Seminarai 2024

Open Level – visiems judėtojams

A lygis – turintys 3-5 metų šokio patirtį, mėgėjai (N-15);

B lygis – turintys 5 ir daugiau metų šokio patirtį;

C lygis – profesionalūs šokėjai, choreografai, šokio specialybių studentai;

C+ lygis – profesionalūs šokėjai, choreografai, turintys 2 ir daugiau metų profesinės patirties ir polinkiu į choreografiją.

 

REGISTRACIJA:

Regitracijai į seminarus – spausti čia

 

SEMINARŲ APRAŠYMAI PATEIKIAMI ŽEMIAU (ANGLŲ K.)

Marion Sparber – Contemporary dance: From Inside to Outside (Levels C; A – B)

This workshop is a contemporary dance training with emphasis on spirals and floor work. We start the class by opening our channels of awareness and feel the inside and the outside, everyone and everything that surrounds us. The warm-up is focused on passing through the whole body and expanding our flexibility and strength – never abandoning a flow of natural and organic movement and feeling our feet as our base.

We use playfulness to get inspired, let go and surprise ourselves. With the help of exercises and games in different constellations – in a group, with a partner and by ourselves – we listen to the weight of our body and direct it through the space, putting awareness into proximity and distance as well as our orientation and relationship to the room and the other dancers. We play with off-balance and shift of the axis. We pay attention to the momentum in movement, the grounding of our center, the natural flow of breath and the expansion of our extremities. By integrating changes of dynamic and musicality into our movement phrases we constantly recycle our energy and avoid muscle fatigue. We move as a continuous spiral into the floor and out of the floor, using the attack and release as our guidelines and try to work from the bones and the spiral connections in our body.

Marion uses inspiration for Flying Low and Passing Through from techniques by David Zambrano and Release technique mixed with her personal investigation. She wishes to encourage curiosity and interest in detail, connection and risk-taking to grow as a person and member of a group, and explore new terrain as a performer, using body, voice, imagination, experiences, feelings, senses, personal background, knowledge, dreams, visions, as well as getting inspired by working with objects and the surrounding space.

 

Marion Sparber & Alan Fuentes Guerra – Partnering: Shared Levitation (Level C)

The workshop starts by building awareness and connection to our partners by manipulating, testing and speculating with their structure and weight. A special focus in this phase is the use of the whole body doing the task, not only being limited to the hands and arms. In this first part the use of playfulness allows us to connect to our instinctive and primitive side, tuning into a shared natural flow of breath. With the help of exercises in different constellations, every time changing and adapting to a new partner and universe – we listen, follow and direct the movement as one functioning organism through space. We get ready to jump, cross, push, pull, avoid, embrace and suspend each other. We like to focus on an organic way of Partnering, based on action / reaction principles inspired by Contact Improvisation and Fighting styles. 

Marion and Alan like to access the movement from a perspective of a deeper connection and try to avoid the superficial habit of copying shapes. Instead, the lecturers motivate every couple to find a unique way of communicating with the partner and look for individual solutions and variations of the material. Another important aspect of the class is the constant change of the level of activity for both roles. We learn how much resistance, power and direction is needed to reach our maximum together by investigating with the given tools, and finally learning fixed Partnering material at the end of each class. 

 

pavleheidler – making dreams come true, a body-mind centering® workshop (Open Level)

Why study anatomy? What is, for example, the point of looking into the structure of a peripheral sensory neuron, or in examining different ways in which peripheral sensory neurons coordinate with peripheral motor neurons? What is to be gained from such detailed understanding of the ways in which bodies function? And why ever try and conduct any such study experientially? Embodiment must be a waste of time because you can never truly know that you’re not just making things up.

pavleheidler wrote that first paragraph in a voice that is stand-off-ish, firm, skeptical, and resistant. They did that in an attempt to capture something of a tone they come up against frequently in their work. This tone evokes the type of discomfort one might experience when one finds oneself outside of one’s comfort zone. Another way to think of it is as the tone one is likely to experience when one finds oneself at the edge of reason. Reason here is not meant to represent a deeply nuanced, philosophical concept. Rather, it stands for the known, the recognisable, the familiar; it is, you could say, the status quo.

A lot of where this class is going to be taking place is exactly at the point described above as “the edge of reason”. pavleheidler would like this class to be an opportunity to ask, how do we step into the unknown responsibly? How do we cross the limits of reason and live to tell the tale? And most importantly, how do we experience the world so deeply and intensely without losing the ability to care for each other and each other’s experience?

pavleheidler suggests dedicating this class to the embodied study of The Nervous System. The Nervous System is the perfect field within which to begin examining phenomena like perception, orientation, sense-making, communication and consciousness.

Pavleheidler would like to select daily topics in dialogue with the participants. This is both to ensure the participants get the satisfaction of having their specific interests addressed, and to create an opportunity for bonding. 

The embodied study of The Nervous System will be organised according to the principles and practices of Body-Mind Centering®. No previous experience with Body-Mind Centering® is necessary to participate in this class.

 

 

pavleheidler – making dreams come true, a body-mind centering® workshop (Level B – C)

pavleheidler suggests this class be organized following the logic and sense of purpose that organizes the Open Level class with one exception. They would like this class and its daily topics to address concerns that could be specifically interesting to dancers. For example, assuming that the class will study The Nervous System, Monday could focus on sensory – motor phenomena, but highlight the question of the role the inner voice plays in how we experience perception. Educated dancers are specifically prone to associating perception with internal dialogue. So how do we learn to evidence perception physically and / or non-verbally? And how does learning such skills actually better our dancing?

Tuesday could focus on expression. In this class we’d explore the way expression is – in BMC® – defined anatomically. This exploration could lead us to reflect how the word expression is traditionally used in dancing and speculate as to why it is often so badly defined. How many times did someone tell you to express yourself in dancing, without specifying what they mean by that?

Following expression, Wednesday could be about the way we perceive movement and interpret its value; Wednesday could also be about something less poetic, like the perception of weight (how do we actually perceive weight?), or the perception of time (how do we actually perceive time?), which would ask us to look at those places where The Nervous System meets Muscle or Tendon; and so on.

pavleheidler says these days “could focus” on specific topics because they’d like to select daily topics in dialogue with the participants. This is both to ensure the participants get the satisfaction of having their specific interests addressed, and to create an opportunity for bonding.

BMC® and Body-Mind Centering® are registered service marks of Bonnie Bainbridge Cohen, used with permission.

 

Narendra Patil – Contemporary dance: Flying Low (Levels: A – B; C)

After more than 16 years as a close follower of David Zambrano, Narendra will share a series of phrases and exercises which experiment on the Flying Low principles. The flying low classes focus mainly on the dancer’s relationship with the floor. The class utilizes simple movement patterns that involve breathing, speed and the release of energy throughout the body in order to activate the relationship between the center and the joints, moving in and out of the ground more efficiently by maintaining a centered state. There is a focus on the skeletal structure that will help improve the dancers physical perception and alertness. The class includes partnering work and movement phrases, which explore the primary laws of physics: cohesion and expansion.

 

Narendra Patil – Improvisation: Passing Through (Level B – C)

Visible and invisible spirals are constantly passing through the dancers. Thus the “passing through” is created into a spontaneous composition. When the group becomes one mind, it can never get lost, there is never one person leading, everyone is following. The whole group is constantly traveling, weaving their bodies inside and out of their classmates and still always aware of the environment around them.

More information: https://www.narendrapatil.org/teaching 

Photo credit: Robert Flynt

 

Gianna Valenti – Improvising Choreography (Levels: B-C)

Gianna invites participants to experience improvisation as a practice to develop choreographic awareness and to embody choreographic tools, following a learning path between consciousness and high intuition and manifesting a space where choreographic choices are single creative embodiments within a collective consciousness. This practice roots in the post-modern technique of Structural Improvisation, highlights the dancing body as a space entity working with space as a partner, organizes space as a set of attractions and relations and gives value to movements, words and gestures as codes embodying an endless alchemical power for transformation.

 

Gianna Valenti – The Frequencies of Creation (dramaturgical practices for dancers) (Level C)

A workshop committed to inspire and empower dancers to recognize their unique compositional preferences and take care of their visions by developing daily practices and routines. Rooted in processes of open dramaturgy, this workshop offers tools on how to nourish a personal approach in dance composition and how to organize and progress with a specific project. It provides support in building a dramaturgical autonomy and proposes to reach beyond a theory / practice model of separation by placing the intelligence of the physical body and the embodiment of thinking at the central stage of all dramaturgical awareness in choreographic making.

More information: https://linktr.ee/giannavalenti 

 

Halla Olafsdottir – Creative Workshop: The Divine Workshop (Level C)

“Divine” is a dance performance that combines Halla Ólafsdóttir obsessions with the diva and the rockstar blending those elements into a divine choreographic body. This divine entity, with an intense gaze, delves into performativity and the dynamic between performer and spectator. The voice of this divine body is crucial, merging choreography and sound into a divine balm for the senses. It is an immersive performance constantly shapeshifting between the intimate space and epic landscapes. Exploring transitions between the micro and macro scales “Divine” seeks to pull the audience in, making the entire experience both deeply personal and universally grand, evoking cinematic   experiences.

During the workshop, we will delve into and expand upon the practices and ideas that emerged during the creation of the performance. This exploration includes a wide array of themes and elements, each imbued with a sense of the divine: a divine dance, a divine narrative, a divine repertory, a divine shapeshifting, a divine copying as adding and not as stealing, a divine deer, a divine spiraling, a divine Sylvia, a divine pose, a divine reading, a divine crow, a divine rockstar, a divine coven, a divine winding Wili, a divine composition, a divine shaking, a divine trajectory, a divine imagination, a divine feeling, a divine choreography, a divine translation, a divine transmutation, a divine lake, a divine mirroring, a divine writing, a divine screaming, a divine channeling, a divine choir, a divine diagonal, a divine ripple, a divine forest, a divine disgusting and cute diva. 

In the workshop, participants will engage with these diverse themes, exploring performativity through individual skills as well as a group. The goal is to create a rich, multifaceted experience that echoes the complexity and wonder of the original performance.

Photo credits: Johannes Hjorth.

 

Sita Ostheimer – Creative workshop: Complex Simplicity (Level C)

Complex Simplicity gives the opportunity to further discover your authenticity in the quality of your movements, presence. We will soften thought and physical patterns, which might take unnecessary energy of the mind and body. 

Moving towards a more efficient, attentive and joyful approach to our ongoing study as a professional dancer.

Each day the dancers will be guided through Sita’s improvisation technique. Recognising tension,  breaking unconscious movement habits through connecting to weight.

This workshop enables participants to be in control of their own physical instrument and qualities, and continue growing creatively, technically and emotionally. Sita works with a game of images, situations, feelings, rhythm, to support individual research on one’s own totality in ever changing circumstances. Her physicality is built on full, embodied, fast, rhythmical changes of emotions and images. 

With this preparation, the dancers then move into learning a given choreography, exploring how to find oneself in learning situations, and absorbing the material. Sita’s movement language is expressive, fluent, sensual and earthy. The unique, animalistic, powerful movement language that arises from human instincts is her particular and peculiar signature in dance.

 

Katja Mustonen – Contemporary dance: Moving Motives (Level A – C)

This workshop invites the dancers to play with simple motives for movement, such as: emphasizing the articulation of the spine and joints, activating the dynamics of the body center – periphery connection and opening the awareness toward the multi-directionality of the space. Participants will tune in with the sensation of weight, spirals and find ease when moving between levels, travel in space and transition through up-side-down moments. Shifting between task based explorations and given movement sequences, we build toward more dynamic moving from floor to standing. The aim of the workshop is to develop a broader range of physical strength, widening our articulations and finding the lightness of our dances.

Photo credits: Taina Koistinen and Kim Saarinen.

 

Katja Mustonen – Contact Improvisation: Moment to Momentum (Level A – C)

This workshop is focused on the weight of our bodies while studying mass as it grounds, releases, suspends and flies. We find ways to effortlessly organize ourselves in changing circumstances and align to gravity as we move together. We train our reflexes to land safely and discover detailed pathways to gain ease when moving along different levels. We explore how scaling our physical tone can mobilize our alignment and generate dynamic momentum while giving us a sense of flight.

 

 

Sally Davison – Dance Ability Workshop: All Bodies Speak (Open Level)

This movement improvisation workshop is open to all people with and without disabilities. You do not need any prior dance experience to attend. Together we will create a space for listening to ourselves and others to find the common ground of movement language present between us. This creates new ways to be and dance together in a field of mutual learning which includes all of us as we are. During the workshop we will develop a group improvisation score for the 27th August day so we can dance in a public place in Vilnius (site and time to be confrimed).

The DanceAbility method has been developed over the last 30 years from all the people who have attended workshops all over the world. It has been developed by Alito Alessi (US).

PLAIN LANGUAGE TEXT

If you like to dance then this workshop is for you. We find movements that let us talk with our bodies. On the 27th August we dance together in a public space in Vilnius.

 

Sally Davison – Afterthoughts: Methods and Tools (Open Level)