POLETNA PLESNA ŠOLA 2018

DELAVNICE IN MENTORJI PPŠ 2018 / WORKSHOPS AND MENTORS SDS 2018

Alexandra Baybutt: LABAN/BARTENIEFF GIBALNI SISTEM, Improvizacija in opazovanje / LABAN/BARTENIEFF MOVEMENT SYSTEM, Improvisation and Observation, level ll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Alexandra Baybutt

Alexandra Baybutt, MA, is a movement artist, educator and Certified Movement Analyst, teaching privately (London), for CMA programmes in Europe, and as a guest at contemporary dance studios. She is currently a PhD candidate and lecturer at Middlesex University.
More: www.alexandrabaybutt.co.uk

LABAN/BARTENIEFF MOVEMENT SYSTEM, Improvisation and Observation (18+), level ll

This workshop introduces the Laban/Bartenieff Movement System, the interconnected framework of Laban Movement Analysis (LMA) & Bartenieff Fundamentals (BF) as taught on LIMS (New York, USA) programmes in Europe.
This workshop is designed to demonstrate the application of these tools for movement improvisation, and to develop observation skills. We will use themes and fundamental topics derived from LMBS to craft movement scores in which we may appreciate our spontaneous, somatic, creative selves. Through these scores, we will identify patterns and habits, and find their articulation through LBMS terms. We will practice self-observation, and observing others, to develop a more conscious awareness about how these habits serve our dancing, communicating and interacting, and where we might be able to expand a little more. Practice informs our understanding of the theory, which in turn informs practice. This process will be supported by mark-making, using Motif symbols. Motif writing will not be the meticulous detail of Laban Movement Analysis; instead basic symbols serve as a middle ground between language, movement, thinking and sensation.
The insights and approaches developed by Laban and subsequent practitioners of Space Harmony continue to find relevance in how to bridge bodymind and/as space, self-other, and inner and outer as a whole, and not as binaries. LBMS is a somatic practice but differentiates itself in the history of somatic practices through a specific activation of Space.
The workshop will be relevant and suitable for dancers, choreographers, teachers, actors, directors, musicians of all backgrounds and levels, and for dance/movement/arts therapists wishing to extend their tool kit of resources, experiences and movement fluency.

Dagmar Dachauer: SODOBNI PLES – Prehajanje med stopnjami / CONTEMPORARY DANCE – Move through the gears, level lll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Dagmar Dachauer

Dagmar Dachauer is a freelance dancer, performer, choreographer and film maker, based in Upper Austria and Brussels/Belgium. After graduating from Music Highschool, she studied dance at Amsterdamse Hogeschool voor de Kunsten and at P.A.R.T.S. in Brussels. She also attended courses in Handstand and Dance Acrobatics at DOCH (Dance and Circus University) in Stockholm. In 2015, she founded the art association UMFUG, through which she carries out dance and theatre performances as well as film projects with collaborators coming from various backgrounds such as Cinematography, Sound Design and Ecology.

Her Solo ‘Wunderbare Jahre’ (2015), as well as its excerpt ‘Wie soll ich das erklären’, about the Viennese Waltz, has been presented internationally (a.o. USA, Israel, Germany, U.K., Cyprus, Spain, Serbia, Slovenia, Italy, Austria). As a freelance performer, Dagmar has worked with a.o. Christoph Winkler, Dance/Performance Group T.r.a.s.h., Luke Baio & Dominik Grünbühel, Kevin Trappeniers and Florence Augendre. She has been for several years co-directing, managing and co-curating the art festival SPIEL in rural Austria, featuring Dance, Music, Circus, Theatre, Improvisation, Lectures and Workshops. In 2015, she co-curated Secret Hotel’s Landscape Dialogues Summer Lab in Mols, situated at Denmark’s National Parks.

Dagmar’s coaching and teaching practice encompasses training and workshops for all levels, as well as master classes. She often assists creative processes and productions as an advisor, assistant choreographer, coach or outside observer and is a guest teacher at the BA and MA programme of IUI Belgrade, Serbia.

Dagmar is the recipient of several Austrian and Belgian scholarships for her studies, as well as of support for her projects and activities in Austria and abroad. Her solo works, as well as her dance films have received several awards and are touring internationally.

More: www.dagmardachauer.com

CONTEMPORARY DANCE – Move through the gears (16+), level ll

The aim of the class is to cultivate physical availability, holistic presence and performative quality in movement; a body that projects, so as to enable it to economically and efficiently navigate through different dynamic demands and ranges. Also, finding ease, stability, space and structural support by directing the body through images and by relating to itself and others.
Challenging coordination exercises are meant to draw our full attention into the action we are performing, with the intention not to leave room for inefficient mind-chatter. That way we give our “body system” a greater and more equitable chance to organize, improve and integrate movement and quality.

MOVEMENT RESEARCH – No Noise (16+), level lll

This class’ focus lies on expanding the choices available to us in how and “from where” we initiate and generate movement material. It wishes to encourage dedication and attentiveness to detail, precision, inquisitiveness and the ability to listen to our actions with the entire body in real time as we create and perform.
The smallest action can resonate and project to its fullest, when movement “noise” is quieted. The aim of the session is to challenge one self in one’s movement habits and habitual compositional choices and to (re-)discover qualities and possibilities in depth.

Milan Kozanek: ANATOMIJA GIBANJA / ANATOMY OF MOVEMENT, level lll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Milan Kozanek

Milan Kozánek graduated from the Academy of Performing Arts in Bratislava (Slovakia). He works as an independent choreographer and teacher. Milan has got a lot of experience as a teacher in institutions such as the Salzburg Experimental Academy of Dance (SEAD), Northern School of Contemporary Dance in Leeds (UK), Tanz Quartier Wien and Konservatorium Wien University (Austria), Grotowski Institut in Wroclaw (Poland) and many others. Together with his wife Zuna Kozankova, Milan is a co-founder of the Artyci Dance Company. The goal of the company is to combine creative and pedagogical activities. Their current aim is to develop the Pangea Art and Education Center, located in the Eagle Mountains (Czech Republic).
Alongside his work in dance, Milan continues to develop his skills and artistic qualities through the study of Chinese and Japanese calligraphy, intuitive archery and through taking part in workshops with Sam Chin, master and co-founder of a new martial art form I Liq Chuan.
More: https://www.youtube.com/watch?v=NrLqHsWE-qc;
https://www.youtube.com/watch?v=3CqJHMlSOXg;
https://www.youtube.com/watch?v=7e9lwzEAioo

ANATOMY OF MOVEMENT (16+), level ll

During this workshop we will explore the fundament of our body – the bone structure and its power. We will use this information for improving our technique together with practicing and experiencing the subtle work with energy, body alignment and mental process called “I do not know”. We will also discover the creative potential of every individual in the direction of movement research, tasks for improvisation and compositions. My intention is to encourage students to discover new movement possibilities and develop dance quality. During this process we will also develop perception about the natural composition of time, space and energy.

CONTEMPORARY DANCE TECHNIQUE “Embodying Now” (16+), level lll

What is the goal of the technique? Where does the source of the dancer's art spring from? What is behind the dance form?

This class is focused on using the nature of the movement by understanding bone structure and 19 movement centres. It centres on using the perception of mutual motion relations, physiodynamic of the body, rather than using the judgmental mind. It combines somatic work with technique and improvisation to direct the dancers towards the performability of the body. In the class you learn to listen to the innate instincts and then use them in movement, discovering and developing chain reactions which our body allows, search for new movement possibilities.

Alicia Ocadiz: DEALAVNICA UŽITEK GIBANJA / THE PLEASURE OF MOVING WORKSHOP, level ll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Alicia Ocadiz

Alicia Paulina Ocadiz Arriaga, MA, received her master’s degree in Dance and Motion Arts in 2015. Her topic was researching the meeting points between Indonesia and Mexico at the San Antonio Catholic University of Murcia in Murcia, Spain. She graduated in Contemporary Dance from the National School of Classical and Contemporary Dance of Mexico and is a certified dancer at the prestigious Rotterdam Dance Academy, CODARTS, in Rotterdam, Holland, and the Beijing International Arts School in Beijing, China. She has performed as a choreographer, dancer and circus artist in various stages, theatres and festivals in countries such as Mexico, Holland, France, Costa Rica, Panama, Spain, Slovenia and China. She has been a member of the 2Move Dance Company (Holland), NANA + NA (Panama), Foco al Aire Producciones (Mexico), Ashley Meeder Movement Project (USA), Circus Kansky (Slovenia) and other independent collectives. In 2009 she won the "Mexico City Youth Award", which put her on the list of young talents of the city government, and in 2010 she won the Niewe Maan award for creating and executing the best show for Gallery within the Framework of the Museum Nacht, in Rotterdam, Holland.

THE PLEASURE OF MOVING WORKSHOP (16+), level ll

Dance has always been a reflection of the identity and culture of those who do it. Through this art, feelings and thoughts make communion with the body, thereby providing impulses that release the soul.

In this workshop, I intend to find out and show the dance identity of all students regardless of their technical level.

In this process, students will learn several technical - creative - interpretive elements, derivatives of contemporary dance. This will provide the participants with the necessary tools for developing a creative process that leads them to know their body and release it.

The class time will be distributed as follows: The first hour will consist of a technical class where we will explore elements of Release Technique, Flying Low, Passing Through, Counter Technique, Limon and Contact Dance. This will be very useful to develop the coordination, strength, flexibility, laterality, spatial awareness and body awareness of all the students.

In the next half, I will guide improvisation work. During this time, the students may apply what they have learnt in the first half and at the same time they can add creative elements and previous knowledge to their explorations.

Universal rules on improvisation will be also taught in this part in order to guide the interpreters to be able to create a spontaneous dramaturgy, thereby providing the opportunity to improvise live, whenever they want it/need it. The class will conclude with stretching, recovery of the body and feedback.

CONTACT IMPROVISATION

This workshop is focused on the fundamental technical skills we use in Contact Improvisation, and is aimed at both beginners and expert dancers.

We will begin every session by opening our senses through body work and breathing to increase our awareness of weight and the transfer of weight.

We will then go on to explore the basic aspects and principles such as: the rolling point of contact, physical listening and following, spiral rolls, no hand dance, open up the back space, lift principles. Using this vocabulary, we will dive into a fluid dialog created through mutual listening, suspensions, surrenders and supports.

Contact Improvisation is an improvised dance form based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. The body, in order to be open to these sensations, learns to release excess muscular tension and abandon a certain quality of wilfulness to experience the natural flow of movement. Practice includes rolling, falling, being upside down, following a physical point of contact, supporting and lending weight to a partner.

!!! Each class is going to be taught by a different teacher!!!

Neus Barcons Roca & Matevž Dobaj: ZASUK SODOBNEGA PLESA / TURNING CONTEMPORARY DANCE AROUND, level ll

Neus Barcons Roca & Matevž Dobaj

Neus Barcons Roca je plesalka, koreografinja in pedagoginja iz Španije. Po diplomi na Institut del Teatre (Barcelona) je odšla v New York, da bi pridobila novo znanje v različnih plesnih stilih. Neus je kasneje diplomirala na SEAD (Salzburg Experimental Academy of Dance) in bila gost v plesni skupini Bodhi Project.
Trenutno dela z Britta Lieberneknecht company in Karen Bößer (DE). Med drugimi je sodelovala
tudi z Isabello Soupart, Nigelom Charnokom, Nazanin Fakoor in Olgo Álvarez. Aktivna je v raziskavah improvizacije in performativnosti v Bruslju, je del oranizacije Artist Commons in je bila članica raziskovalnega programa Ultima vez. Koreografsko sodeluje z Matevžem Dobajem in poučuje v Belgiji, Španiji in Sloveniji.

Matevž Dobaj je slovenski plesalec in koreograf. Po zaključku študija na Medicinski univerzi v Mariboru se je šolal na Salzburški plesni akademiji (SEAD). Matevž nadaljuje svoje izobraževanje v različnih mestih v Evropi - v tem trenutku ga še posebej zanimajo somatske prakse in body-work. Skozi učenje in delo tako izpopolnjuje svoj koreografski /plesni jezik. Sodeloval je s številnimi koreografi in skupinami. Med drugimi: Les gens d'uterpan, Francesco Scavetta, Bud Blumenthal / Hybrid, Dieter Difurne, Iñaki Azpillaga…
Z Neus Barcons Roca že več let ustvarja nove plese in poučuje v Belgiji, Španiji in Sloveniji.

More: www.matevz-neus.com;
https://vimeo.com/170652322

ZASUK SODOBNEGA PLESA (8+), level ll

Zasuk je primeren za novo obetavno generacijo plesnih učencev, ki želijo spoznati in / ali poglobiti
svoje znanje v plesu. Ukvarjali se bomo predvsem z našo energetsko učinkovitostjo. Kako lahko delamo manj, da naredimo več. Kako lahko vidimo naš ples drugače, ne glede na to keteri stil plesa nam je ljubši.
Poglobili bomo naše znanje o vrtenju, padanju, podpori tal, toku, intenzivnosti in prenosu teže in
vse skupaj združili v hitrih plesih skozi prostor. Vse, da bi lahko leteli v naših skokih, drseli po tleh
kot olimpijski drsalci in se sukali v neskončnost.

ZASUK SODOBNEGA PLESA (14+), level ll

Naš ples se začne v tišini. Po določenem času, ko smo dovolj tihi in ne čutimo potrebe, da bi se
premaknili, bomo nenehno padali v prostor z uporabo naše teže. Skozi različne naloge bomo raziskovali dani trenutek s ciljem, da se povežemo s plesom v svoji polni obliki.
S poglobljenim znanjem anatomije bomo ponovno obiskali naš občutek za postavitev telesa in
nadaljevali z raziskovanjem pojmov kot so vrtenje, pospeševanje, zložljivost, ravnotežje in
razširitve. Kasneje bomo naše delo prevedli v kratke plesne fraze, lahkotno v tla in nazaj. S hitro spiralo se bomo premikali skozi prostor in izkoristili veselje te kinetične izkušnje.
S poudarkom na raziskovanju naših "tridimenzionalnih - večplastnih" teles bomo skupaj preživeli
čas, opazovali naše zmogljivosti in testirali naše obstoječe znanje.

Sandra Šok: OBDELAVA TELESA ZA PLESALCE / BODY CONDITIONING FOR DANCERS, level ll

Delavnica bo potekala v angleščini in/ali hrvaščini,  zato opisa ne prevajamo.

Sandra Šok

Sandra Šok is a freelance body and movement researcher, movement artist, contemporary dancer, performer, fitness trainer Pilates and yoga certified teacher, philosopher, thinker, globetrotter, teaching a bunch of physical disciplines and constantly improving herself in new one...Always try to combine a set of movement principles and elements into one synergy and give participants one new and holistic healthy to body and mind   ... Whole life she is trying to connect body with mind. After all years of training, searching, exploring, exercising, participating in many national and internationals contemporary dance, reiki, yoga, yoga-ballet, Pilates, improvisation technique, dance kinetics, fluid balance, capoeira, acrobatics, theatre and body workshops and summer schools she is actively promote her philosophy of movement through her way of teaching FLOwDANCEing (synthesis  of several approaches inspired by dance and non-dance techniques) yoga (SWINGA- well designed dancing yoga program created for better core, flexibility and balance which turns yoga into a fluid, smooth, powerful and gentle dance movement at the same time. The program develop body alignment, define nice curve in spine, gives better flexibility and enhances resources of mental strength ), BODYLAB Fusion (contemporary dance techniques), CONDITIONIG FOR THE DANCERS. She also created more than 15 years ago her own style of Pilates, named SYNERGY IN MOTION for better balance and alignment and still giving yoga, pilates, fitness, dance classes and performances.

BODY CONDITIONING FOR DANCERS (16+), level ll

Contemporary dance is not like traditional dance forms. It is a free-form genre combined with several dance styles and movements reflecting current trends in culture. Contemporary conditioning dance exercises will be based on basic ballet, pilates, yoga, aerobic exercises, hips opening, glutes workout, leg/arm coordination, aerobics and unaerobics training for improving strength and stamina.
Warm-ups- will be designed to improve balance, coordination, alignment and awareness of a centred body. Common warm-up exercises include body isolations such as hip rolls, ribcage movements without shifting the rest of the body and head rolls. Body isolations can be properly executed by moving a particular body part without moving its other parts. Another common contemporary warm-up exercise involves rounding back while sitting with legs crossed on the floor (15-20 min duration). We will include different types of squats, lunges, coordination movements to enhance body temperature and blood circulation (speed, disbalance, explosive starts)
Stretching and flexibility – stretching is a key component of any contemporary routine. As contemporary dances includes the ability to create interesting shapes, flexibility is important. Stretching exercises, such as deep lunges and splits, are often included in contemporary stretching routines. We will also master neutral spine, pelvis, neck and every joint, emphasize postural education and talk about the awareness of current posture and common muscle imbalances that need to be kept in mind (quadratus lumborum, psoas, rectus abdominis, lats, mid and lower trapezius, glute max, adductors, hip internal rotators (glute med/min).
We will include barre à terre, yoga and pilates exercises, Horton and Marta Graham contemporary dance technique. Splits are also very common as they are usually part of contemporary performances (15 min)
Aerobics – we will using weights, small balls, elastics, simple coordination exercises which improve and stimulate the immune system and increase muscular strength, blood flow, stimulate the lymph system and improve misalignment. These exercises moreover decrease stress, increase energy and boost lungs capacity alongside reducing the fat around the body. (15-20min)
Floor work – involves doing while standing centred in the middle of the floor or moving across the floor from one end of the room to the other (rolls, slides, jumps, turns, variations of cartwheels, variations of handstands). Common floor work exercises include leaps and kicks. Because contemporary dance is about making big movements, exercises in which you practice wide movements across the floor are great for performances (kick across the floor) (15-20min)
All this make one contemporary dance routine.

SWINGA-DANCING YOGA (12+), level l

Freedom of movement brings me to a new level of action, spontaneity and even maturity of total use of physical movement which is connected with a calm mind.
Sandra created a personal yoga program called VINYASA SWING (or just SWINGA) which turns yoga into a fluid, smooth, powerful and gentle dance movement. The program develops body alignment, defines proper spinal curvature, gives better flexibility and enhances resources of mental strength.
This new and interesting way of teaching yoga and dance has easy and spontaneous movements (related to ashtanga, hatha yoga, handbalance, fluid balance, acrobatics, contemporary dance movements...). During the class participants can develop their own speed of movements and be connected with the free mind and spirit. Find your new way to express dance and yoga together, warm-up poses, deepen poses, follow-up poses and all others different variations for core, balance and flexibility. Merge yourself into a beautiful body expansion, which turns yoga into a fluid, smooth, powerful and gentle dance movement. Listen to your body and spine alignment, use muscle awareness, stronger mind, better flexibility, open body, find powerful core and your renewable resources of mental strength and most of all enjoy a different yoga dance class and swing it the best you can! This class is created for all levels and all who want daily home exercise. It includes ways to start a movement practice, warm up, strength and flexibility exercises and once you learn the entire flow with breath, we can swing, improvise freestyle and have fun together, cool down and than enjoy in savasana and gentle neck massage.
We talk about technique, modifications and how to use body and spirit in a right way. We work slowly with awareness and patience.
In the end, all we need is swiiing:))))

Nastja Bremec & Michal Rynia: SODOBNA FUZIJA / CONTEMPORARY FUSION, level ll

Nastja Bremec&Michal Rynia

Nastja Bremec (1986, Nova Gorica) je svojo plesno pot  začela pri šestih letih s klasičnim baletom in sodobnim plesom. Prejela je veliko nagrad na številnih plesnih tekmovanjih tako v baletu kot sodobnem plesu. Pri petnajstih letih je plesala glavno vlogo v baletu Sneguljčica. Po končani umetniški gimnaziji SVŠGL – smer sodobni ples v Ljubljani, je prejela štipendijo italijanskih koreografov Maura Astolfija in Erike Silgoner za izobraževanje v okviru njunih plesnih ansamblov (Spellbound Dance Company in Esklan). Po tej šestmesečni izkušnji v Rimu je uspešno opravila avdicijo za CODARTS – Rotterdam Dance Academy in bila med 900 kandidati iz vsega sveta sprejeta neposredno v 3. letnik študija. Diplomirala je leta 2008. Med svojim bivanjem na Nizozemskem je sodelovala s številnimi koreografi kot so Nacho Duato, Mauro Bigonzeti, Michele Poglini, Neel Veerdorn, Jerome Meyer in Isabelle Chaffaud. Bila je članica plesnega ansambla Scapino Ballet Rotterdam. Nastja je bila deležna podpore s strani večjih produkcijskih hiš kot so Korzo Theater Den Haag  in Teater Lantaren Venster Rotterdam. Gledališči sta nastopili v vlogi producentov njenih prvih miniatur Made in Rotterdam, ter dveh celovečernih plesnih predstav Dust in the Wind ter Mit. Od leta 2009 ustvarja skupaj z Michalom Rynia kot MN Dance Company. Njun plesni slog sta poimenovala ‘Contemporary Fusion’. Z Michalom ustvarjata tudi koreografske miniature s katerimi se predstavljata na različnih koreografskih tekmovanjih. V SNG Opera in Balet sta oblikovala koreografijo za plesni večer »Klasika in Tango«. Kot koreografinja/oblikovalka giba v različnih gledaliških predstavah, tesno sodeluje s SNG Nova Gorica. Od leta 2011 je samozaposlena v kulturi.

Michal Rynia (1984, Wroclaw, Poljska) je svojo plesno kariero je začel na Hip hop plesni sceni, kjer je bil nadvse uspešen tudi na tekmovalni ravni, saj je pridobil petkratni naslov svetovnega prvaka. Kot hip hop plesalec je bil povabljen k sodelovanju v Poljskem gledališču Wroclaw in prav njegovo prvo bližnje srečanje z gledališko umetnostjo ga je spodbudilo k nadaljevanju šolanja na Plesni akademiji CODARTS – Rotterdam Dance Academy, kjer le leta 2007 diplomiral. Med bivanjem na Nizozemskem je delal z mnogimi znanimi koreografi, med drugimi Ed Wubbe, Club Guy & Roni, Andre Gingras. Plesal je tudi v Scapino Ballet Rotterdam, kjer je z umetniškim vodjem Ed Wubbe-jem soustvaril koreografijo »B.A.M.«. Njegov prvi solo “Dream of Electric Sheep” je bil predstavljen v Royal Opera House, London in na iTs Festival, Amsterdam. Ustvaril je tudi duet “Switched”, ki je bil predstavljen v Lucent gledališču v organizaciji Netherlands Danse Theater. V Sloveniji (Nova Gorica) živi in ustvarja od leta 2009. Z Nastjo Bremec sta poznana kot slovensko-poljski duet, ki deluje pod imenom MN Dance Company. Svoj plesni slog sta poimenovala ‘Contemporary Fusion’. Kot umetniški vodja in koreograf je Michal prvenstveno je orientiran v ustvarjanje celovečernih plesnih predstav, ki gostujejo po Sloveniji in Evropi. Z lastnimi koreografskimi miniaturami se je predstavljal tudi na različnih koreografskih tekmovanjih. V SNG Opera in Balet Ljubljana je ustvaril plesni večer »Klasika in tango«. Kot oblikovalec giba/koreograf v različnih gledaliških predstavah tesno sodeluje tudi s SNG Nova Gorica.
Več: www.mndancecompany.com;
https://www.youtube.com/mndancecompany

CONTEMPORARY FUSION, level ll

Klas bomo pričeli s krajšim ogrevanjem, ki vsebuje vaje iz področja sodobnih plesnih tehnik, baleta ter raztegovalne in krepilne sekvence iz joge. Kasneje se bomo osredotočili na plesne fraze, ki so pripravljene za klas in udeležencem omogočajo napredek, povečanje gibalnih sposobnosti in raziskovanje novih možnosti, v katerih se naše telo lahko giba. “Contemporary fusion” je plesni stil, ki ga Michal in Nastja razvijata in po katerem sta prepoznavna ter je mix različnih plesnih tehnik. 
More: https://www.youtube.com/watch?v=NB7DvydCNd0;
https://www.youtube.com/watch?v=Q-M6kStmSu4;
https://youtu.be/W_bkbmCJ4ww

PARTNERSTVO / PARTNERING, level ll

Klas je posvečen delu v paru. Udeleženci se bodo lahko naučili odlomke duetov MN Dance Company.  
More: https://www.youtube.com/watch?v=wm98afryPf4

Marija Slavec: GAGA PLESALCI / GAGA DANCERS, level ll

Marija Slavec

Marija Slavec je začela plesati v Plesnem Klubu Elite Koper pod mentorstvom Siniše Bukinca in Kristine De Ventus  nato pa nadaljevala v Ljubljani z modernim plesom pod mentorstvom Kjare Starič Wurst.
Po uspešno opravljeni avdiciji  je bila dve leti del programa D.A.N.C.E. (European interdisciplinary professional  program) pod umetniškim vodstvom Frédérica Flamanda, Williama Forsythea, Wayna McGregorja in Angelina Preljocaiaja, kjer je plesala v predstavah teh koreografov in bila del kreativnega procesa novih predstav. Leta 2009 je bila del Švedskega Riksterna v sodelovanju z Batsheva Dance Company, kjer je nastopala v predstavi Kamuyot koreografa Ohada Naharina. Istega leta se je pridružila Ensamblu Batsheva, kjer je poleg Ohada, delala tudi s Sharon Eyal in bila soustvarjalka številnih plesnih miniatur v sodelovanu s plesalci Batsheva Dance Company. Leta 2012  se je pridužila Vertigo Dance Company kjer je poleg ustvarjanja z umetniško vodjo te kompanije, Noa Wertheim, delala tudi s Sharonom Fridmanom in pionirko postmodernega plesa, Anno Halprin.
Marija se je letos pridružila Tanzmainzu v Nemčiji, kjer je bila del predstave Guya Naderja in Marie Campos, ter Guya Weizmana in Roni Haver.
V  zadnjih osmih letih je nastopala na Švedskem, v Izraelu, Ameriki, Italiji, Franciji, Nemčiji, Kolombiji, Panami, Avstraliji, na Kitajskem, v Rusiji, Gruziji, Monaku, na Hrvaškem, v Španiji in v Angliji.
Marija od leta 2010 poučuje Gaga (movement language) tako plesalce kot neplesalce.

GAGA DANCERS (16+), level ll

GAGA ni plesna tehnika ampak jezik, katerega je Ohad Naharin razvil tekom več let in se uproablja v vsakodnevni praksi plesalcev Batsheva Dance Company. Jezik Gaga izvira iz prepričanja v zdravljenje, dinamično, konstantno spreminjajočo se moč gibanja in se še zdaj razvija. Gaga je nov način pridobivanja znanja in samozavedanja skozi telo.
Gaga zagotavlja okvir za odkrivanje in krepljenje telesa, dodaja prožnost, vzdržljivost in okretnost, skozi čute in domišljijo.  Gaga ozavešča o fizičnnih pomankljivostih, prebudi otrpela območja in ponuja načine za njihovo odpravo. Delo izboljšuje nagonsko gibanje in povezuje zavestno in podzavestno gibanje ter omogoča doživetje svobode in užitka.

More: gagapeople.com/English:
https://www.youtube.com/watch?v=ZzXhcNFXwYM

!!!Večino klasa bo vodenega v angleškem jeziku zaradi terminologjie, ki je bila za Gaga jezik razvita v angleščini!!!

Mickael Marso Riviere: BREAKIN OSNOVE / BREAKIN BASICS, level l

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Mickael Marso Riviere

Born in France, Mickael Marso Riviere is an award winning choreographer. In the last 17 years he has established himself as a major force in both the contemporary dance, and Breakin’ (Breakdance) worlds, producing events and touring original works in the UK and abroad.
Founder of Company Decalage, Bboy's Attic and Marso Riviere IMG Photography, he’s an active member of leading Breakin’ Crews MDK and TBB75 UK, judging and competing internationally.
His recent productions include Matches with Guy Nader and Hokiri for Carlos Acosta’s Company “Acosta Danza” which premiered in Havana (Dec 2016). He produced B-Side Hip Hop Festival and Experimental dance concept event KRE8! (2016-2018) for the Birmingham Hippodrome. He co-directed and featured in the Hippodrome Creative’s Dance on Screen commission X-Ray The Unknown Quantity by Hugh Turvey. Marso also appeared in Vogue's 100 years’ Edition for Hussein Chalayan’s Gravity Fatigue choreographed by Damien Jalet. He was shortlisted (as a choreographer) for the Kevin Spacey’s artist of choice award in 2016 and guest lectures for leading institutions such as Rambert School and The Place in London.
More: www.marsoriviere.com

BREAKIN BASICS (8+), level l

https://www.youtube.com/watch?v=i5w_7PDv4_Y 

MIX MOVEMENT (14+), level ll

Based on an experimental and physiological approach to movement, Marso’s signature style of work often evolves and is inspired by Martial Arts, Breakin, Popping, Contemporary Release, Spirals, Yoga and various movement concepts... The class is aimed at developing all professional dancers, from those in professional training through to Bboys and Bgirls/streetdancers wanting to develop their range of movement or simply wanting to take part in a fun and physical dance class.
https://www.youtube.com/watch?v=uw2zfu9E7XE&t=4s

DECALAGE REPERTOARE (16+), level lll 

www.marsoriviere.com

Irène Wernli: SODOBNI JAZZ / CONTEMPORARY JAZZ , level l

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Irène Wernli

Irène Wernli (UK/CH) gained first knowledge in ballet, jazz and tap at the Mignon Ballet in Aarau, Switzerland. A tap whiz kid & numerous tap champion, she started choreographing solos and duets as a teenager. She joined the pré-professional dance course at the conservatory in Geneva, before moving to London to study dance and drama. Since graduating with Distinction in Contemporary Dance from the London Studio Centre in 2005, she has worked as a freelance performer for commercial acts such as Calvin Harris and Agent Provocateur but spends the majority of time combining her skills in music, dance and acting to collaborate as a performances deviser within improvisation and live art. Recent collaborations as a deviser/performer include: Performance Installation Multiplication of Rhythm, Copeland Park London + Alte Reithalle Aarau (May 2018),  NoFeedback – an immersive, socio-politically driven event by No Feedback (London + Budapest), YOU ARE ME AND I AM YOU by Bricolage Dance Movement UK, La Peur qui Dance - von den Farben der Angst with puppeteer Tine Beutel and percussionist Marco Käppeli, directed by Frank Soehnle (co-prodcution by Theater Tuchlaube Aarau), When the stories hit the fan with artists Claire Thill and Soren Envison (coproduced by Kulurfabrik Esch sur Alzette, LUX).
Irène is Associate Lecturer in Choreography and Physical Skills on the Dance and Performing Arts Course at New Buckinghamshire University (UK). She regularly teaches open Contemporary Jazz classes at London’s Central School of Ballet.
More: www.irenewernli.co.uk  / instagramm @irenewernli
https://nofeedbacknow.wordpress.com/
https://www.youtube.com/watch?v=LMZnEWvXaO4

CONTEMPORARY JAZZ (10+), level l

Moving with easy and musicality
Suitable for curious movers of all ages and all the Yogis, who would like to start moving off the matt, into the ground and across the floor.
This class melds the differing dynamics of Jazz Dance, Contemporary Dance and Yoga, reflecting Irène’s broad background as a dance artist and movement pedagogue for people of all levels. She connects established dance forms with contemporary ideas and enjoys dissecting and sharing the functionalities of the moving and resting body: How can we bring musicality into natural movement patterns? How can we actively let go to genuinely strengthen the body and mind? How can we explore and express uniqueness in a unified dance class? An in-depth warm-up, kept at a gentle but flowing pace, allows equal focus on building core strength, as well as finding flexibility through relaxation and awareness of breath. Short movement phrases encourage musicality, coordination and enjoyment of dance.
If you are in the mood for old school inspired new-age shaking, shuffling, twisting, mindful stretching and an occasional hint of funky razzle-dazzle, this class is for you.
Irène provides gentle corrections throughout the class and teaches with enthusiasm and humour to create a nurturing environment for enthusiastic beginners/improvers, who enjoy delving into details.

CONTEMPORARY JAZZ (14+), level ll

Moving with ease and musicality
Suitable for experienced movers, who enjoy slowing down as much as moving vigorously.
This class melds the differing dynamics of Jazz Dance, Contemporary Dance and Yoga, reflecting Irène’s broad background as a dance artist and movement pedagogue for people of all levels. She connects established dance forms with contemporary ideas and enjoys dissecting and sharing the functionalities of the moving and resting body: How can we bring musicality into natural movement patterns? How can we actively let go to genuinely strengthen the body and mind? How can we explore and express uniqueness in a unified dance class? An in-depth warm-up, kept at a gentle but flowing pace, allows equal focus on building core strength, as well as finding flexibility through relaxation and awareness of breath. Short and long movement phrases encourage musicality, coordination and enjoyment of dance.
If you are in the mood for old school inspired new-age shaking, shuffling, twisting, mindful stretching and an occasional hint of funky razzle-dazzle, this class is for you.
Irène provides gentle corrections throughout the class and teaches with enthusiasm and humour to create a nurturing environment for experienced dancers who seek diversity and ease in their movement vocabulary.

Richèl Wieles: BALETNI KLAS / BALLET CLASS, level lll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Richèl Wieles

Richèl Wieles received a diploma from the Royal Conservatoire in The Hague. He worked in SNG Opera in Balet Ljubljana (2011-2012, 2016-2017), Nederlands Dans Theater (2012-2015) and Luzerner Tanz Theater (2015-2016). As a teacher, he worked in Busan International Ballet Seminar. His ballet is inspired by his professional ballet experience as well as knowledge of various contemporary dance techniques.
More: https://www.youtube.com/watch?v=n7JICZxKyVchttps://www.youtube.com/watch?v=0gKa1z_7myY

BALLET CLASS (16+), level lll

A balanced class based on activating the body and using the technique to move. The ballet class re-evaluates and builds on classical technique, focusing on strengthening the dancer’s awareness.
The class is divided into two parts: the barre and the centre. Exercises at the barre prepare the entire body for more complex dancing sequences in the middle. Body placement becomes fluid and functional, making movement easier and more natural. The second half of the ballet class, conducted in the centre, consists of exercises that vary in quality and dynamics and develop musicality. The class challenges the dancer to use the placement and release discovered as a source of strength and individual interpretation.

Kaja Lin: MODERN, level l

Kaja Lin

Kaja Lin je plesalka, koreografinja in plesna pedagoginja, ki je svojo razgibano umetniško pot začela po končanem Konzervatoriju za glasbo in balet v Ljubljani. Izobraževala na vsakoletnih seminarjih v New Yorku. V Sloveniji je sodelovala v projektih Kjare Starič, Kjara’s Dance Project (2011, 2015) in M&N Dance Company (2016/2017). Udeležila se je OPUS 1, državnega tekmovanja mladih plesnih ustvarjalcev, kjer je osvojila prvo nagrado (2006) in nagrado za najboljšo izvedbo (2007, 2008). Nastopila je na številnih javnih prireditvah in sodelovala z domačimi in tujimi koreografi.
Leta 2010 se je preselila v Izrael, kjer je plesala v teatrih: Kibbutz Contemporary Dance Company II in Fresco Dance Company ter v številnih lastnih projektih in projektih drugih koreografov. Sprejeta je bila v tudi v projekt Excellent Dancers project pri Batsheva Dance Company. Od leta 2015 do 2017 je bila zaposlena v teatru ImPerfect Dancers Company v Italiji.
Svoje lastne korografije je imela priložnost predstaviti na: International Festival of Performing Arts v Indiji, v teatru Suzanne Dellal (Tel Aviv, Izrael), teartu Zichri (Kibbutz Ga'aton, Israel), 6. Plesni Nacionali (Španski Borci) in 9. Festivalu Front@ sodobnega plesa (Murska Sobota).
Kaja Lin je tudi inštruktorica joge (200h Yoga Yug International school, Indija) in začetnica gibanja ReConnect-Mobility, ki združuje plesne elemente, akrobacije in živalsko gibanje. Namen tehnike je popolna ozaveščenost, kontrola in povezava z naravnim, do telesa prijaznim gibanjem.

MODERN (8+), level l

Moderni klas je namenjen spoznavanju osnovnih kvalitet giba in zavedanja telesa v prostoru. Tehničnimi ogrevalnim vajam za obvladovanje telesa bodo sledile naloge, ki nam bodo pomagale pri sproščanju mišične napetosti in nadaljnem raziskovanju giba. Začeli bomo s krajšo improvizacijo v prostoru, tem vajam dodali tehnično osnovo, na koncu pa se bomo posvetili koreografiji, jo preplesavali, razčlenjevali in izpopolnjevali na novo naučene gibe.

ReConnect-Mobility (14+), level ll

ReConnect-Mobility je specifičen način gibanja v med seboj povezanih sekvencah, kjer bo veliko dela na moči, akrobatskih elementih, elementih joge, vendar tudi na fluidnosti in mehkobi. V moči bomo poskušali najti esenco mehkobe in obratno. Delo na rokah bomo podprli s predhodnimi vajami, tako, da bo bo naše telo resnično dobro pripravljeno. Ob vajah bomo spoznavali široko paleto rotacij, dvigov telesa, okrepili bomo center in se posvetili vsestanskemu premikanju hrbtenice.  Najpomembnejše pa je, da nam uspe ustvariti igrivo okolje, kjer bomo lahko preučevali bolj zapleteno gibanje, vendar telesu prijazno gibanje, ki omogoča našo rast in razvoj.

Marin Ino: BALET / BALLET, level l

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Marin Ino

Marin Ino, born in Sapporo, Japan, started dancing at the age of 6 with the Chida Toshiko ballet studio. She studied for a short time in Novosibirsk State Choreographic College. At the age of 17, she moved to the Royal Conservatoire in The Hague, where she received her diploma in 2012. During her studies she won several prizes in competitions in Japan and became a semi-finalist in Prix de Lausanne in 2011. In 2013 she joined De Dutch Junior Dance Division where she developed both in classical and contemporary dance over the period of 18 months. In 2014, she became a freelance dancer in The Hague. One of her projects was so successful that she was invited to a festival in St. Louise, Senegal with Korzo. She joined the Slovenian National Ballet in Ljubljana and performed the roles of the "Christmas spirit" in The Nutcracker, "Princess" and "Small swans" in Swan Lake, "Princess Florine" in The Sleeping Beauty, "Tonja" in Doctor Zhivago, "Picko" in Picko in Packo.

More: https://www.youtube.com/watch?v=kZtDiVtqY4o

BALLET (8+), level l

Joan van der Mast: MASTER KLAS ZA PLESNE UČITELJE / MASTER CLASS FOR DANCE TEACHERS, level II

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Joan van der Mast

Joan van der Mast (BA / CMA) is an internationally respected teacher, choreographer, lecturer, coach and advisor in contemporary dance and Laban Movement Analysis. She is a Codarts (Rotterdam) graduate and a certified Laban Movement Analyst (New York), studied Choreology (Laban London), Yoga and Stott Pilates. After a too short career as a dancer due to a severe back injury, she became a faculty member of Codarts, Rotterdam Dance Academy, where she has been teaching Modern Dance Technique, Improvisation and Composition, Movement Analysis and Didactics of Modern Dance and started a career as a choreographer. She also became a faculty member of the Royal Conservatory in The Hague in 1997. She is a founder and artistic director of Ex Nunc:Ex Nunc, Center of Modern Dance in The Hague and artistic coordinator of DansPlan, Segbroek College in The Hague. Internationally, she is currently working as a guest teacher, lecturer, choreographer… at the Skopje Dance Academy (Macedonia), Anna Maletic School for Contemporary Dance (Zagreb/Croatia) & University of Warchau (Faculty of dance).

MASTER CLASS FOR DANCE TEACHERS

Joan is a specialist in didactics and methodology in Contemporary and Modern Dance. She has been educating, teaching and coaching contemporary dance teachers for more than 25 years at the Codarts Dance Academy Rotterdam.
During her master classes she will lecture, teach, discuss, move, explore and create under the following topics:

1. What is Modern Dance? What is Contemporary Dance?

2. How to build and create a Contemporary Dance class, based on movement principles instead of exercises.

3. The role of creativity in dance

4. What is a good technique? And how to make it “dancy and juicy”

5. How to make progressions for different levels and children and different age-groups.

6. The meaning of Laban Movement Analysis for teaching and creating.

7. How to apply the principles of New Learning in teaching dance

8. How to master the basic methods of teaching dance

Ida Hellsten: SODOBNA TALNA IN FRAZNA DELA / CONTEMPORARY FLOOR AND PHRASE-WORK , level ll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Ida Hellsten

Ida Hellsten started dancing jazz and show dance at the age of 5 and continued exploring dance in different genres (jazz, hiphop, ballet, modern, contemporary, lindy hop etc.) throughout the years. She studied jazz, ballet and modern/contemporary dance in the Kulturama Fria Gymnasium upper secondary school in Stockholm. Between 2005 and 2008, she studied contemporary dance in SEAD (Salzburg Experimental Academy of Dance). After graduation she taught dance in Balettakademien Umeå, and worked as a freelance dancer in Norway and Sweden with choreographers like Maren Wedøe and Christina Tingskog.
In the 2012-2017 period, she was a dancer in EnKnapGroup in Ljubljana, under the artistic director Iztok Kovač, where she danced in works by different choreographers and directors such as Iztok Kovač, Kelly Kopper & Pavol Liska (Nature Theatre of Oklahoma), Guy Nader & Maria Campos, Adrienn Hod, Matjaž Zupančič & Sinja Ožbolt, Guy Weizman & Roni Haver (Club Guy & Roni) and more.
She has taught many classes and workshops for all ages and levels, and has also created her own works together with other dance artists.
Currently she lives in Stockholm and works as a freelance dancer/performer and dance teacher. She is touring internationally together with En Knap Group with the performance Pursuit of Happiness by Nature Theater of Oklahoma.
More: http://www.en-knap.com

CONTEMPORARY FLOOR AND PHRASE-WORK (14+), level ll

The first part will focus on strength-, flow- and efficiency-building exercises and movement material, to try and get the whole body to work as one organism or organization. We work a lot on the floor, but also make our way up and down. We then move on to work with both given and self generated movement phrases, and discover tools of clarifying material and explore the variety of flavours you can give it. In how many different ways can we change, adapt, develop and nuance the same material?

Urša Rupnik: SLEDITI TOKU – SODOBNA PLESNA TEHNIKA / FOLLOW THE FLOW – CONTEMPORARY DANCE TECHNIQUE, level ll

Urša Rupnik

Urša Rupnik (1984) je univ. dipl. kulturologinja in dipl. plesalka in koreografinja. Kot samostojna plesna ustvarjalka sodeluje s pomembnejšimi slovenskimi koreografi in drugimi umetniki; v okviru društva Studio za svobodni ples ustvarja avtorske solistične in skupinske plesne projekte; deluje v plesnem kolektivu Benko-Jamnikar-Križič-Rupnik ter v tandemu z Lizo Šimenc. Od leta 2008 je asistentka koreografije in delavnic svetovno uveljavljenega ameriškega plesalca, koreografa in pedagoga Joa Alegada (mdr. Vienna International Dance Festival ImPulsTanz od 2011 dalje) ter članica njegove mednarodne plesne skupine Jalegado Dance Company. Izhajajoč iz njegove metode Alegado Movement Language poučuje lastne plesne delavnice in tečaje, tako v Sloveniji kot v tujini. Od 2014 je habilitirana asistentka za Plesno izražanje na Pedagoški fakulteti Univerze v Ljubljani; od 2016 kot pedagoginja sodeluje tudi z Akademijo za ples in Višjo baletno šolo v Ljubljani. Je prejemnica Listine Mete Vidmar, njene plesalke pa prejemnice najvišjih odličij na državnem in mednarodnem tekmovanju Opus 1 – plesna miniatura.

Več: https://www.youtube.com/watch?v=9z0Qj5FOhZg;
https://www.youtube.com/watch?v=Ut7xqvLRlbk;
https://www.youtube.com/watch?v=VmyCXsFz0jg

FOLLOW THE FLOW – CONTEMPORARY DANCE TECHNIQUE (12+), level ll

Urša poučuje avtorsko obarvano sintezo sodobnih in modernih plesnih tehnik, obogateno z lastnimi plesnimi izkušnjami in svojimi principi ustvarjanja. Kot dolgoletna asistentka in plesalka uveljavljenega ameriškega koreografa in pedagoga Joa Alegada pri svojem delu izhaja predvsem iz metode Alegado Movement Language, ki se napaja v gibu rok in dlani. Te se kot vodilo za gibanje celotnega telesa povezujejo z viri energije znotraj telesa in se nato projicirajo navzven v prostor.
Uršin klas se začne s preprostim, a dinamičnim ogrevanjem; ozaveščanjem in prebujanjem celotnega telesa z delom v parih, skupinah ali posamično. Temu sledijo strukturirane vaje na tleh, gibalne fraze v vertikali in prostorske kombinacije, ki jih nadgradi z zaključno plesno kompozicijo oz. koreografijo. Ta je sestavljena iz tehnično prej predelanih plesnih elementov, motivov in principov gibanja.
Pozornost se pri Uršinih klasih usmerja na gibanje in postavitev hrbtenice, kompleksno koordinacijo rok, nog ter trupa. Vpeljuje se prizemljenost ter hkratno vpetost v zrak in prostor. Urša poudarek daje plesnosti, muzikalnosti, mehkobi in pretočnosti gibanja in prehajanja med vertikalno in horizontalno ravnjo ter izrazni interpretaciji plesnega materiala.
Urša vas vabi, da na tej delavnici skupaj ujamete in zajezdite val fluidnega gibanja in se na njem podate na dinamično potovanje skozi prostor in čas.

Maayan Danoch: KOREOGRAFSKA DELAVNICA – NAČINI MATERILIZACIJE / CHOREOGRAPHIC WORKSHOP - Ways of Materialising, level lll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Maayan Danoch

Maayan Danoch (born in Tel Aviv) works a choreographer, dancer and teacher. Devising mental and physical procedures or working with light and other materials, her choreographic interest lies in the multiple ways of accessing an image and movement, highlighting the discrepancy between what is actually occurring and what we perceive of it. Maayan graduated from the Salzburg Experimental Academy of Dance (SEAD) and received her Master of Arts in Dance Dissemination from the Hochschule für Musik und Tanz Köln/Germany. She was the danceWEB Scholarship recipient in 2014 and artist in residence at Kelim Choreography Centre/Israel in 2015. Also, she wrote for publications, such as the 5. Biennale Tanzausbildung and Tanzkongress 2013. Professionally active since 2008, Maayan has created choreographic works of various formats that were presented across Europe and in Israel and collaborated with various artists. She taught dance, choreography and writing seminars at the Academy of Dramatic Arts - Zagreb University, Tanzfabrik Berlin, Hochschule for Musik und Tanz Köln, SEAD Salzburg, Smash Berlin and Ljubljana Dance Academy, among others. Maayan is a fellow of Akademie Schloss Solitude 2017-2019 and is based in Berlin.
More: www.maayandanoch.com

CHOREOGRAPHIC WORKSHOP - Ways of Materialising (18+), level lll

Inquiring into the notions of matter and form, working with sensation, perception and imagination, we will engage in an explorative process of movement materialisation. We will explore various manifestations of an idea in movement addressing various “fields” of movement (i.e. functional – poetic movement), framing of movement (i.e. detail in the body - whole body - body in space) and matters of movement (i.e. movement of an object - body). Observing the materials we produce, we will physically refer and reflect on them. Thus, we will engage with the reversed procedure, in which movement inform us on ideas embedded within it. Opening a range of possible formulations of an idea in movement, as well as the multiple ideas present in a single movement material will enhance our body-mind elasticity, and ways of approaching and expending materials. Looking as well at the interrelations between materials, we will get in touch with the metaphorical relationship between compositional units, and unravel the implicit logic they propose.

Dolma Jover Agulló: TRANSKULTURALNO TELO – PLESNA RAZSIKAVA / TRANSCULTURAL BODY DANCE RESEARCH, level ll

Delavnica bo potekala v angleščini in zato opisa ne prevajamo.

Dolma Jover Agulló

Dolma Jover Agulló (ES/AT) is a Spanish Dance Pedagogue, Assistant Choreographer, Director of Transcultural Body Dance Research Project, member of the Spanish Dance Research Association D más I: Danza e Investigación. She graduated in 6 Grado Medio of Contemporary Dance, at Maria Carbonell Dance School Valencia and later continued her studies in Choreography and Interpretation Techniques at the Conservatorio Superior de Danza de Valencia, Spain. She earned her second Bachelor of Arts degree (KBA) in Tanzpädagogik/Movement Studies, at Anton Bruckner Privat Universität Linz, and Austria. At the same university she also earned her Masters of Arts (KMA) (honours) degree in Contemporary Stage Dance – Study Movement Research. She continues her development by attending different workshops around Europe, hosted by the following choreographers and teachers; David Zambrano, Martin Sonderkamp, Kazuko Hibarayashi, Ohad Naharin, Anton Lachky, Joe Alegado, Laura Aris, Sonia Rodriguez, klaus obermaier, Asun Noales, David Hernández, Samar Haddad King, Peter Jasko, Iñaki Azpillaga, Rasmus Olme, Thi-Mai N´Guyen, Hofesh Schecter, Roberto Olivan, Anouk Van Dijk and others.
She developed her professional dance career working as a dancer in the following European dance companies and collectives: Ananda Dansa, Proyecto Titoyaya, Mou Dansa,Maria Carbonell, CODA, Latanz Company, Cia.Off.Verticality, Musik Theatre Linz.
At the same time she has been creating and performing her own pieces at different festivals and theatres around Europe. In her recent projects as a performer and choreographer, Dolma Jover focuses on collaborative and interdisciplinary projects, searching for diverse artistic inputs as a way of improving her knowledge of dance and different artistic manifestations. She has worked extensively assisting teachers and choreographers in Anton Bruckner Privatuniversität Linz, where they focused on the works and modern dance techniques by Rui Horta, Batsheva Dance Company and Hofesh Shechter.
Nowadays, she teaches workshops and lectures about her Transcultural Learning Path coming from her Transcultural Body Dance Research at different Conservatories and Dance Universities, as well as works as a guest dance researcher in the Otra Danza Dance Company Elche, Spain.

TRANSCULTURAL BODY DANCE RESEARCH (18+), level ll

The transcultural term is interpreted as neologism connected to re-discovery of dance knowledge, checking, accepting and transforming the different aspects that we already have. It can mean: getting specific and “new” dance knowledge perspectives.
The main reason for this workshop is to test the origins and topics of research of the Transcultural Body by means of reconsideration, experimentation and joint and individual deliberation, as well as the “theoretical-practical” transformation towards the Transcultural learning path. This dance laboratory reconsiders and opens doors to our own dance knowledge by checking, accepting and transforming the different aspects that we already have, through different dance approaches, reinforced by the cultural interchange, collaborative and significant learning and pre-established codes of movement. The aim is to obtain different cognitive discourses, based on the offered proposals, thus defining my particular method of communication, with the intention of generating a specific formative content, which will receive the name of the method for the Transcultural body.
The first part of the workshop will be to present the meaning and research origins, looking for the understanding of “the transcultural body”. After that we will work in its conclusions, transformed in exercises to be tested. Therefore, the first step is to focus on knowing the information that the body has, so a warm-up shall be carried out, where emotions, perceptions, intuitions, imagination, sensations, voice, writing and constructive criticism are all used.
In this sense, a number of related exercises have been developed based on individual and group listening, question games and acting them out. Afterwards through specific questions, we will continue redefining different approaches about what identity and identification as well as the bodily transformation means to us.
The second part of the workshop shall be the understanding of the body as an object, alongside the study of Transcultural vocabulary, based on reviewing the information learnt, which generated a re-encounter with dances above and below the waist (dances that preceded the codification of flamenco dance from mid-19th century) and the improvisation as a way of delving into the understanding of the codified movement. In order to do so we will use exercises related to decoding, deconstruction and the “new” codification. With the intention of developing aspects of rhythm and rhythmicity in our movements through learning corporal shapes coming from a specific body language, giving also the chance to play with the dancer’s creativity, taking in consideration their “own” individual voice as artists. In other words, we will be re-discovering, exchanging and re-shifting our way of communication between time, space and body. During the workshop we will focus on the way of communicating our personal dance knowledge with the intention of enlarging the project, through different points of view about dance, related to a socio-cultural and educational context. At the end, we will do an individual presentation of the collected material.
MORE INFORMATION Interviews:
https://www.youtube.com/watch?v=pR3DNO3dI9Q&t=2s

https://www.youtube.com/watch?v=RwcBhDkxHY4

https://www.youtube.com/watch?v=0sGY4IBMLso

https://www.youtube.com/watch?v=pR3DNO3dI9Q&t=491s

http://dolmajover.es/en/15-days-dancing-with-my-transcultural-learning-path-alcoy-spain/muestra-deltrabajo

NEWS

http://dolmajover.es/en/transcultural-body-educacion-y-danza/noticias/

LECTURES

http://dolmajover.es/en/transcultural-body-educacion-y-danza/exposiciones/

TRANSCULTURAL BODY BOOK PUBLISHED by

https://www.akademikerverlag.de/

Matej Kejžar: DELAVNICA PLES - NOV OPERATIVNI SISTEM / WORKSHOP: DANCE - NEW OPERATIONAL SYSTEM, level lll

Matej Kejžar

Matej Kejžar je končal SNDO (šola za razvoj novih plesov) v Amsterdamu na Nizozemskem. Med študijem je kot član repertoarne delavnice bil povabljen k Trisha Brown Dance Company ( Trisha Brown Plesna Skupina ) v New Yorku, kjer je končal semester. Po zaključku SNDO se je pridružil skupini X-Group, podiplomskem programu  na PARTS – u, v Bruslju. Med študijem so so bili njegovi glavni predmeti raziskovanje gibanja in kompozicija. Med drugimi je študiral z Katie Duck, Meg Stuart, Shellyjem Senter ... Kot študent je ustvaril več performansov z vizualni umetniki, igralci in glasbeniki. Od leta 2002 deluje po vsem svetu. Kot gost koreograf in učitelj je bil povabljen na PARTS, SNDO, SEAD, TSEH, TUNO, Deltebre Danza, Les Subsistance, DejaDone, ZPA, ImpulzTanz , ADU itd. Leta 2009 se je preselil v Bruselj kjer je kot član plesne skupine ROSAS / Anna Teresa De Keersmaeker sodeloval pri dveh kreacijah in turnejah. Leta 2014 je bil član 20 dancers for 20th century ( 20 plesalcev za 20. stoletje ) projekta Boris Charmatz.
Leta 2009 je v sodelovanju s kulturno organizacijo KinkKonk / Pekinpah v Ljubljani ustvaril Spider Net, mrežo neodvisnih kulturnih organizacij delujočih v poligonu sodobne plesne umetnosti. Mreža Spider / Pajek organizira spider dogodke v obliki platform, kjer je glavna tematika raziskava plesa in združevanje plesa z vizualno in glasbeno umetnostjo (http://www.spiderontheedge.org).
Od leta 2009 Matej razvija svojo prakso, imenovano Time and Space Re-Mix. Na podlagi teh raziskav je ustvaril sledeče projekte: Senser 2010, Edge 36.5, Arhitektura za boljše življenje, Duet, Hit, Edge Shutting Down, Procedimento 21 + 1, White, True Romance Rave, Club 1 2 in House. S projektom Rave je bil leta 2015 povabljen na prestižni festival v Avignon.

DELAVNICA PLES - NOV OPERATIVNI SISTEM, level lll

Na delavnici imenovani PLES / NOV OPERATIVNI SISTEM bo Matej Kejžar gradil na novem operativnem sistemu Plesa, ne le koreografiranega plesa, ampak plesa z veliko začetnico. Nov sistem plesa razume z vidika Plesa kot zastopništva za ples. Zastopništva, ki omogoča plesu, da postane aktivni del svoje preteklosti, sedanjosti in prihodnosti ne le kot ples, umetnost, dekoracija in zabava, temveč kot aktivna sila ali intenzivnost v naši (z)družbi, pri oblikovanju družbenih, človeških, relacijskih, političnih in ekonomskih realnosti.
Na delavnici se ne bo sklicevali na zgodovino koreografije, niti ne na zgodovino tolmačenja le-te. Plesali bomo Ples, ki ni interpretacija uveljavljenih zmogljivosti, ampak je izumljanje pisanja plesa/plesanja in  pričevanja/gledanja. PLES  je delavnica kjer bomo spoznavali ples, tako da ga bomo vsakič ponovno - znova in znova - videli. Delavnica PLES ponuja priložnost prenosa subjekta k plesu. Ples v tem pogledu pomeni možnost, da namesto bi se učili plesati in kako ples predstavljati, se od plesa samega učimo.

!!!Na to delavnico se je potrebno prijaviti s kratko predstavitvijo sebe in nekja stavki, v katerih utemeljite zakaj vas ta delavnica zanima.!!!

Nataša Tovirac: SHAKTI PLES – JOGA PLESA: NEKTAR GIBANJA / SHAKTI DANCE – THE YOGA OF DANCE, level l

Nataša Tovirac

Nataša Tovirac je koreografinja, plesalka, plesna pedagoginja, učiteljica Shakti Dancea in Kundalini joge. Ples kot umetnost je njena  življenska in poklicna pot. Izobraževala se je na Flamski plesni akademiji v Bruggu (Belgija),  diplomirala na Slovenski plesni akademiji, kot štipendistka je vrsto let potovala po Evropi in nabirala izkušnje pri priznanih tujih koreografih in pedagogih. Je avtorica 13 celovečernih plesnih predstav, mnogih koreografij ter soavtorica pri drugih umetniških projektih z  glasbeniki, igralci, fotografi, modnimi oblikovalci, videasti...
Z jogo se ukvarja več kot desetletje, občutek miru in moči, ki ji ga daje jo nepogrešljivo spremlja v vsej turbulentnosti in dinamiki intenzivnega življenja.  Z odkritjem  Shakti Dancea je združila svoji dve najmočnejši izrazni noti sebstva, ples in jogo v eno in pred leti postala učiteljica Shakti dancea -joge plesa. Verjame v moč ustvarjalnega potenciala skozi ples, zato dela z otroki, mladostniki, odraslimi in z osebami z motnjo v duševnem razvoju.  Za izredne dosežke na področju plesa je leta 2011 prejela nagrado JSKD: » plaketa Mete Vidmar«.Je učiteljica na SVŠGL - Umetniški gimnaziji za sodobni ples in programski ter umetniški vodja Plesnega Studia Intakt. Shakti Dance poučuje doma in v tujini, pretanjeno ga združuje s sodobnim plesom kar je imela tudi čast deliti na povabilo svoje učiteljice  in stvariteljice Shakit Dancea Sare Avtar, na učiteljskem treningu joge plesa 2.stopnje v Italiji.

SHAKTI PLES – YOGA PLESA: NEKTAR GIBANJA

Shakti Dance® je Joga plesa, oblika zavestnega in predanega plesa v katerem se prepletajo različni plesni stili, gibi in ritmi kot jogijsko orodje, podprto z dihom, fokusom in energetskim tokom. Je originalna metodična Jogijska vadba, ki jo je ustvarila Sara Avtar Olivier iz Velike Britanije. Sestavljen je iz kombinacije 8 faz, ki vsebujejo implementirano notranjost Jogiske Filozofije in prakse Kundalini Joge, kot jo je učil Jogi Bhajan. Prepleta dih, gib in čuječnost, ki širi našo zavest in nas skozi ples zliva z našo esenco Biti.
Sistematičen pristop vadbe Shakti Dancea prebuja in uteleša organske principe skladnega gibanja, ki ustvarja harmoničen pretok Prane v našem umu in telesu. Zato lahko prebuja »Ustvarjalen Shakti tok«, ki daje občutek svežine, prebujenosti in izpolnjenosti.

More: www.shaktidanceacademy.com

Inma Lobato Diaz: FLAMENKO / FLAMENCO, level  l

Inma Lobato Diaz