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Darya Buzovkina, Moscow, Kinetic&Darya Absolute
release technique
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description
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." bio
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. |
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Tatiana Gordeeva, Kinetic, Moscow
technique
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description
"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." bio
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Konnikova&Alberts, PO.V.C.TANZY, Moscow
"Flow Low and in Contact"
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description
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Andrey Andrianov, Do-Tanza, Moscow
composition
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description
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Nikolay Schetnev, "Another Dance", Arkhangelsk
contact improvisation
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description
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Egor Rotov, Ekaterinburg
yoga
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description
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Yana Tumina, Russian Engeneering Theatre AKHE, S.-Petersburg
lab
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description
bio
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. |
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Juliette Omolo
Kenia;
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description
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 bio
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Ian Mwaisunga
Tansania;
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description
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. MY CLASS
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.
bio
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Roger Masaba
Uganda;
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description
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.
HISTORY OF TRADITIONAL DANCE.
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.
. bio
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Vicky Shick, NY, USA
technique
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description
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. bio
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. |
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Jess Curtis, SF, USA
contact improvisation
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description
bio
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
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Nicholas Leichter, nicholasleichterdance, NY, USA
funky jazz
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description
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.
bio
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Anouk van Dijk, "Anouk van Dijk DC", The Netherlands
counter technique&lab
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description
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.
bio
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Michael Jahoda, "Anouk van Dijk DC", The Netherlands
Jenifer Muller technique&lab
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description
bio
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) |
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Nina Wollny, "Anouk van Dijk DC", The Netherlands
countertechnique&lab
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description
bio
"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)."
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Maria Naidu, Sweden
Jenifer Muller technique&lab
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description
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. bio
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 RÖRELSEN
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. |
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Serge Ricci, Cie Mi-Octobre, France
technique&
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description
BODILY REFLECTION
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.
EXPLORATION OF THE BODY
"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.
bio
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