SummerSchool
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The programme is designed to give the dancer an introduction to contemporary dance. We advise all dancers who have little to no dance experience to follow this programme; this includes dancers below 18. The pace of the classes will be slower and therefore give the participant time to clearly understand and practice in depth the basic requirements of contemporary dance. There are two types of introductory programmes.

Introductory package 1

The introductory programme 1 offers a full-day package, including a yoga class, a technique class (ballet or contemporary) and Rosas repertory or workshop, or a morning package, including a yoga class and a technique class (ballet or contemporary).


Introductory package 2

The introductory programme 2 offers a full-day package, including a yoga class, a technique class (ballet or contemporary) and Rosas repertory or workshop, or a morning package, including a yoga class and a technique class (ballet or contemporary).


Class descriptions

> Yoga
> Ballet
> Contemporary
> Workshop
> Repertoire


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YOGA CLASS DESCRIPTION

Hugo Mega


Hatha yoga (in Week 4) is seen as one of the most traditional styles of yoga. This ancient practice focuses on balance, bringing the Yin and Yang, the Sun (Ha) and the Moon (Tha) together into the body. This slower passed, static practice focuses on building a strong foundation and understanding each posture. In this class you will explore the benefits of Pranayama, breathing exercises as a new relation to abdominal and lumbar support. When teaching this style Hugo emphasizes breath awareness while developing your alignment and building a safe practice. Vinyasa (Week 5) is the connection between movement and breath, a flow of energy. This dynamic style of yoga brings together the body, mind, and breath through postures and sequences. Each class is unique and each flow offers a completely new journey. When flowing you will focus on muscles responsible for stability and explore new relations to balance. You will challenge your reflexes and coordination while connecting deeply to your body. With this flow you will improve your practice with detailed alignment, building up your endurance and strength.

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.

Lucia Thibault


The teacher proposes poses (asanas) in a sequence including progressive steps.This allows each and every participant to move on according to her/his own rhythm, needs and abilities.The teacher shows and explains each asana in all its details and follows each student’s progression in a personalized way. Asanas are organized by family type: Standing asanas, Sitting asanas, Forward-bends, Backbends, Inversions, Twists and each class ends up with a Relaxation asana aimed at deeply releasing physical and mental tensions.Relaxation/recuperation asana sequences and breathing exercises allow for a deep physical and mental relaxation.

Maria Clara Villa Lobos


Being trained as a teacher in Iyengar yoga but practicing mostly Ashtanga yoga since four to five years, the class will bring together those experiences, the precision and accuracy of alignment of Iyengar yoga with the connection to breath and dynamic flow from Ashtanga yoga, going back and forth, placing the basics in the first days, to go towards a shortened form of the primary series of Ashtanga yoga.

Ori Flomin - Your yoga


Ori Flomin invites you to join him to this Vinyasa Yoga workshop to discover your own unique path and take this beautiful journey to help soften self-limiting mindsets and welcome joy into our hearts.Over the years, Ori has been consistently amazed to feel how the mind opens in the practice of attention to physical and mental awareness that Yoga provides, and how this creates space for healing and a stronger self.Through the class, practitioners are encouraged to intuitively follow their hearts and deepen their understanding and knowledge of their body and its connection with the mind, breath and spirit.Strong emphasis will be put into our continued awareness of alignment and breath through the various postures, which will enable us to find new possibilities while maintaining a calm center that does not add stress to our body and mind.

Stéphane Bourhis – Iyenghar 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 DESCRIPTION

Libby Farr


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


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 DESCRIPTION

Anton Lachky – Puzzle Work


This is for every dancer who likes to be challenged, wants to learn, loves to move and is interested in discovering his/her physicality, ability and coordination skills. It opens endless doors of varieties where one can learn different combinations within his/her own movement possibilities. By playing, organising and reorganising movement in many different ways, simple yet complex, it will allow the dancer to stay playful at all times. Our body functions as we wish, or rather as we allow it to function. It is a never ending process, never ending game but only if we allow it to be so. Each body has its balance, logic and limitations. Anton has been discovering his balance and his own limitations. More so, he is continuously asking himself the question, how to transform and apply these new found discoveries in his dancing. Let us use a bike lock as an image, if one takes six different numbers the combinations of the bikelock will be endless and will keep our bike from getting stolen. We can apply this metaphor to dance, with six different movements our body game can be endless, just like the bike lock. But we are not a bike lock and have many different other factors to take into account. These being speedframe, scale, texture, intention, context and most importantly feeling. Therefore, questions such as: “How large can the scale of our movements be?” and “Do we ever have access to the full potential of our own speed?” will be dealt with during this week. One thing to keep in mind, the answer will and can only be, YES!

Clinton Stringer – Movement


From subtle shifts of weight to expansive movement with the whole body. Clinton Stringer will start the class with a few ‘body discoveries’, exploring weight, direction and alignment. This will be followed by a series of simple exercises which will take these discoveries into movement. The class will finish either with improvisational tasks or the learning of a dance phrase to get the blood pumping!

David Hernandez – Dynamic Movement Systems


David Hernandez is interested in movement, training the body and expression through detailed and precise movement, without the loss of the dancer’s individual expression. he is developing an approach to dance technique and movement vocabulary that embraces physicality, craft and approaches the body as an instrument. The class is highly physical with an emphasis on detail. We concentrate on establishing a clear, efficient body alignment as a base to move from while making gravity our partner through discovering the notion of falling and redirected weight. There is an exposure to very specific, dynamic movement vocabulary that concentrates on moving weight, density, texture and the musicality of physical material. All parts of the body are used to gesture, often play against each other like contrapuntal melody lines. The form is clear and provides a partition in which the dancers can challenge themselves against its rigor while finding a personal approach to the material. Each individual and individual body is different, therefore the material must be translated by each person in their own unique way while honing and crafting the material on their particular body. The class gives the keys to do this while providing tools and skills usable in other styles of work as well.

Dominique Duszynski – The Essence of Movement


Dominique Duszynski proposes a dynamic and fluid dance class made up of both, floor and standing work. The first priority is to open up and broaden each individual’s knowledge of the anatomical aspects of their dance. And so, isolating body parts, is an essential basis for the warming-up and development of the dance phrases. Geometry, alignment and supports are explored to encourage an awareness of a body that is both grounded and light. The relationship between movement and weight distribution is an ever-present element of the work. Energy, grounding and spatial awareness are all needed to cultivate and refine the subtleties and details of the body in motion. The goal is to access the essence of movement, to experience the lines and flow that pass through the body and may deepen the dancer’s sense of perception. The dance phrases are proposed according to the art of movement inspired by Pina Bausch and by the concepts of dynamics and space developed by Rudolf Laban.

Ori Flomin


Ori's class encourages students to increase their movement possibilities and take risks in dancing by maximizing the benefits of the warmed-up body. The warm-up moves smoothly from floor to standing with a strong focus on anatomy to strengthen connections of correct alignment with an increase of fluidity in the joints.. Dancers will develop an understanding of the connections between their body and the floor, and will learn how to use momentum and breath to explore full dancing with the least amount of muscular tension. During phrase work, dancers will learn how to incorporate information from the warm-up to execute more complicated sequences, and attention will be paid to controlling the use of breath to maintain a strong center from which one can explode into the space. Ori is known to approach his class as a dialogue with the dancers and include the use of imagery and humor to allow the dancers to relate personally to the given material and find their own voice through the experience in class.

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.

Rob Hayden


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.

Tale Dolven


Tale will be teaching a technique class based on the personal training she herself does in order to maintain her dance-level. Strengthening and flexibility-work is part of the warm-up, and coordination and multiple directions in the body and in the room are key-words for the dance-material. The aim is to wake up the body and the mind.

WORKSHOP DESCRIPTION

Alexander Vantournhout & Emmi Väisänen – Handshakes and other snakes (partnering)


We believe that the interaction with another body should take place with availability, understanding, predicting, improvising and negotiation. Problems and solutions to those problems arise almost simultaneously, and the state of imbalance is constantly at stake.The first points of contact are often with hands and wrists (handshakes, pull and push, touch..). From these we have developed unconventional and more intricate exercises and we invite the participant to focus on finding the complexity and imagination for new possibilities with another body. Later on, in the proposed partnering situations, the initiation of the movements are unreadable – who is leading and who is following?We propose very specific movement situations and points of departure where we aim to obtain principles (rather than forms) where the body and the mind are challenged to discover situations that are rather unfamiliar, and we aim to approach partnering from a different angle.

Anneleen Keppens - Composition and Improvisation


This workshop aims to nourish the development of your personal movement language through improvisation and composition. It is a space for creation, for expressing the multitude of you and for finding ways to share your personal expression in forms that communicate with a viewer. Guided improvisations based on visualizations, imagery and embodiment techniques allow us to trust our body as a rich source from which a variety of physical materials can manifest. These very personal experiences are then translated into set dance phrases. Each participant goes through the same process, but creates a unique collection of phrases. We then play with our phrases to uncover their full potential. What happens when they encounter other phrases? How can they become an experience for the viewer? How can the personal be shared with an audience? Through observation, communication, trial and error, we get to know our phrases better and better and find different ways of creating a dialogue between our dance and the viewer. We work in a fun, playful and respectful environment. The clear framework and guidelines of the workshop allow for a freedom to explore and experience the joy of creating.

Anton Lachky – Puzzle Work


This is for every dancer who likes to be challenged, wants to learn, loves to move and is interested in discovering his/her physicality, ability and coordination skills. It opens endless doors of varieties where one can learn different combinations within his/her own movement possibilities. By playing, organising and reorganising movement in many different ways, simple yet complex, it will allow the dancer to stay playful at all times. Our body functions as we wish, or rather as we allow it to function. It is a never ending process, never ending game but only if we allow it to be so. Each body has its balance, logic and limitations. Anton has been discovering his balance and his own limitations. More so, he is continuously asking himself the question, how to transform and apply these new found discoveries in his dancing. Let us use a bike lock as an image, if one takes six different numbers the combinations of the bikelock will be endless and will keep our bike from getting stolen. We can apply this metaphor to dance, with six different movements our body game can be endless, just like the bike lock. But we are not a bike lock and have many different other factors to take into account. These being speedframe, scale, texture, intention, context and most importantly feeling. Therefore, questions such as: “How large can the scale of our movements be?” and “Do we ever have access to the full potential of our own speed?” will be dealt with during this week. One thing to keep in mind, the answer will and can only be, YES!

David Hernandez - Out of pocket

During this workshop we will explore spontaneous composition, or improvisation as a performance form. Our work will be centred around how to compose in the moment with others and make it readable and enjoyable for the viewer. It is not about jamming but rather about addressing how to propose and develop ideas in a performative improvisational format. In this interest we will explore both, scored and wide open improvisations with an emphasis on consequence and readability, and work to develop the tools and imagination necessary to accomplish this.

Marco Torrice - Melding pot

MELTING POT is a dance practice in between performance, pedagogy and participatory dance.The work is based on individual and collective improvisation scores and aims to be an alternative way of gathering people and to encourage cultural mix. A meeting place for dance challenge and exchange, where dancers from different styles and cultural backgrounds can enter in dialogue, liberate different sorts of energies, such as joy, hunger, sexuality, social frustration... and put their creativity in relation to others, challenging not just their way of moving but also the way we look at dance, the way we profit from it, the way we approach it and share it.The jam sessions are often accompanied by a Dj set which combines beats from different cultures. The Dj functions as a ‘urban shaman’, to guide the practice towards a sort of ritualistic happening and to lubricate (potentially creating sensations of familiarity or unfamiliarity) and facilitate exchange, connecting different cultures.MELTING POT consists of a mixed group of professional, non-professional, autodidact dancers and actors, a variable and heterogeneous group of artists, within different back ground, active mainly between Brussels, Budapest, Rome and San Paolo in Brazil.MELTING POT is a constant search for a balance between different functions of dance and the possible use of it. The work adapts its shape and focus according to the contexts where is presented. Often the practice is used as a pedagogical method or is ‘performed’ in recreational contexts such as dance/music festival and parties or it organises its own events in collaboration with other art/music collectives.

Tina Breiova & Tomislav English – Ferus Animi // Terra Nova


Ferus Animi // Terra Nova is a movement research practice built around the application of modern physiological, cognitive and neuroscientific understanding into a supplementary training methodology for cross-disciplinary movers and craftspersons. In our research we explore many aspects of human evolutionary physiology, including the Roles of the Sympathetic and Parasympathetic Nervous System States, Imagery and Imagination, Environmental Adaptation in Action, the Circadian Rhythm and Chronotypes, the roles of Play, Failure and the Reward Centres in Cognitive and Motor Learning, the Sensory and Motor Homunculi, and the concepts of Neuroplasticity and Tensegrity, as well as taking anthropological and philosophical examinations of our modern training habits and lifestyles. Our workshops are appropriate for anyone looking to supplement their practice with new perspectives and tools.

ROSAS REPERTORY DESCRIPTION


The repertory workshops are confrontations with choreographic work of Anne Teresa De Keersmaeker, guided by dancers and former dancers of the Rosas company.

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.

Week 2: by Taka Shamoto
Week 3: by Clinton Stringer
Week 5: by Igor Shyshko

Rosas Danst Rosas (1983)


In 1983, Anne Teresa De Keersmaeker had her international breakthrough with Rosas danst Rosas, a performance that has since become a benchmark in the history of postmodern dance. Rosas danst Rosas builds on the minimalism initiated in Fase (1982): abstract movements constitute the basis of a layered choreographic structure in which repetition plays the lead role. The fierceness of these movements is countered by small everyday gestures. Four dancers dance themselves, again and again. The exhaustion and perseverance that come with it create an emotional tension that contrasts sharply with the rigorous structure of the choreography. In this workshop, wee shall look at each part of the choreography, learning the basic phrase as well as its structure in order to dance some extracts. A truly stimulating experience to great music! (Please bring gym/ running shoes)

Week 1: by Tale Dolven