YOGA | PILATES | BODY STUDIES
Yoga class with Anne Pajunen
In this class we return to the beginner’s mind and take time to build a solid foundation for our Yoga practice. We will be introduced to the basic principles of Yoga as a holistic practice, mainly focusing on Asana (dynamic, internal dances in the form of postures) and Pranayama (breathing practices). The meditative aspect of Yoga will be emphasized as we invite the body-mind and the senses to seek calm and relaxation. This class is not limited to any specific style of Yoga but rather inspired by many. We will mainly work with Hatha Yoga and add elements of a flow practice focusing on Vinyasa. Exercises from other somatic techniques might also be introduced in support of the Asana practice. The class aims to build a well-balanced practice that strengthens and aligns, opens, and unfolds, releasing us to move through the day with a feeling of ease, both on and off the Yoga mat.
Yoga class with Cassandre Cantillon
Designed as a moving meditation, Vinyasa yoga is a dynamic and fluid style of yoga that emphasizes the synchronization of movement and breath with a sequence of poses. Through the class, we’ll explore progressive asanas sequences, mobility principles, breathwork exercises and meditation tools. The aim is to offer a physical and mental anchoring point while developing strength, functional flexibility, balance and ultimately foster a sense of quietness to the mind.
Body Works by David Hernandez
This will be an investigation into different somatic practices I have developed over the years that are a part of my Dynamic Movement Systems pedagogy. This was developed with influences from Klein technique, Alexander technique, Body mind entering and Yoga among others but mostly my experience as a body researcher over many years. The class will be body work sessions of different kinds aimed at opening up the body’s possibilities and finding how to develop the body as an available instrument geared toward a healthy approach to movement. We will explore the musculature of the body from its relationship to the bones as the base element working toward healthy alignment and functioning of the body in movement as well as our partnership with gravity and the floor. The day will start with a detailed body work experience followed by some light improvisation to feel the effects of the experience we have had and finally by some movement material to further explore the availability we are creating in our bodies.
Body Studies by Diane Madden
Each day we will sequentially and simultaneously flow through bodywork – technique – improvisation – composition – performance skills. Referencing anatomy and physics to align forces of weight and support we cultivate a taste for the authenticity of weight and transparency of intention in our movement. Recognizing the movement within stillness we discover the stillness that’s possible within movement and develop an embodied understanding of where to focus mental and physical effort and where it is not useful. Building upon this mindfulness work, we layer our awareness from inward to outward, bringing our movement into relationship with our environment. Through soloing, partnering and ensemble work, the dynamic of falling is used as a tool for experiencing the balance of release and activation, mobilizing our center of weight to provide a readiness and responsiveness to the movement around us. Play is the operative word. From a place of play we become available to imagination, ideas and impulses both within and around us. As pleasure is a great motor we will train our contact with it.
Body Studies by Marita Schwanke
As a somatic practitioner, I am becoming increasingly aware of the different processes and systems within the body, and I strongly believe in the value of sharing this knowledge. As a dancer and artist, I enjoy communicating and exploring these processes and systems through movement and imagination. Present elements in the class:
> Looking at anatomical and metaphorical images that can help us to reimagine the anatomical information and sharing our thoughts about it.
> Working with sensory information, particularly touch, to help us locate, feel, and deepen our awareness of specific parts of our body.
> Movement improvisation will help us to embody our body in its different layers and parts. The use of voice may as well be incorporated.
In addition to working with concrete anatomical and biological information, we also engage imagination and personal creativity. This supports us in moving beyond the cognitive or mechanical understanding of the body, creating space for playfulness and individual curiosity to emerge. We will explore the body in movement through concepts such as spaciousness, openings, omni-directionality, letting go, balancing, weight, breath, and availability.
Yoga class with Michael Helland
Flying into Flow: Michael Helland offers a week of revitalizing yoga practices to help us arrive ever more fully into the here and now, anchoring through our unfolding sensations and drawing nourishment from our breath, while opening more fully towards presence. Diving into dynamic flows to discover fresh pockets of vibrancy and peacefulness within the sanctuary of our bodies and minds, we will become more aware of what moves us as we endeavor to fly free and flow with ease in the dance of life.
Yoga class with Niloufar Shahisavandi
This workshop will give everybody the opportunity to review the base of different asanas and their important actions. The aim is to help you to discover a deeper physical and mental understanding of the asanas and their effects on body, mind and soul. Please feel free to share your interest and questions during the workshop for adapting the practice to your needs.
Yoga class with Silvia Ubieta
My work is based in Iyengar yoga practice and orientated to the dancer’s body. The practice of the asanas (postures or poses) are designed to reinforce the alignment of the body, increase flexibility, and strengthen muscles and connective tissue. During the practice of asanas, the object of concentration is the body. The student focuses his mind on the incoming and outgoing breaths, the steady flexion and extension of different muscle groups and bodily sensations, using the skin as an information receiver to bring awareness to our body and mind. I will focus the practice on extensions and expansion by the sense of directions on different body parts and related to the space around us : floor and air as a support for a better understanding of the pose. We will use props : blankets, belts, books and chairs to get proper alignment.
Yoga class with Stéphane Bourhis
The teaching of Yoga following the BKS Iyengar methodology is based in depth practice of yoga postures and pranayama (art of breathing), with rigorously, intensity and precision of the body alignments. During the class we gradually explore the outer and the inner geometry of the body in different groups of postures and movements.
Pilates class with Tarek Halaby
Over the years, Tarek Halaby has developed classes for dancers to prepare them for their day of dancing. A mixture of stretching, strengthening, aligning and opening, dancers will feel grounded, centered, warm and ready to dance after this Pilates class. Some previous experience with Pilates is recommended.
CONTEMPORARY
Contemporary technique by Cassandre Cantillon
Through the class, the aim is to create an internal and external environment for physical learning and exploration through play where new movement possibilities can arise and flourish. We will dive into individual and collaborative improvisation tasks, movement puzzles, coordinations, meditation practices, set material as well as conditioning exercises. We will explore a series of tools and perspective which can be used to develop one’s movement vocabulary and training while interrogating our relationship to failure and learning.
Contemporary technique by David Hernandez
'Dynamic Movement Systems' is a technique class with an emphasis on weight, falling, redirecting energy, accentuating sensations of unfamiliar co-ordinations and torsions. Rhythm and accents awaken the neuromuscular abilities of the body towards virtuosity, precision and articulation that challenge the dancer’s habitual movement patterns. The exercises or etudes encourage an emphasis on universal laws of motion and reveal motion itself rather than shape and gestures.The gradual training from floor to standing to travelling and jumping constitute a thorough work out that by the end of the class leave a taste of ‘everything is possible’ in a vibrant body. More importantly, the class is building a practice in motion with useful technical tips for long and healthy dancing, encouraging the dancer to get to know their body and expand its fitness level as well as its creative capacity.
Contemporary technique by Diane Madden
Each day we will sequentially and simultaneously flow through bodywork – technique – improvisation – composition – performance skills. Referencing anatomy and physics to align forces of weight and support we cultivate a taste for the authenticity of weight and transparency of intention in our movement. Recognizing the movement within stillness we discover the stillness that’s possible within movement and develop an embodied understanding of where to focus mental and physical effort and where it is not useful. Building upon this mindfulness work, we layer our awareness from inward to outward, bringing our movement into relationship with our environment. Through soloing, partnering and ensemble work, the dynamic of falling is used as a tool for experiencing the balance of release and activation, mobilizing our center of weight to provide a readiness and responsiveness to the movement around us. Play is the operative word. From a place of play we become available to imagination, ideas and impulses both within and around us. As pleasure is a great motor we will train our contact with it.
Contemporary technique by Frank Gizycki
We will explore movement by establishing an anatomical and tonic awareness of the body. Through precise exercises and sequences of movements (phrases), we will focus our attention on the alignment of our bones, our breath and a certain use of gravity to support the biomechanical poetry of our body. We will also play at modulating our physical tones in order to broaden their expressive potential. We will thus compose contrasts between tonicity and fluidity in order to allow our dance to better resonate with architecture and music and to clarify our address.
Contemporary technique by Haman Mpadire
This class explores the intersection of decolonial thought, minimalist aesthetics, and animistic philosophy through the lens of Busoga traditions from Uganda/East Africa. Kumbe—meaning "awakening of the psyche"—invites participants to avant-garde with the (un)known, (un)seen part of themselves in a collective space; free from conventional judgment or expectations.This class consists of two segments:
[First session] Physical thinking | movement practice
In a carefully guided practice - the participants will engage in a ritualized, minimalistic activation of four vital body centers: the pelvis, spine, chest, and waist + bumbum.
[Second session] Mystical + Critical physical thinking | movement practice
A conceptual exploration of ideas and embodied practices centered around how oneself could minimize cliché movement patterns, discovery of how the intersection between decolonial thought, minimalist aesthetics, and animistic thinking emerge as deliberate gestures that can access profound states of presence. etc….
Contemporary technique by Jacob Storer
This contemporary technique class will use an anatomical approach based on weight transfer to access coordinations within the body to move with uninhibited ease. Focusing on moving with dynamic alignment and physical integrity, students will be encouraged to engage both individually and collectively to investigate different tools of awareness and sensation. The class will build up to a movement phrase that incorporates these principles - connecting from the internal space to the space that surrounds and supports us.
Contemporary technique by Laura-Maria Poletti
In this class we will try to physically understand how to get ready for anything. We will approach technique as a constant reassessment of what is available now and now and now and now. Technique as an ongoing process of adaptation to new challenges. We will explore through improvisation and phrase work how to not shy away from virtuosic and banal movements in a light and play:full way.
Contemporary technique by Susanne Bentley
A floor work class with funk… strengthening centre, perfecting technique, extending movement range and having fun. How to throw yourself at the ground and miss… The classes start by warming up at ground level: strengthening the centre and upper body for taking weight by travelling across the floor with set material or improvisations. With a strong centre we can move fluidly and economically on all levels.We then transition into practising specific movements and short phrases passing through different levels, exploring inverted material. Emphasis is placed on efficient use of the body. We use gravity, momentum and weight of body parts, spirals, direction, softness to find fluidity and ease in, out and over the floor. This material builds up to the final phrase that will end the class.Get Down! is inspired by my passion for moving on all levels and in all directions. My focus is on a playful, supportive environment to approach challenging material and intense physicality. Participants should come expecting to sweat and have fun.
Contemporary technique by Youness Khoukhou
Phase 1: Physical Preparation and Technical Elements. This phase will begin with floor work as a preparation, followed by rhythmic phrases and written movement material. These exercises will focus on the elements of rhythm, time suspension, and how to incorporate them as fundamental elements of movement. Phase 2: Deconstruction and Exploration. In this phase, we will be working on the body's movement memory. By embracing instability and momentum, participants will be guided to express immediate sensations through movement, unlocking a wide range of creative possibilities.
BALLET
Classical technique by Douglas Becker
I propose ballet class as a collaborative setting where new information and knowledge about the moving body, in relationship to form and history, happen in the moment. Barre and center combinations are constructed to rigorously support the study of technique as studio practice, accentuating somatic awareness and attention to the multiple perspectives of dynamics alongside varied spatial concerns. We will work on developing an agile relationship between the head, shoulders, arms and legs; considering ballet as art, as a system, and as "changeable architecture". Attention is given to interior mechanics driven by counterpoint. Throughout the class, extensive 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.
Ballet class by Libby Farr
The ballet class is set up for the dancer to observe and reevaluate their body in the classical structure of a ballet class with the objective to focus on strengthening the dancer's awareness of their own natural alignment and experience. The class is divided into two parts: the barre and the centre work . Exercises at the barre emphasise isolating the joints to find where the movement begins and to wake up the dancer's awareness to find their own functional alignment and efficiency. The second half of the class, conducted in the centre, continually challenges the dancer to use the new found experiences when shifting weight, finding flow in transition, momentum and dynamics when executing the ballet vocabulary with the goal to find more freedom and expression.
Ballet class by Roman Van Houtven
This ballet class is designed for dancers who have gained some experience in ballet in the past and have a basic understanding of its movement vocabulary, technique and musicality. Throughout the week we will revisit the basic principles of ballet technique and explore how those can be applied to the virtuosic contemporary dancer’s body. We will work on basic anatomy, release, isolation of joints, musicality and efficiently moving our bodies through space. Through all of this, we’ll try to establish how all these elements can strengthen a dancer’s awareness of themselves and how to move through space in a three-dimensional way, while interacting with others.
WORKSHOPS
Workshop Performed improvisation by Anneleen Keppens
In this workshop we will approach improvisation as a performative act. We will develop a skill set as well as a mindset that broadens our ability as improvisers. We will play around different improvisational centres; the thing we improvise around. This can be a set phrase, a musical principle, a practice, a relationship… In doing so, we allow vulnerability and authenticity to direct our choices. We become curious about what happens in the space between ourselves and the other. We align skill with intuition. It is a form of dancing and being danced. This workshop is born from extensive research on jazz improvisation and my latest creation Blue Moon Spring.
Workshop Technique and Improvisation by Cassandre Cantillon
The intention behind the workshop will be to cultivate an internal and external environment for exploration, physical learning and new possibilities. We’ll dive into tools aiming at building movement agency, diversity of vocabulary and choices within a movement practice. A particular emphasis will be placed on the role of playfulness, failure and constant searching within one’s own movement journey. The workshop will cover:
* Forms and maintenance - a time dedicated to exploring different forms and conditioning exercises through solo forms, games and partnering exercises.
* Coordination - by layering physical exertion and mental tasks in order to overload our systems, we will address different ways of learning and movement configurations as well as addressing precision, clarity and stamina.
* Improvisation - through tasks dealing with space, time and body organisation, the aim is to develop an internal and external state allowing new movement possibilities to arise. Improvisation will also be used as a tool for building a reflective and observational group practice
* Phrase work - through learning set material, we’ll look into specific technique elements regarding the use of weight and body organization to create specificity, efficiency and ease - in, out and through the floor.
Workshop Rosas repertory ‘Exit Above’ by Clinton Stringer
This is a new repertory workshop based on the 2023 creation Exit Above. The dancers of the original piece created a lot of their own material. You will not only learn some of this material, but also make your own phrases using the same stylistic concepts. Some of the material is more typically “Rosas” in style, while other materials relate to urban and social dance styles - a Rosas-Tiktok crossover! Once we have some materials to play with, we will construct spatial compositions with the clubbing beats of Jean-Marie Aerts.
Workshop Rosas repertory 'Rain' by Clinton Stringer
In this workshop, we will learn phrase material from Rain (2001), getting into the specificity of the “Rosas quality” with suspension, attack and organic speed. We will then use this material to create new compositions based on some of the compositional structures used in Rain. Like any true Rosas creation, counting will be involved! Structure is a fundamental element of Anne Teresa De Keermaeker's work and it is most often rooted in the music - in this case, the emotive minimalist composition of Steve Reich's Music for Eighteen Musicians. The challenge for any performer is to be able to "live" within the structure.
Workshop Serious Play-Music and Improvisation by David Hernandez
Diving into a daily practice centred around improvisation and the concerns connected to improvising. For this workshop we will place a special focus on our relationship with music while improvising. We will learn some basic musical skills and explore our voices and how we work with music as improvisers while also learning some important skills for creating spontaneous compositions as movers and performers. As usual bring your playful and investigative spirit.
Workshop Hip-hop & contemporary dance practices by Fouad Nafili
This workshop offers a week of research and practice centered around hip-hop music—its groove, rhythmic patterns, structure, and lyrical flow—and how these elements generate movement, style, performance, and emotional response. My research focuses on cyphers, a choreographic structure that emerges through simple scores, mutual support, and collective sharing. The cypher is deeply rooted in hip-hop, not just as a dance form but as a cultural practice that influences various artistic disciplines. Throughout the workshop, we will explore a range of skills that enable dancers to engage with the creative tools used by hip-hop and breaking practitioners to develop vertical and horizontal dynamics. At the same time, we will take a contemporary analytical approach to understand how these methods function and how to integrate them into our own dance practice. By the end of the week, students will have developed a deeper connection to hip- hop’s rhythmic language and the communal energy that drives this culture. Each day, we will cypher in different forms, embracing the essence of this practice together.
Workshop A taste of contemporary dance by Isabelle De Keyzer
This week is created for complete beginners or those who have had a start and would like to experience a taste of various contemporary dance practices. We will begin our sessions with a (physical) warm up, including awareness of body alignment, breathing, mobilization and articulation of the different joints and body parts. Through dance phrases and guided improvisations, we will begin to discover and play with a vast range of components present in western contemporary dance forms, ranging from floor work to standing exercises, travelling through space, partner work or group work. This daily practice will prepare the body and senses to experiment with choreographic or creative tools, at times accompanied by various types of music. Each participant will be invited to work from their own level and curiosity in the proposed material of the day. So jump in, let yourself explore and be guided through this fun week of discovery!
Workshop Permaculture into dance by Jason Respillieux
In this workshop we will investigate and explore the ethics and principles of permaculture. We will discover how this joint study and movement workshop transposes these tools into both improvisation and compositional tools. This guided workshop focuses on collaborative and cooperative practices with all participants. I will also guide you through task oriented exercises which enable us to reconnect to our sensorial capacities. We will look, touch, converse, hear and imagine together new approaches to dance. The workshop encourages us to (re)discover our senses through learning, observing and interacting with others. A workshop that invites introspection, intimate forms of expressions and questions: How do I situate myself ? How do I relate to my immediate and/or imaginary surroundings?
Workshop Rosas repertory ‘A Love Supreme by Jason Respillieux
This workshop explores the balance between structured material and improvisational freedom. We will focus on learning set phrase work and how to use them as a basis for structured improvisations. Participants will work on connecting with each instrument to develop rhythmic and melodic response to John Coltrane’s most spiritual and influential oeuvre. We will work on incorporating both pre-composed material and open, creative exploration. This repertory workshop will provide tools to integrate improvisation within a structured framework, encouraging personal expression within the work. In relation to these repertory materials, participants must be fine with contact and collaborative work.
Workshop Play Full Body by Laura Aris
Play Full Body Workshop is not just a physical journey but a blend of playful exploration, mental challenges, and the pursuit of artistic expression and creativity. It is an invitation to shift your perspectives and discover new ways of perceiving movement and its qualities. While dancing will be at the core, we will also explore the expressive potential of voice and emotions. I propose navigating a space that's neither entirely new nor entirely familiar—much like walking with a compass without a map. The work begins with guided improvisations and specific technical exercises. Each day, we’ll introduce new and varied tasks, which may seem eclectic, but by focusing on specific exercises within clear, defined frames, participants can gradually uncover how different elements connect. This approach fosters deeper awareness and clarity, showing that creativity can thrive within structured limitations, providing a safe and engaging environment for exploration. We will mostly work in pairs, but there will also be opportunities for individual work, trios, and group collaborations. Throughout the workshop, roles frequently shift between performer/creator and observer (audience), inviting new questions and insights. This interactive approach ensures that participants are actively involved in the learning process, experimenting with their movement vocabulary in defined yet evolving contexts and observing both bodily mechanisms and mental processes while dancing. Can imagination be exercised? I believe it can. The creative journey is deeply personal, often filled with moments of discomfort, fear, and uncertainty. Sometimes, the vastness of creative freedom can feel overwhelming. Paradoxically, limitations can provide a sense of safety, offering a structure in which creativity can flourish. By embracing this balance between freedom and constraint, we will explore the uncharted territories of your imagination.
Workshop Rosas repertory “Rosas Danst Rosas” by Laura-Maria Poletti
This workshop will teach you the phrase material and the structure of 1st and 2nd movement where repetition plays the lead role. Dancing with four people in a complex structure and to be in perfect unison are the challenges. Learning how to listen and breath together and how to feel each others energy.The actual material lies in the heart of the movement work of Anne Teresa De Keersmaeker. Experience the contrast of rigid structure and full emotion that will give the intensity to the movements. How to let go and be in control at the same time.
Workshop A taste of contemporary dance by Lise Vachon
This week is created for complete beginners or those who have had a start and would like to experience a taste of various contemporary dance practices. We will begin our sessions with a (physical) warm up, including awareness of body alignment, breathing, mobilization and articulation of the different joints and body parts. Through dance phrases and guided improvisations, we will begin to discover and play with a vast range of components present in western contemporary dance forms, ranging from floor work to standing exercises, travelling through space, partner work or group work. This daily practice will prepare the body and senses to experiment with choreographic or creative tools, at times accompanied by various types of music. Each participant will be invited to work from their own level and curiosity in the proposed material of the day. So jump in, let yourself explore and be guided through this fun week of discovery!
Workshop Learning choreographic pieces influenced by Hip-Hop dynamics and fundamentals by Malik Zaryati
The Movement Theory’s choreographic work finds its balance within a clear Hip-Hop influence and a more movement based study of the human body through time and space. Classes will present a commercial approach of routines and urban choreographic material while digging into deeper layers on how to apply concrete knowledge into movement according to posture, dynamics, shapes, textures and movement quality. The entire process can be seen as an exploration of the heart and brain connected together, feelings enhanced by mental consciousness in order to increase and bring execution to higher levels. Structure of the sessions will often happen in two distincts parts. Students will first be brought to learn basic steps and moves to develop their vocabulary and work efficiently on their overall body abilities. Then a routine will be shared to them as we practise different ways to move and apply theory, thoughts and ideas to concrete material.
Workshop The Good, the Bad and the Monstrous by Mario Barrantes Espinoza
This hybrid workshop blends composition and dance improvisation, exploring world-building through movement, sound, text, and plastic materials. What happens when fiction manifests in the body? How would that body move, look, sound, and speak? Through pop culture, societal issues, and autobiography, we’ll invoke different ‘outcast’ corporalities, invoking a body-space where the monstrous and the quotidian intertwine.
Workshop Performing Breath - making the invisible tangible by Pieter Ampe & Michael Schmid
Breathing is a fundamental bodily act that plays a key role in movement, emotion, and presence. In this workshop, we will explore how breath supports our bodies, shapes our expressivity, and connects us to our surroundings. Through a mix of sharing knowledge and hands-on experimentation, we’ll discover ways to engage with breath as a tool for performance. By working in a group setting with non-verbal synchronization, resonance, anchoring, and expressivity, we’ll investigate how breathing can influence focus, embodiment, and stage presence. We will also explore the grey zone between conscious and unconscious breathing, a space where awareness emerges through seizing to interfere. By inhabiting this transitional state, we access a unique quality of presence—one that deepens our ability to sense, connect, and be moved. What can our breath teach us about ourselves and the spaces we share?
Workshop Improvisation Intact Method by Rakesh Sukesh
Payatt Intransit is a contemporary movement technique blending principles from Kalaripayattu, an ancient Indian martial art, with yogic practices, pranayama (breath work), and energy activation. This holistic approach fosters safe yet rigorous training, promoting confidence, relaxation, flexibility, and strength. By incorporating pranayama, practitioners sharpen reflexes and maintain inner calm during physical exertion.The technique challenges physical and mental boundaries, encouraging energetic movement paired with mental relaxation. Controlled breathing isolates physical intensity from inner tranquility, empowering practitioners to master their movements and adapt to unexpected situations. By harmonizing physical energy with external forces, Payatt Intransit achieves balance between body and mind.
Workshop Rosas repertory ‘Drumming’ by Sue-Yeon Oun
Drumming is based on the music of the minimalist composer Steve Reich. The piece is a complex formal construction using a single basic phrase which is transformed in many ways. In the workshop, I will teach the phrase material and we will explore the principles which were used to construct it. The participants will then make their own transformations of the phrase following the ideas used during the creation. In this way, we will work with retrograde, phase shifts, slow/fast version and partnering all starting from the same basic phrase but resulting in new and varied transformations. We will also focus on exploring what makes the phrase material specific to the Rosas “style” and how to embody this special quality.
Workshop A taste of contemporary dance by Susanne Bentley
This week is created for complete beginners or those who have had a start and would like to experience a taste of various contemporary dance practices. We will begin our sessions with a (physical) warm up, including awareness of body alignment, breathing, mobilization and articulation of the different joints and body parts. Through dance phrases and guided improvisations, we will begin to discover and play with a vast range of components present in western contemporary dance forms, ranging from floor work to standing exercises, travelling through space, partner work or group work. This daily practice will prepare the body and senses to experiment with choreographic or creative tools, at times accompanied by various types of music. Each participant will be invited to work from their own level and curiosity in the proposed material of the day. So jump in, let yourself explore and be guided through this fun week of discovery!
Workshop Stepping in and out by Vera Tussing
The material of this workshop will be drawn from what I refer to as the Tactile Cycle of my work – a series of stage performances, installation pieces, lectures & podcasts created over a decade, that focus on tactility, collectivity and consent. The workshop embarks from the question of how to let a singular duet choreography be embodied collectively by multiple couples. In the first half of the week the group will create one set duet phrase for all participants. For the second half of the week, the group will be moving between this phrase and how it can be set into dialog with the whole group. For this dialog to come about we will be exploring different improvisational scores. Asking questions around how we can navigate stepping in and out of the choreography, replacing each other, switching things up, rupturing a connection or picking up the slack.
Workshop Artylogica by Vittoria De Sappeto
The workshop “Artylogica” proposes different kinds of exercises, engages different technical abilities and passes through structured dance sequences and physical theater guided improvisation. The aim is to question our creative habits and find new pathways to enrich our movement vocabulary. The class is influenced by martial arts and investigates the relationship between body, dynamics and architectural space. Participants are invited to explore theatrical aspects of their physicality and approach movement through a specific “state” rather than perceiving it as a simple technical task. Artylogica is Vittoria’s creative translation in searching for the logic within the art of dance; an utopia considering its constant state of change. Within the boundless scope of logical choices, what matters is the one which suits each one of us.
Workshop Composition by Youness Khoukhou
This workshop will involve creating small-scale compositions either individually or in groups. We will offer guidance and tools for generating and crafting movements for both individual compositions and group pieces, incorporating solos and collaborative work.
Workshop Rosas repertory 'Fase' by Yuika Hashimoto
Fase, Four Movements to the Music of Steve Reich was made in 1982, it has been performing for more than 40 years. There are 4 different parts in the performance. Piano Phase, Come Out, Violin Phase and Clapping music. As with the music, the movements are very repetitive, with small variations. We will experience a special journey of phase shifting.
Workshop Composition using Rosas Tools by Yuika Hashimoto
Sharing the composition tools from Rosas repertoires. Where is the movement going and retro grade? What is phase shifting? And a magic square? We are going to discover the same choreographic tools from Rosas's work.
