moscow dance agency



Moscow Contemporary Dance Summer School "TSEH" took place in Moscow from 19.07 to 8.08 2004. The school was run in three phases: I phases 19 - 24.07 II phases 26 - 31.07 III phases 2 - 7.08








The school was supported by The Ford Foundation, French Embassy in Moscow, French Cultural Centre in Moscow, AFAA, Swedish Cultural Institute, Swedish Embassy in Moscow, The Suitcase Fund of Dance Theater Workshop, with support from the Trust for Mutual Understanding, Dansstationen (Sweden), The British Council.
Timetable and additional information will be available at the end of May.
Darya Buzovkina (Moscow) - technique, Kinetic; more info
Tatiana Gordeeva (Moscow) - technique, Kinetic; more info
Konnikova&Albert (Moscow) - "Flow Low and in Contact", PO.V.C.TANZY;more info
Emmanuelle Gorda (Moscow)- technique, PO.V.C.TANZY;
Andrey Andrianov (Moscow) - composition;more info
Nikolay Schetnev (Arkhangelsk) - contact improvisation;more info
Egor Rotov (Ekaterinburg) - yoga;more info
Yana Tumina (S.-Petersburg)- lab, Russian Engeneering Theatre AKHE; more info
Alexandr Kozminykh (Moscow) - taichi;
Vicky Shick (USA) - technique;more info
Jess Curtis (USA) - contact improvisation;more info
Nicholas Leichter (USA) - funky jazz;more info
Anouk van Dijk (The Netherlands) - countertechnique&lab "Stau";more info
Michael Jahoda(The Netherlands)- Muller technique;more info
Niina Wollny(The Netherlands)- countertechnique; more info
Serge Ricci (France) - technique;more info
Maria Naidu (Sweden) - Muller technique; more info
Ian Mwaisunga - East-African dance, Tansania; more info
Juliette Omolo - East-African dance, Kenia; more info
Roger Masaba - East-African dance, Uganda more info
teachers from UK


Darya Buzovkina, Moscow, Kinetic&Darya Absolute
release technique


release teachinque
"The class will help participants to gain awareness of their body as a whole structure and assist in revealing their inner potential. It will influence their search of new ways of motion by using imagination and mental processes. It may also be useful in any dance style."
Daria Buzovkina is a dancer, choreographer and teacher based in Moscow. Daria started her dance career at the age of 6 in "the Pioneers Palace" in Moscow. She studied dance at the dance studio of the house of Culture ZIL, at Sretenka dance school and at Moscow Ballet Academy (1993-1998). Being the student of the ballet academyl Daria performed in the play "More Van Gogh" in Moscow Tabakov theater. After graduation she worked in the State Kremlin Ballet for 6 months. She joined the project "Kinetic" in 1999. Since then Daria has participated in all the perfomances and festivals. Her own original works were used in the perfomances "One Second Hand","The list of illusion", "Qu'est qu'une ulve?", "Not There", "There, where jasmin never stops blossoming", "The Nest of Choou", "Nails" and "Double Mixes".
She participated in the project of young independent choreografers and worked with the company "P.O.V.S.TANZE" in Moscow (2000). Since 2000 she has been teaching contemporary dance in the Moscow Shamber Ballet. Her own works include a solo works "Just..." and "Itself" ), a trio-project "Thirdly" for Chamber Moscow ballet , Expary Date, duos "Consisting of them" and "Snow" with dancer and choreographer Taras Burnashev from "P.O.V.S.TANZE", "Always as now". With her own project Darya has taken part in the festivals: TSEH, Moscow 2001 and 2002, Evolusioon, Tallinn 2002, The International Festival, July 2002 and D'Est en Oues, Paris Dec 2002, Dublin Fringe Festival, Irland 2002, International Festival, Gomel, Belarus 2002.


Tatiana Gordeeva, Kinetic, Moscow


"My class has been built up on the base of contemporary, modern and release workshops' experience, as well as broad stage practice including work in the Kremlin ballet for 9 years, in Sasha Pepelyaev's Kinetic for 8 year and 4-year teaching; and as a result of my own exploration and research. The biggest emphasize of the lesson is directed to design the relationships between mind and body and quest for an effective and efficient use of the body energy. The lesson includes simple exercises which can serve as a platform for practicing any principals of any dance styles. Those will be followed by more complicated dance phrases where such principles as reason and circumstance, fall and balance, travelling in the space, inertion and weight and coordination of jump will be persuaded."


Konnikova&Alberts, PO.V.C.TANZY, Moscow
"Flow Low and in Contact"




Andrey Andrianov, Do-Tanza, Moscow




Nikolay Schetnev, "Another Dance", Arkhangelsk
contact improvisation




Egor Rotov, Ekaterinburg




Yana Tumina, Russian Engeneering Theatre AKHE, S.-Petersburg


Born in 1972 in St.Petersburg. She has graduated the Theatre Academy in St.Petersburg and magistrate for directing and actor teaching. She works as a theatre teacher in the same Academy and as actress in theatre AKHE.
She takes part in all works of the group since 1996 and helps with connecting her classical experience with AKHE's experimental forms and adapts the group's ideas to dramatic directions. Jana,like Pavel Semtchenko, works also with different groups as an actress, theatre teacher, director.


Juliette Omolo


East-African dance
my class will be as follows, the basis of it is traditional ethnic dances from kenya and these are varied, but all of them have a grounded stance meaning the feet are mostly well planted on the floor. most of these dances i will show will have a lot of shoulder work, waist,some head and chest movements. african ethnic dances were mainly communal and were created from their everday experiences and also from what they were taught by their elders from their histories and also from stories told to the young and old alike. my idea for the summer school will be to start from basic movements and then seeing how they can also grow



Ian Mwaisunga


East-African dance
Dance is an universal language expressed by the body through various extra ordinary body movement. When we speak about East African dance it also signifies events. In Tanzania we have more than 125 tribes, and all the tribes have their own traditional dances and culture. The dances normaly take place in different occasions. e.g. Marriage, rituals and before and after war. Mostly when dancing we use flat feet and really bend low, some hit the ground very hard. This definately tells us that most of the East African traditional dances have big contact with the ground.
I would like to explain a little about my class.
1. It will start with a warm up of the whole body because the African dances use almost all parts of the body.
2. I will give African dance movements diagonally across the floor. This will make the students get to use the movements and even make them learn phrases easily and fast.
3. I will teach dances from South Eastern and Central parts of Tanzania. Here are the explanations of the dances i expect to teach.
(A) NGOKWA This is dance from Southern Tanzania. It comes from a tribe called Wamakua. The origin of this dance is a ritual where people pray for rain during drought. But nowadays due to changing times people have changed it to acelebrational dance since they no longer believe in rituals although some still do. It is celebrated during Eid El-Fitir; this is after fasting during the holy month of Ramadhan
(B) MALIVATA This dance is from South-Eastern Tanzania. It comes from a tribe callled Wamakua. It is performed during celebration for example: after a good harvest, during initiation rites and during other happy events and moments.
(C) MAWINDI This dance is from central Tanzania. It is from a tribe called Wanyaturu. Its aim is to push people to work because without work there is no life. So, this dance is performed during a work process or after a big job has been done as an encouragement hence it is a work dance.
Ok Nadya i hope this what you wanted i will send you picture soon I am in the process of sending to you bye see ya soon.



Roger Masaba


East-African dance
Traditional dance is a kind of dance structure that was and is still a part of a social way of life of a community in a liturgical sense so to say.
In Uganda there are about 53 tribes,and they perform a range of dances thus a tribe could have about 4 to 5 dances in thier cultural structure,and these are performed for and at specific events.This has to do woth realistic moments in real life,such as death birth,marriage,war courtship and initiation wrights.Some of these events still exist some dont.
CLASS PREP. I will give a warm up to prepare the body for the traditional type of movement which will involve striking the ground with the feet which is contact,and the twisting of the body and the waist for the body and placement of the arms and controlling them as well. There will be a stretching involved as it is inportant too for the muscles.
Traditional movement has a tendency of alteration,alternating,and seperation all happening at at the moment. I will introduce the technique of exploring the depth of feeling while performing the movements.This will guide them to find individual moments of the feeling once the technique has been aquired.
Ding ding is a dance that originated as a sign for recognition by the youth female,to express energy and beauty and draw the attention of the youth male,in the northern Uganda.
Amagunju exists because this dance was started when the king took a new brand of local brew at that time when he got drunk this was the joy of his subject so they started imitating his movements. Some of the steps imitate a drunken state, while other movements illustrate the process of planting or growing the plant from which the beer was made and harvesting as well.
Ekitaguriro, is a dance that was performed by only men before the women were finally allowed to join for company. This dance is a way of expressing ones joy and also praising one a nother. The men dance and praise how beautiful their cattle are and thier women.The cattle are a sign of wealth.The more heads of cattle the more wealthy one is.The dance is vigorous by the men while the women are gettle in thier movent. The contact with the group is the essential but the dance has aerial movements too. .



Vicky Shick, NY, USA


This class seeks to prepare an articulate, alert and neutral body, ready for precise dancing with intricate coordinations. There is a simple straightforward warm-up that relies on the use of release, alignment, momentum, weight and strength. Clarity, simplicity of movement and attention to detail is the goal.
Vicky Shick has been a member of the New York City dance community since the late 1970s. She danced with Trisha Brown and, since then, has collaborated with many other choreographers and created her own pieces. She received Bessie awards for both performance and creative achievement. For the past 10 years, she has worked with visual artist, Barbara Kilpatrick. Shick regularly teaches in New York City and Europe, including Budapest, her home town.


Jess Curtis, SF, USA
contact improvisation


Jess Curtis is a director and performer of interdisciplinary dance/performance. Working independently, and in the collective performance groups CAHIN-CAHA, Cirque Batard (France/USA'98-2002) CORE(USA '94-98), and CONTRABAND(USA'85-'94) he has created and collaborated on numerous award-winning performance works known for their intense physicality, emotional honesty and athletic beauty. In 2000 he founded GRAVITY PHYSICAL ENTERTAINMENT as a research and development vehicle for very live performance. Gravity aspires to the creation of exceptionally engaging physical entertainment that explores and addresses issues and ideas of substance and relevance to a broad popular public. Jess has received four Isadora Duncan Dance awards, was a recipient of the prestigious 2001 California Dancemakers Fellowship and recently was awarded a Fringe First Award at the Edinburgh Fringe Festival for his latest work, fallen. www.jesscurtisgravity.org


Nicholas Leichter, nicholasleichterdance, NY, USA
funky jazz


Technique Class: Class begins with a simple flowing warm up to strengthen our alignment following with exercises that explore musicality, breath, flow, range, power, and dynamics. Throughout the class we explore basic and ideas and images, ranging from gestural to demanding, from nicholasleichterdance repertory culminating in a phrase that is impulsive, fluid, and controlled. Mr. Leichter's class incorporates elements of modern dance, jazz and hip-hop creating a smooth fusion of contemporary dance.


Anouk van Dijk, "Anouk van Dijk DC", The Netherlands
counter technique&lab


The principles of the Countertechnique
The Countertechnique is in direct opposition to the current opinion in the dance world that the pelvis, being the heaviest bone in the body, is the center of all movement. In the Countertechnique, all the movements are sent out away from the pelvis, thus making the pelvis as light as possible. Counter-directions are also used, creating a natural balance. The dancers never hold a position from the pelvis by muscle power, but keep their balance by continually giving a counter-direction to each movement. For instance, a foot goes downwards and the breastbone goes upwards, or a hand moves forwards and the ribcage backwards. Working from the pelvis creates a static balance, because the dancer is holding everything together, but the Countertechnique gives the dancer a dynamic balance, by sending the movements away from each other. Because the dancer can change balance to the other side at any given moment, thus breaking the balance, there is much more freedom of movement than there is in working from the pelvis. The ability to choose also lends control and relaxation to the movements, thus allowing for extreme changes of direction. This produces spectacularly large movements, without the dancers completely lurching off course.
The consequences of this only become fully clear when the dancers move through space. In the absence of a fixed center, in Countertechnique the body is always in close relationship to the space around it. In order to move through space, the counter-technique must also be used spatially, otherwise the dancer will fall. This increases spatial awareness and the energy is spread over the whole body, making the movement lighter to perform and creating a natural way of moving big. The surrounding space is used, in effect, as a dance partner.
So the counter-technique is a method of giving the body more room. More room within the body, and also more room around the body. On first coming into contact with the Countertechnique, dancers find it a nerve-racking experience. Because the Countertechnique does not use the pelvis as the center of movement, they lose control over the area that they were accustomed to using for 'holding on'. However, when they get used to it, it actually gives far more freedom. It enables them to recover their balance, no matter how extreme the body's movements are.
In my work in recent years, the basis for all my work is increasingly formed by the Countertechnique. My recent experience has proven that dancers stand to gain a lot once they are able to use the basic theory of the Countertechnique. Dancers feel freer and work with more awareness and are thus able to occupy or devour space, and make movements explode or melt. This spatial awareness makes dancers visible in a sharply-defined way. As a spectator, you look at people who are going through something, and the dancers thus become more interesting to watch. They are no longer just moving bodies, but people who are conscious of the choices they are making. People who are vulnerable in their attempts to stand their ground. This experience is the essence of my work and is the precise point in my performances at which technique and content meet.


Michael Jahoda, "Anouk van Dijk DC", The Netherlands
Jenifer Muller technique&lab


SHORT PROGRAM VERSION- Michael Jahoda, from Schenectady, NY, was a principle dancer with Jennifer Muller/The Works in NYC from 1988 to 1995. He is an accredited teacher of the Muller Technique and teaches classes and workshops internationally. In Holland since 1997 has worked on various free lance productions, and continues his long time cooperation with anoukvandijkdc. He has formed creative partnerships with long time colleague Maria Naidu with whom he is teaching special workshops and choreographing, and with Finnish video artist Pasi Granqvist with whom he created The Phillip Project, a series of multi hour installation-performances. (www.phillipproject.com)


Nina Wollny, "Anouk van Dijk DC", The Netherlands


"Miss Wollny (1980, BRD) teaches Countertechnique, the movement system developed by Anouk van Dijk. After her graduation from the Rotterdam Dance Academy in 2001 she joined Anouk van Dijk's contemporary dance company to study and work with her. Nina Wollny is now one of the core members of the company and performed as a lead soloist in the choreografies DIVA (2001), Amour Fou (2002), Suna no Onna (2003), STAU (2004) and Drink Me (2004)."


Maria Naidu, Sweden
Jenifer Muller technique&lab


The Muller technique (or approach) is one of the only structured dance techniques to have been developed in the 1960's. Jennifer Muller conducted thorough research to find a method for using the body in the most organic, anatomically correct and energy efficient way.
By applying the principals of polarity to movement (alternating between deep release and total energizing) she found, that highly technical and virtuosi movement could be executed with ease and comfort. The complete release becomes a tool for generating energy to serve the following suspense. She also discovered that by using the abdomen as the initiating source for movement, and by using the breath in a very specific way (inhaling when going against gravity and vice-versa), energy is allowed to flow through the body, in a clear and directed way.
Class is divided in three parts with a clear structure that provide for a thorough warm-up as well as serving as a tool for the dancers to improve their technical abilities.
The first part of class is done standing on the floor (working in parallel position). Simple (breathing) exercises that gradually grow more complicated and demanding are done in a clear, holistic way. This enables the dancer to focus on correct placement, sub sequentially ridding the body of unnecessary tension for fullness and speed in movement. The port de bras being used is often derived from the later movement phrase as a preparation for the last stage off class.
The second part of the Muller class is a well-structured Barre. Emphasis is put on strong and clear legwork though elements of the first exercises are incorporated as "codas". The Barre exercises are created to further prepare the dancers physically and mentally for the final segment of class. Various speeds and tempos are used to build momentum and aid the instrument to a thorough warm up.
The final stage consists of moving through space in different ways. Starting again in a simple way, with balances, allowing the dancers to apply the information that they have been given during the course of the class. Dynamic, fluid and technically challenging class phrases are often followed by a jump sequence that will finish the class.
The MULLER approach provides an excellent way for the dancer to develop a deep understanding of their instrument and how to use it to the fullest extent.
A native of Sweden. Started her professional training in 1983 at Balettakademien (Gothenburg, Sweden) under the direction of Lia Schubert.To further her studies she came to New York where she first trained at the Alvin Ailey American Dance Center and later at the Peridance Center.
She started her professional career in 1987 and worked as a freelance dancer until 1991 when she was invited to join Jennifer Muller/THE WORKS. She worked with the company as a soloist for eight years, performing many of the major rolls in the company repertory including 14 premieres. She completed ten international tours and eight New York seasons. In addition to being a member of THE WORKS, Maria was a guest artist with various independent choreographers and companies in New York like Louis Falco, William Adair and Martita Goshen's EARTHWORKS.
Since leaving the company in 1999 she has performed in a myriad of productions ranging from improvisations to Avantgarde jazz music(William Parker), independent dance productions(Martin Butler, Uri Ivgi, ELSHOUT/HANDELER) and guest contracts with Tanzcompanie Giessen (Dir. Roberto Galvan) and NorrDans, where she served as substitute rehearsal director. She has also had a chance to exploit her talents as an actress with the (Amsterdam based) theater group ELS INC., in their production "Utopia" where she originated the part of "Edike Diallo".
Being one of the few accredited teachers of the Muller technique, Maria is in much demand. Starting to teach in 1992 she became one of the most important teachers for Jennifer Muller /THE WORKS and their scholarship program. She teaches at festivals and gives workshops all over the world and has given company-classes for Dansgroep Krizstina de Chatel, Nytt Danskt DanseTeater and Galili dans to name a few, she also continues to be a frequent guest teacher at institutions such as De Rotterdamse Dansacademie and Balettakademien (Gothenburg, Sweden).
In 1999 she formed the creative union "Tom Dick & Harry" together with her longtime colleague Michael Jahoda. The union has choreographed and presented "T","II", "All About Angels And Eggs"(with Leda Meredith) ,"Coffee and cHocolate" (for the 3X1 company in Rorschach, Switzerland)and a full evening piece titeled "A II Z"(adding two new sections to the already existing duet "II") was premiered at the Brotfabrik (Bonn, Germany) in January 2003. She is a founding member of the choreographers cooperative RÍRELSEN based in Malmoe, Sweden This year in the beginning of April she will premiere an installation type piece called " Only You" at the Palladium in Malmoe,Sweden.


Serge Ricci, Cie Mi-Octobre, France


Preparation of the basic tools
Technical classe directed to :
. Release of the joints
. Strengthening of the support while approaching the danced movement and its projection into space.
"Gathering of the possibilities in the research of the movement and its relation to the space."
Every atelier will be the opportunity to bring out the qualities and the prospects of a working team. These workshops propose at the same time a precise study of the starters of choreographical composition (organized around the choreographical work of the Company Mi-Octobre) and a more personal exploration of the different ways to improvise and to invent. Starting from precise stages, horizontal work from the floor to a standing position, listening to our sensations, restoring the notions of weight energies, reflexions of tensions, releasing and "laisser-faire".
This work will be executed in small groups, one by one or two by two (partnering), in order to rediscover to intuitive qualities of the body and to develop a different approach of the danced movement. An opening toward a selfdiscovery process that would lead to the opening of a choreographical language.






Ford Foundation DTW AFAA British Council Dansstationen Swedish Institute
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