in regular evening classes, different workshop-formats and on various Contact Impro festivals in Germany and internationally in Austria, India and Portugal. Since 2016 she is also teaching in the school for contemporary dance Sozo Visions in Motion in Kassel and is involved in a couple of different performance projects. She is investigating somatic practices such Body-Mind-Centering and the Axis Syllabus as a point of departure for solo movement and Contact Improvisation in water and on land.

 

 

In this class we explore our movement options – alone and together – as well as Contact Improvisation in the pool. First we make ourselves familiar with the new surroundings of the water and take some time to arrive there, to hang out in the water, to breathe, to sound, to fall, to relax, to sink to the bottom of the pool, to let us being carried by the water, to dive in and out and to float ourselves. In partner work we explore moving in the water with the least necessary effort, transitioning from vertical to horizontal and vice versa, expanding and condensing. One is moving - one is listening, supporting and witnessing. Then we will ask ourselves, how we can bring this partner work into a little dance and how that dance can be informed by our Contact Improvisation practice on land. What works here in the water and what does not work? How can we communicate non-verbally in the water? How can we stay in touch and find directions together? Can we give each other support and resistance?
Bring bathing suit, bikini, wet suit if you have, noseclip, goggles, towls. I will bring extra noseclips to buy or borrow for 5 €.

 

Marielle Gerke

Marielle discovered her passion for dancing – especially for Contact Improvisation in 2012. Since then she is continuously fascinated by this unique and exciting danceform. In her practice as a dancer and teacher the exploration of developmental movement patterns described by Bonnie Bainbridge Cohen, principles of leading and following over the soft tissues of the body and water work are very useful and exciting. She is interested in exploring anatomical structures in hands on work and while dancing.
Marielle assisted twice Daniel Werner's and Joerg Hassmann's CI Training Programme in Berlin. In Witzenhausen she organises the weekly Contact Impro Jam together with Katja-Bahini Mangold and teaches Contact Improvisation in regular evening classes, different workshop-formats and on various Contact Impro festivals in Germany and internationally in Austria, India and Portugal. Since 2016 she is also teaching in the school for contemporary dance Sozo Visions in Motion in Kassel and is involved in a couple of different performance projects. She is investigating somatic practices such Body-Mind-Centering and the Axis Syllabus as a point of departure for solo movement and Contact Improvisation in water and on land.

 

 

Improvisation will be the focus of the work. Attention and awareness our base. Touch and phisical contact will give us the opportunity to open our body-mind to new dynamic of movement and dance.
I will offer some ideas and images coming from my background in Meditation, Butoh and Taoist view of the human body. We will have a lot of space to explore how meaningful could be our Contact Improvisation dance.
For peolple with a experience in CI.

 

Mario Ghezzi

Movement and Contact Improvisation researcher, Yoga Teacher and Chinese Medicine Practitioner.
He had the luck to study with great dancers and teachers like S.Paxton, N. Little, L.Nelson, J.Hamilton, K.Simson, E.Karczag, A.Takenouchi and many others.
His personal research in movement and improvisation is influenced by experiential anatomy, Chinese Medicine, Meditation, Tai Chi and Butoh.
As dance/movement teacher he's interested in discover our personal ways of dancing and performing.
Mario is a co-organizer of ItalyContactFest, italian festival of Contact Improvisation.

 

Breathe, sense, listen, move, play, get dirty, be alive!
We start by focussing on sensation and with a playful and explorative mind we get in touch with all sorts of natural surfaces: bark of trees, soil, deadwood, twigs, brown leaves, green leaves, human beings, stone, ...
We partly work with closed eyes and explore different qualities and dephts of touch - meeting a surface softer or harder, deeper or more superficially. Based on this we have a look at dynamic dance principles in relation to surfaces - like direction, friction, support, impact and supsension. How can we playfully use different Surfaces of support at the same time? Can we dance up in the space between a tree and a person? ...
We dance and play with, on, under and between, different natural structures.

 

Roland Nordeck

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.

On the Foto: Roland Nordeck and Christoph Schütz.

 


 

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

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.

On the Foto: Roland Nordeck and Christoph Schütz.

 


 

In this class I will share my research on finding, giving and taking direction. I began this research because I was interested in managing states of disorientation, spelling from those reflexive movement patterns that can sometimes spiral into whirlpools.
We will begin by slowing down to notice how we orientate and navigate in and out of spiralic patterns. We will then attend to the momentum and direction of the falling weight, playing in duets and trios, with how much support we present and take away. Finally, we will take a clearer sense of momentum into travelling scores, using anchors in space to provide structure so that we can voyage with intention and invite partners on board.

 

Rosalind Smith

Rosalind (UK) is a Dance Artist and Somatic Practitioner. She creates performances and installations inspired by her work with Contact Improvisation, Authentic Movement and Experiential Anatomy. The textures of moving outdoors and being in water also inspire her, no end. She has a Masters in Dance Creative practice and a BA(hons) in Fine Art & Choreography.  She has been practicing CI for 10 years since encountering it as a student at Dartington. She now teaches internationally and at home, for the CI Community she has established in Snowdonia, North Wales. Rosalind is also a Yoga Instructor and Shaw Method swimming instructor, combining the Alexander technique. 
www.rosalindholgatesmith.com

 


 

With the introduction of the Cranio Sacral System we get in contact with the movement and flow of the spinal fluid and the ‚puls of life‘.

After creating an open and receptive presence within us, we give space to the system of our partner. By diving into the fluid realm of the body and the divine potency we are connected to the body intelligence and the force of self healing and self regulation.
Through listening and staying present with an loving attitude we support each other  to more lightness and connectedness with oneself and others.

 

Sus Palm

is a dancer in the field of contemporary dance, dance-improvisation, contact-improvisation, butoh and capoeira. She also studied movement-therapie, Cranio Sacral Balancing, Body-Mind Centering and Hawaiian Bodywork.
After creating dance-pieces and performances with various dancers and artist for 10 years she is teaching at the academie of fine arts in Ulm Germany and other places. Her main interest is in movement-research, body-systems, the individual expression of body-intelligence and its performance in the moment.