Tensegrity is a terme coined by R.B. Fuller, a word and a concept of an omnipresent principle in nature: integrity through tension, a phenomenon appearently expressed in all living structure - the synergetic interplay of solid and elastic or tensional elements that create a structure`s integrity. Balanced tensegrity enhances a bodie`s potential for resilience, stress distribution all over it`s structure and the adaptability to organise appropriate responses to our physical context.
I am intrigued by the idea of ourselves as a tensegrity system in motion, of our bones floating in an ocean of myofascial tension, and I invite you to explore a bit of that in our body and it`s everchanging relationship to gravity - and to other body*ies (creating common bodies?) in our dance.
We will play with models and some focussed improvisation to invite a felt sense of the phenomenon behind the concept – and then let our dance evolve out of that research.
An essential resource for my research is the Axis Syllabus*; i feel deeply inspired by it and am a candidate in the certification process to become an AS Teacher.
studied contemporary dance, linguistics and literature and works as a freelance dancer, choreographer and teacher. Becoming a certified Iyengar yoga teacher was part of her process, although she abandoned teaching Yoga. Born in Rumania, she grew up in Germany, lived and learned in France, Argentina, Senegal and Switzerland. During her studies in Argentina she got in touch and involved with Tango, that is part of her path ever since.
Currently based in Düsseldorf with her 8-year-old daughter, she is teaching in Tanzhaus NRW, at Contact(Tango)-Festivals and co-directing the project 1001Tropfen (www.1001tropfen.de), creating dance performances in nature and urban contexts. Irina is a member of the ASIRN (Axis Syllabus International Research Network, www.axissyllabus.org) and in the certification process to become an Axis Syllabus teacher. (www.irinahortin.com)
I am currently facinated by how opposing forces are working together to create harmony in the dance. I experience it in relating with gravity, with the natural expanding and contracting of the body, in relating to myself and to my dance partner/s, in the coexistence of technique and improvisation... how they merge in the three-dimensionality of the dance itself.
My research is currently driven by an interest in our body´s innate ability to respond physically to the environment and how the use of images can support and develop our dancing.
We will ask questions such as: what does it mean to trust our own physical intelligence?
How can survival and bodily readiness be a motivation for movement? and how do we meet the moment with our senses open and composing our own response?
For me, animals are their movement and they need to be able to move to survive.
It´s their subtle readiness, playfulness, the instincts and the listening with the whole body that inspires me.
It’ll be fun, challenging, creative and hopefully it will inspire you to use your body and mind in a new way!
DORTE BJERRE JENSEN (DK)
Moving moves me. It´s the life force within me and around me.
Dorte is educated as a school teacher, yoga teacher, Rosen Method® therapist, Conscious Touch® therapist and at The Danish National School of Performing Arts(a 2-year postgraduate education for professional dancers).
Dorte has accumulated many years of teaching experience in a wide range of different disciplines and contexts.
Dorte teaches CI nationally and internationally, in dance and acting schools, at festivals and in open workshops. She offers her work to professional dancers, actors, people in leadership roles, and to the general public. She is deeply interested in bodily movement and expression as an art form both in practice and in theory. As an artist Dorte creates, directs and performs.
More info: www.dortebjerrejensen.dk
In Contact Improvisation touch can obviously be important: touch is an opportunity for understanding and for support, it gives our dances enormous potential for subtlety and for 3-dimensionality… We will attune to the richness of touch and detail, and open our bodies to the depths of sensations. And for this workshop I am particularly curious if in some way, with some imagination and experimentation, we can relay this also to the space? …Can we align our bodies to be conduits of this? Can we from here bring the space alive? So that the space, as well as we, can be ‘juicy’, ‘frothy’, ‘sizzling’, ‘swaying’, ‘bubbling’, ‘excited’… all kinds of motivational qualities. What if the space between us is not empty?
As a dancer I am very inspired by other fields of knowledge; I have studied and worked in architecture, and I sometimes still work in (applied) arts too.
And I am even more inspired by people. It is lovely to me how much CI is still teaching me about myself, the body, other people, the world. Giving and taking dance-workshops is for me a way of learning together.
I trained with very many international teachers, including several of the founders of Contact Improvisation. I taught for the LAK-theater Leiden, at the VAK Delft, and at the New Dance Center Den Haag. And since 2009 I give CI-courses, and workshops in The Netherlands and abroad.
What is soft movement? And can soft movement help us to improve the quality of our touch with other people? We will try to answer these questions by exploring together…
In the class we will touch things like effortless, momentum, floor work, Consciousness falling, and see how all these can help us being softer with and in our bodies. Also we will learn some
specific tools that will help us bring softness and gentleness when moving, and see how it may affect our relationship with other bodies/partners.
Come explore with me:)
I am a dancer, teacher and therapist based in Israel, Tel Aviv. Teaching release technique, floor work and contact improvisation. A contemporary dancer and CI dancer. A natural medicine therapist, today using reflexology, Bach flowers and nutrition as my main tools. Also part of the contact association and involved in the contacts events in Israel. My interests is to combine dance and therapy, contact and contemporary, contact and life.
My main focus for now is how to dance without too much effort, how to use momentum in movement and bring it in to space, and observe what meeting does to our body and inner site.…
I love dancing, teaching, collaborating and meeting.
Organs give the body volume, width and threedimensionality. The Lungs and the heart support finest differentiation and movement possibilities of the ribs, shouldergirdle and arms. Fingers reach out into space- we go in contact. In finest awareness, touch and breath we are exploring the organs of the ribbasket and use their support for the dance. We bath in detailed movement and spread our wings to move through space.
Nina Wehnert teaches Body-Mind Centering®, Contact Improvisation and Yoga in classes, workshops, retreats and festivals around Europe as well as in dance schools. She is offering her own BMC® Training in Berlin and is engaged in the Somatische Basis Ausbildung in Somatische Akademie Berlin. There she is also co-hosting the yearly BMC® Festival in Berlin with 17 BMC®/IBMT Teachers. She studied dance, is certified as a BMC® Practitioner and Somatic Movement Educator as well as in Embodied Anatomy & Yoga and teaches embodied anatomy in dance and yoga schools in Berlin
We direct our perception at the two basic principles how the point of touch can travel on the body surface: rolling and sliding!
We practice leading with a rolling point of contact as well as listening closely to a point of contact. We add the possibility of a sliding point of contact and sharpen our senses towards friction, resistance and counter-direction(s).
What information does the point of contact contain? How much support does it provide? Which directions or suggestions are noticeable? Do we swim in the tissue or is the tissue being formed to a certain direction? And which options do we have to answer to the information in the point of contact?
With increased awareness of our body tissue and of the non-verbal exchange of information through touch we dive into three-dimensional dancing!
Roland Nordeck (Göttingen/Germany)
I see both movement and touch as valuable forms of human communication, as they can reach beyond the field of verbal expression. I have been practicing CI for about nineteen 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.