The programme is designed for dancers who already had a more in-depth encounter with contemporary dance, meaning that it is suited for those who follow classes on a regular basis. It will give the dancer the opportunity to explore the already known content and translate it to different forms. This programme is aimed at dancers who dance minimum 10 hours/week or follow a full-time programme. Dancers who are below the age of 18 who are part of a youth dance company can as well participate in this programme. There are three types of intermediate programmes. A full-day programme, an additional programme and a morning programme. Unfortunately, the full day intermediate package is sold out, so we decided to add an additional introductory package with ballet classes and a morning introductory package.
Intermediate morning programme
The intermediate morning programme offers a package, including a yoga class and contemporary technique class
Additional intermediate programme
The additional intermediate programme offers a package, including a yoga/body work class, ballet class and Rosas repertory/workshop. Please note it is only possible to take part in this programme when you inscribe for the full package.
The intermediate programme offers a package, including a yoga class, contemporary technique class and Rosas repertory/workshop. Please note it is only possible to take part in this programme when you inscribe for the full package.
Yoga class descriptions
Laia Puig Escandell - Unfold and Unlock your personal potential
During this time we will be introduced to Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana), although we will mainly work on the first 2-3 points. This first class in the morning will be our moment to prepare for the day in a different way. To unfold and to unblock, first physiologically/anatomically and then into deeper levels of awareness. Identifying our unnecessary patterns and habits, letting go of them, balancing the body, increasing concentration and learning to listen. So that each individual student can be in tune with a deeper intelligence, expanding themselves as artists and humans, sharing it with the community as well as the world. I hope you all enjoy the process of unfolding yourselves. Om Namah Sivaya.
Stéphane Bourhis – Iyengar Yoga
In our Yoga practice following the Iyengar methodology, we will focus and explore precision, alignments, external and internal geometry of the body in several groups of yoga postures. The body is the starting point, the consciousness is the terminal point and the process between those two points is the reading of the body.
Ballet class descriptions
The ballet class evaluates and re-evaluates the dancer’s body and is built on the classical structure of a ballet class with the objective to focus on strengthening the dancer’s awareness of his or her own natural alignment and experience. The class is divided into two parts: the barre and the center practice. Exercises at the barre emphasize isolating and releasing the joints in order to strengthen the dancer's core awareness and to find where the movement begins in the body. By supporting the functional body placement, it becomes more natural and fluid, rather than stiff and held, allowing the movement to be less stressful. The second half of the ballet class, conducted in the center, continually challenges the dancer to use the newfound placement when having to shift weight and carry the body through space. Motivation, flow of movement, and momentum are key points to help the dancer to move from the core and inner muscles supporting a greater freedom of dynamic and expression. The dancer gains a stronger sense of confidence to take space and go beyond technique.
Douglas Becker proposes a ballet class as a collaborative setting where new information and knowledge, about the moving body in relationship to form and history happens in the moment. Barre and center are constructed to rigorously support the study of technique as studio practice accentuating somatic awareness and attention to the multiple perspectives on dynamics alongside varied spatial concerns. We will work on developing an agile relationship between the head, shoulders, arms and legs while also considering ballet as a system, and as "changeable architecture". Attention is given to interior mechanics driven by counterpoint. Throughout the class, attentiveness to the musicality of the form gives insight into the various understandings of tempi and interacting rhythms. Combinations and phrase work change depending on both age and desire within the group. We will move, together, to know.
Contemporary class descriptions
The objective of this class is in developing a strong basis for physical interpretation through exercises designed to strengthen contemporary technique. Through floor work, partner- and contact work, participants will explore and confront their own dynamic performance vocabulary. The tasks proposed in each class will deal with various levels of physical, psychological, and emotional risk. These tasks will challenge our individual limitations and invite us to go beyond them, thereby enhancing our ability to communicate through movement. The overriding emphasis is on committing oneself to what can be called the ‘total act’; a state wherein the performer completely embodies the action.
Jason Respilieux - Redefining Technique
We will give a new meaning to ‘technique’ asking ourselves questions such as: ‘What is my body able to do?’, ‘How far can I go?’ and ‘Can I trust others and myself?’. The class is structured in a way to find an understanding and awareness of one's personal body and what surrounds us. Individually and together, we will go through task oriented exercises and improvisational guidelines to become aware of what one's body potential is. We will seize all opportunities that are present continuously in all of us. For I have the power to listen and act upon the essence of my thoughts, intuitions and surrounding.
Peter Savel – Letting Go
Peter Savel has been developing and evolving his classes since graduating from P.A.R.T.S, he sees this as an opportunity to go back to himself. Working more and more with non-dancers as well always being curious about the wider context of dance, he is not interested in dance techniques as such. He’d rather see movement and views dance as a mean to re-access his full potential. The questions he asks is simple “where do we stand in our own way and what makes us hold back?”. By becoming aware of these patterns, believes, thoughts, fears or habits, Peter believes we can let go of them. Letting go refers to more than muscular tension and physical efficiency, though Peter uses these as the pragmatic and grounding elements in accessing the les graspable areas of thought, emotion and intuitions. In this class, he wants to come back to a space he believes we are all capable of reentering. This is a space of total creativity, which he believes is innate to all humans and can be used in any life situation and constellation. It is a state we all know and passed through during childhood. The simple difference between childhood and now is the awareness of a state and therefore the possibility to be in it consciously. More concrete, during the classes Peter works with methods, principles and exercises to go back to himself, through body and movement into the core of his body. In this process he strengthens his body and realigns it with his core. At the same time the experiences of accessing this space allows him to understand where he can expand, what he can let go and how, what he’s always been capable of, but for some reasons didn’t allow it to fully manifest. In other words, rather being busy with “doing right or well” it is “ doing the best that you can right now and learning from the observation of this process. Peter is very busy with his personal learning process but uses many methods ( verbal and non-verbal) to share this with a whole group at the same time. Learning from each other strategy and methods, breaking the illusion of being alone or even isolating his particular experiences. Thanks to this he is able to create a safe environment. It is safe enough to allow someone to fail so he/she can expand into al directions of his/her own.
Cassiel Gaube - Body Origami
In this class, we will explore the relationship we entertain with the floor, as dancers and as pedestrian bodies. Departing from the question “How far am I from the floor” (Chrysa Parkinson), we will seek for the mechanics through which one can efficiently re-organise one’s own structure in order to get closer or further away from the floor. To do so, we will study, practice and craft specific moves from the practices of Flying Low and B-Boying. We will look at the key-principles of these two techniques and combine moves from both of these fields into complex pathways, moving in and out of the earth, at an increasing speed. By analogy, Cassiel proposes to think of this work as a Bodily Origami Workshop. Literally, origami is the Japanese art of folding paper. We’ll look at Flying Low and B-boying as techniques of folding bodies, according to increasingly sophisticated patterns, giving rise to very diverse ways to get closer and further away from the ground. The class will offer a frame for the participants to carefully look into the mechanics of the proposed movements, reverse engineer them and gradually gain the mastery to compose with them.
Body work descriptions
Zsuzsa Rozsavolgyi - Soft Tissue Balancing
The workshop is put together as a unique experimental anatomy workshop built for the physical and intellectual need of a contemporary dancer. During Zsuzsa’s extensive touring schedule, she had to come up with solutions to heal herself. She needed to find answers to why she was having pain in her ankles, lower back, knees, and neck… Studying the anatomy of the fascia tissue in the body gave her answers, and she started to experiment with her own body. She came up with a lot of simple solutions to heal overuse, injuries and chronic pain. The nature of the fascia tissue is best described by Mabel E. Todd in her book The Thinking Body: “When one part moves, the body as a whole responds. Functionally, the only tissue that can mediate such responsiveness is the connective tissue. If there is a disturbance in the flow of motion (blocked joint, injury, scar tissue, over-use…) the body’s response is to shift the structure away from the pain, some parts start to hold more weight and become harder, which leads to overuse and the pain you had originally is moving to another part.” In the workshop we learn the fascia meridians, and we learn how to work with these meridians. Through the theoretical knowledge of anatomy, we will gain an understanding of different alignment problems and their relation to pain patterns. We will conduct experiments on how we feel the fascia moving, we learn the rhythm it stretches and expands, and we learn therapeutic movement exercises to unlock the potential of strength, flexibility and elasticity in our bodies. Soft Tissue Balancing is built to harmonise alignment and synchronise movement patterns.
Laura Aris - Power Sources & Tools for partnering
Technical exercises and improvisations with clear framework will be the starting point for group work or in couples. Participants might learn some given material but most of the time they will be invited to experiment and play within a defined context to practice concrete body mechanisms. We will look for creative impulses that, when released, offer us new possibilities for achievement. We will observe how, sometimes, extreme qualities maintain a balanced tension, that the tension attracts attention, and that many times, silence speaks. Slowly, with some theatrical input, we will craft specific energies and clear images to give meaning to movement and embody the tasks and borrowed ideas.
“Teaching requires a dynamic interplay between what is happening inside the teacher's mind and what happens with the group in the room. The act of teaching and my professional artistic practice have long been interconnected: They are in constant relation and evolving together. I often borrow ideas from my artistic work according to how relevant they are at a pedagogical level. I then invent work sessions and exercises that support the mechanisms and technical needs of the scenic idea. I select concepts that can be taken out of context and appropriated by other bodies, other minds - keeping the essence but also becoming filters for new, freshly arising materials. By being a teacher and at times being a physical example or inspiration to other bodies, I’ve discovered clarity in my movement and improved upon my analytic capacity. During my pedagogical encounters, I perform more than demonstrate when the time comes. Teaching has undeniably become an important part of my professional life. Now, I strongly believe that the relationships between the act of teaching and one’s artistic practice are often undervalued.”
Peter Savel - Dancing the Frequencies
In this workshop, we will work with a simple idea. That is, that everything in this world consists of frequencies and dancing is a way to access and manifest these frequencies, to materialize them. During the week, we will pleasantly practice, specify and expand the skills needed to access and (re)create the manifestations of frequencies experienced in movement. We will play around with what I refer to as “absolute dance” – a raw and simple, unapologetic manifestation of frequencies through the body. In order to access the field of frequencies, Peter is researching and developing listening practices. With these, he is concomitantly developing liberation practices and strategies. In the practice of listening, tuning into the scale of frequencies is what’s most at stake. Listening to the body, the space, the elements present, and music – not as a structure, not as a melody or a beat, but as frequency, as sensation present in the body, with a unique resonance in space. In the practice of liberation, we will focus on opening the expressive fields of the body outside social restrictions, established forms and patterns. In order to allow the fullest scale of frequencies to manifest through the body, the body needs to be liberated from the beliefs, ideas, and habits it has learned and internalized during the process of socialization. The idea is not to neglect these, however, but to trespass these by accepting and embracing them towards that which still lies outside of them. For these reasons, creating a safe and playful environment is one of Peter’s most important goals.
Rosas repertory descriptions
Nordine Benchorf - Die Grosse Füge (1992)
Die Grosse Fuge from Beethoven is part of Rosas repertory and the performance ERTS created in 1992 by Anne Teresa De Keersmaeker. In Die Grosse Fuge (1992), De Keersmaeker sets out to find a male vocabulary, with Rosas’ dancers challenging gravity in a piece that sought to provide a physical translation of Beethoven's ingenious use of counterpoint. The choreography is based on the constellation of a quartet. Each dancer follows an instrument (first violin, second violin, alto and cello) with a precise analysis of the score, the variation, the development, transformation and transposition of two principal themes, jumping, running and moving the space and transposition of the “material” on the floor.
(For this workshop it’s advised to bring kneepads!)
Tale Dolven – Zeitung (2008)
The Zeitung workshop is based on the process of the creation for Zeitung (2008). We will explore improvising with three physical centers as a starting point; the head, the chest and the pelvis. We will use floor patterns to improvise and build material on, as well as directing us in the room. The dancers will learn material from the piece, as well as making their own material and fitting it in to the structure of the piece.
Igor Shysko - Drumming (1998)
Drumming is undoubtedly one of Anne Teresa De Keersmaeker’s most fascinating choreographic works: a dazzling dance set to a powerful score for percussion by the American minimalist Steve Reich. In her choreography, Anne Teresa De Keersmaeker preserves the spirit of the score and at the same time enriches it: just as in the music, the complexity of the choreography arises out of a single phrase of movement to which endless variations in time and space are applied. It is only when the drums fall silent and the bodies come to a standstill that the spectator realizes what he has witnessed: a stunning journey, a wave of pure dance and pure sound, a vortex of life energy.