1 + 1 + 1 + 1…
Contact Improvisation is a duet between the self and the other(s). This class will examine the relationship between the solo and the duet/trio/quartet, etc., using conceptual triads such as resist/follow/break, location/duration/operation, floor/contact/floor. The simplicity of the concepts affords the dancer the ability to layer the actions, creating a chaotic yet comprehensible dance.
Andrew Wass has been studying, teaching, performing, researching CI for 20 years. He has taught at festivals, universities, and studios in several different countries. Wass has had the opportunity to perform with Nancy Stark Smith, Nina Martin, Ray Chung, Scott Wells, and Jess Curtis among others. He graduated with an MA in Solo/Dance/Authorship from the Hochschulübergreifendes Zentrum für Tanz Berlin and is currently pursuing his doctoral studies in dance at TWU in Denton, TX. A member of Lower Left and a certified Ensemble Thinking teacher, he has lived in Berlin since 2009.
I have an on&off relationship with small dance. At most times i find it a brilliant practice to examine your inner vibrations, sometimes it makes me struggle.
Steve Paxton's small dance guidance from 1977 is a piece of good, raw poetry. And since i am deeply interested in words and how they can affect your perception of body-self i started looking at the small dance through the lense of images and metaphores. This class will be an attempt to share my work with you.
Please bring a pen and something to write on. Let's small dance.
Dorothée Däster has studied Somatics and Contact Improvisation since 1993. She has studied with Alito Alessi and Emery Blackwells of Danceability, „Diverse Dance“ Research Retreat on Vashon Island with Karen Nelson, Kinetic Awareness with Francis Becker, Intensive with Contraband and Sara Shelton Mann in 1995, martial arts in Indonesia, 2012 with Steve Paxton and Karen Nelson, and numerous Breitenbush jams throughout the years. Adding to the list of teachers is Daniel Lepkoff, KJ Holmes, Rusty Lester, Rochus Schmucker, Nancy Stark Smith and Kirstie Simson.
In this class we will explore the spinal head-tale connection in ordert o find beautiful, ecomomic and fun movement patterns, which consist of spirals.
These spirals will help us to move more easily into contact wirh a partner and also into lifts.
We will be inspired by animal movements. Also we will look at the theatrical aspect of a „spiraling“ approach to a partner in comparison to a linear approach. Both are fun!
Choreographie & Postmodernen Tanz (Diplom) an der Hogeschool voor de Kunsten Amsterdam S.N.D.O., Niederlande (1997-2001)
Integrative-Tanzpädagogik am DIT (Deutsches Institut für Tanz-Pädagogik), Köln (1995-1997)
Arbeit als freischaffende Künstlerin:
Seit 2001 freischaffende Tänzerin und Choreografin in den Niederlanden, Schweden, Dänemark, Frankreich, Mexiko und Deutschland u.a. bei Festivals und an freien Theatern wie „Eigenarten Festival, Hamburg“, „Tanz Bremen“, „Oerol Festival, Niederlande“, „Dansscenen Kopenhagen“, „Danscentrum Väst Göteborg“, „Projekttheater Dresden“, „Muiderpoorttheater Amsterdam“.
Seit 2006 Dozentin an der Hochschule für Musik, Theater & Medien Hannover, Schauspielabteilung. Lehrgebiet: Bewegung, moderner und postmoderner Tanz
From developing your solo to engaging with others
Three movements, the body does: extending, folding and resting …; three ways the moving body connects to other boys and the floor: rolling, sliding, anchoring.
Starting your movement exploration from these elements you will take time to arrive into your own dance.
Exploring your solo as you listen to touch, weight shift, momentum and breath and make friends with the floor will support you to continue following your own curiosity and be ready for the unexpected, when you meet other dancers.
In order to stay safe and playful as you enter into physical contact with others, you will practice to direct your movements from a strong, juicy centre and light, extended limbs, to empty and fill your body and mind, with weight and intention, to use all your senses and allow your reflexes to happen.
In your short encounters and long engagements as well as in your solo, these tools will enable you to be receptive and directive, to find moments of wild wrestling and delicate stillness, of suspended flying and falling together.
This class is meant for people who have learned some CI-“tricks” and -techniques and now want to integrate them more into their dancing and have fun with them.
Gesine Daniels, Berlin/Germany
I am an internationally working performer and movement-teacher, who has been working
in a wide range of events and places at festivals, schools and universities.
Co-founder of SomeBodyElseDanceCompany, which works with Instant Composition and
ContactImprovisation, I’ve been creating and presenting solo and group works, in theatre
contexts as well as site specific productions.
Since 1989 I’m teaching CI, Improvisation and Release-based Technique across various
populations, in challenged communities as well as in dance education and Universities.
My teaching is directed to people of various experience, age and physical ability;
to everybody who is willing to study, improvise and compose movement through
I’m intrigued with the complexity of the body and its movement possibilities, by the
practice of communication and decision-making in Improvisation that CI offers, and
by the political and social relevance of this dance form.
I enjoy dancing with my students, listening to their dance and teaching through my body as
well as using words and reflecting together.
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)