BALLET FOR CONTEMPORARY DANCER I & II-III AND QI GONG I-III – TINA (MARTINA) DOBAJ
foto Maja Modrinjak
BALLET FOR CONTEMPORARY DANCER I & II-III
Tina's contemporary ballet is a combination of stylized classical ballet with the softness of modern dance, different dynamics, power, sharpness, and volume of movement.
Contemporary ballet is a workshop tailored to the needs of the contemporary dancer and looks for parallels to the mechanisms in contemporary dance directions. The introductory part includes Pilates and floor barre exercises. The bar exercises are set through the understanding and proper use of anatomy (body placement) through ballet exercises, foot use, and extensions. Middle exercises cover coordination, transitions, space integration, and elevation dynamics. The final part is followed by exercises for strength and stabilization of the body on the ground.
Contemporary ballet is suitable for all dancers, with more and less dance experience.
foto Maja Modrinjak
QI GONG I-III
Qi Gong represents a principle in Chinese traditional medicine and a principle in Chinese martial arts. It is a system of coordinated movements that involves rhythmic breathing combined with slow stylized fluid movements, calmness of mind and visualization. It is also an important aspect of endurance; physical and mental - attention.
In my workshop, we will intertwine different types of Qi Gong, also supported by dance warm-ups and work on flexibility, especially the spine, with emphasis on the correct anatomical execution of exercises, strengthening individual muscle sets,..
Over the years of teaching, I have developed, supplemented, modified version to form a type of exercise that generally and multifacetedly strengthens body physis and attention. Through this development of exercises, I contribute the freshness of current time to my Qi Gong.
The dynamics and complexity of the exercises are always adapted to the group, so everyone who wants to calm their mind through fluidity of exercise is invited. No previous moving knowledge is needed.
foto Maja Modrinjak
TINA (MARTINA) DOBAJ
Tina (Martina) Dobaj, a dancer, choreographer, dance pedagogue, graduated from the renowned dance academy P.A.R.T.S. in Brussels. After finishing her studies she was accepted into the professional group ROSAS led by the famous Belgian choreographer Anne Teresa De Keersmaeker for the performance Drumming, soon followed by the engagement in the performance The Vile Parody of Address by the choreographer William Forsythe.
After her return to Slovenia, she began teaching professional classes in Ljubljana and at the National Theatre in Maribor, while keeping in touch with Brussels, leading different trainings and workshops there. She also taught at the High School for contemporary dance - SVŠGL in Ljubljana, where she also works today as a contemporary dance and ballet teacher. She was also involved in the preparation of the dance curriculum for the art college in Ljubljana.
Since 2014 she also worked as a pedagogue and choreographer at high school Ptuj, where she helped establish the »Musical« department. She received two national dance awards called "Povodni mož" for her debutant choreography piece »Cesta« (»The Road«) and München festival award for her author piece Geiko (2004), followed by two more shows produced by Flota production - Ring in Kore wa tada no sen desu (2006 in 2007). Tina also collaborated with the renowned Slovene choir leader and conductor Karmina Šilec, producing very successful (and often-copied) choir choreographies for Carmina Slovenica's performances of Adiemus (2003) and CS LIGHT (2007). She collaborated with Slovene dancer Gregor Kamnikar in two very creative dance pieces "Odprto od do" and "Kapital". The latter was invited to the Brisbane festival in Australia (2011), where they led workshops at Queensland University and integrated students into the show.
In April 2013 she taught classes at New Jersey-based dance school MADLOM of choreographer Maja Milenović Workman, with whom she later collaborated as a dancer in her piece "Namišljena resnica - Virtual truth" premiered in September 2013 at »Stara elektrarna« in Ljubljana. In the same year, she also collaborated in improvisation projects in New York, performing with jazz legends Reggie Workman and Ken Vandermark, under the direction of Maja Milenovič Workman.
Since February 2014 she created performances as LaMuG-Zi performance collective, joined by a musician Andrej Hrvatin. Tina now teaches her classes with corepetitor Andrej Hrvatin in Slovenia and abroad.
In 2016, she carried out the project M - Touch in the production of the Federation and Silhouette with the financial assistance of the Municipality of Maribor in the Minority Church. She presented her work also in Choreographic international collaboration in Udine in 2018 and get a prize for the choreography Silhouette. She taught Einstein the Yoseida Shiatsu
Tina is also trained in Shaolin and Wudan Kung fu and she is teaching Qi gong and she works also as a shiatsu therapist.
Tina is holding professional classes at the National Ballet Company in Theatres in Slovenia, Austria, and Croatia and she teaches also contemporary technics at the Conservatory of Ballet in Maribor at the moment.
In the same year, she collaborated with choreography at the International Festival Fronta in Murska Sobota with the performance Embodied Architecture. She continued with the research on arhitecture into the interweaving of photography and dance together with Maja Modrinjak represented with a new project The Rhythm of Light in September 2023 at the opening of the Festival of photography.
Between 2020 and 2022 Tina taught ballet at music schools in Zalec and Kranj, where she prepared the ballet performance: Journey through Light Lands and she also prepared young ballet talents for competitions where they won first prizes. Tina also taught as a professor of contemporary dance at the Maribor Ballet Conservatory.
FELDENKRAIS INTO DANCE I-III AND WORKSHOP IT'S A MATCH – SIMON WEHRLI (CH)
foto Sašo Stamatovski
FELDENKRAIS INTO DANCE I-III
Departing from an Awareness Though Movement (ATM) lesson based on the Feldenkrais Method®* we will make our way into dancing. Becoming more aware of our own movement and the space around us we start having more options of where we want to take our dance. This class is not about relaxation (all though at first it might look like this) - its is about getting ready for action.
*The Feldenkrais Method® is an educational system that uses movement to teach self awareness and improve function.
foto Saša Huzjak
WORKSHOP IT’S A MATCH
In this research workshop we focus on what it means to relate as we are dancing. We will find ourselves in different constellations exploring ways of being physically in touch or not, creating connections through space and figuring out how to relate to our very own dance.
We will play a lot. Play in the sense of constant search for pleasure in what we are doing. Pleasure is a purely physical sensation and a great door opener to real interaction with each other and the world. By building many relationships we hopefully enlarge our physical presence and dance ourselves into situations we didn’t quite expect (As we all know: one plus one equals three).
foto Olaf Brachem
SIMON WEHRLI (CH)
Simon Wehrli started as a musician, attended the Accademia Teatro Dimitri in Verscio (CH) and then studied contemporary dance with Trinity Laban London (UK). In 2010, Simon was selected to participate in the international project „50 days of flying low and passing through“ Costa Rica 2010 under the direction of David Zambrano. Simon toured Europe, the USA, and Africa as part of the physical theater group Collettivo Spettatori and the dance improvisation group 50collective. As a dancer, actor, and musician he worked for choreographers in many major cities. Own creations include amongst others Greatest Hits (2013), How to become Clairvoyant (2016), Nature Poetry (2018), Nothing Works (Shakira, Shakira) (2019/20), Deep Purple (2022). Simon is currently touring internationally with the production “Sons of Sissy” by Simon Mayer (AUT), is a guest lecturer at the Dance Bachelor at Manufacture Lausanne (CH) and is busy with his own productions and collaborations. He is also a teacher of the Feldenkrais method.
More at: https://www.trinitylaban.ac.uk/alumni/alumni-profiles/simon-wehrli/
FOLLOW THE FLOW I & II – URŠA RUPNIK
foto Drago Videmšek
FOLLOW THE FLOW I & II
Urša is teaching a synthesis of contemporary and modern dance techniques, enriched with her own dance experiences and movement principles. Her work is mostly based on nearly ten years of experience as an assistant of a prominent dancer, choreographer, and dance pedagogue Joe Alegado (USA). His method – Alegado Movement Language – is characterized by the use of hands as inspiration and initiation of a movement language, which searches to connect with energy sources within the body as it projects outward into space.
Urša starts her classes with a simple, but dynamic warm-up of an entire body through somatic work in couples, groups, or individually. The warm-up is followed by structured floor work, locomotor phrases within the vertical line, and spatial combinations, which are upgraded into a final dance composition or choreography.
The focus of Urša’s classes is on positioning and movement of the spine and the complexity of hands, arms, legs, and torso coordination. She pays close attention to the softness and fluidity of the movement, fluid transitions between the vertical and horizontal levels, and expressive interpretation of dance material. In this workshop, Urša invites you to catch a wave of fluidity and set out on a dynamic journey through space and time.
foto Drago Videmšek
URŠA RUPNIK has a B.Sc. degree in Cultural Studies and a B.A. degree in Dance and Choreography. She is a freelance dancer, choreographer and dance pedagogue.
As a dancer, she has collaborated with the majority of renowned Slovenian choreographers (eg. Rosana Hribar, Gregor Luštek, Matjaž Farič, Maša Kagao Knez); for a decade and a half, she has been a workshop and choreography assistant to the prominent American pedagogue Joe Alegado. Based on and inspired by his methodology Shifting Roots – Alegado Movement Language she developed her own dance vocabulary and pedagogical principles.
Urša’s work encompasses artistic creation, staging and performing, as well as teaching and mentoring; she is an artistic director of Ursus Dancers Collective, gathering young dancers from Slovenia in a semi-professional field. As a choreographer and dance pedagogue, she collaborates with several formal dance education institutions (eg. Faculty of Education UL, Dance Academy Ljubljana AMEU, Conservatory of Music and Ballet Ljubljana, Belgrade Dance Institute) as well as non-formal dance schools and studios in Slovenia and abroad. Aa a freelance dance artist she collaborates with different production companies (En-Knap Group, Dance Theatre Ljubljana, Zavod Flota, Balkan Dance Project, Magic Theatre Serpentes, Cankarjev dom, Studio 25) and festivals (ImPulsTanz Vienna International Dance Festival, Odprta plesna scena, Festival Lent, Festival Fuzija).
She is a recipient of the Mete Vidmar Plaque, awarded by the Republic of Slovenia Public Fund for Cultural Activities for achievements in the field of contemporary dance; a recipient of the Silver Award of the Ljubljana Association of Cultural Organisations for her outstanding contribution to the field of contemporary dance; and a recipient of the LOK Award for an outstanding work in the field of dance film, awarded by the Slovene Audiovisual Actors.
Več na: http://www.ski.emanat.si/ursa-rupnik/
CONTEMPORARY DANCE I & AFRO FUSION I-III
– MAŠA KAGAO KNEZ
foto Tjaša Jerak
CONTEMPORARY DANCE I
After years of teaching, choreographing, and dancing experience, Maša Kagao Knez has created a workshop that brings together diverse movement practices and dance approaches.
Using the attitudes of West African dance traditions, contemporary dance principles and functional practice, it encourages dancers to build on their dance expression and deepen their sensitivity in dance interpretation. Through exercises and dance sequences, it focuses on strengthening and stretching the body and raising awareness of movement.
The workshop is addressed to dancers, regardless of their dance background, as it focuses on different qualities (body awareness and responsiveness, precision and direction of movement, focus in the moment, musicality, rhythmic qualities...) that allow for fluidity and greater amplitude of movement, and a freer, fuller and more sincere dance performance.
foto Drago Videmšek
AFRO FUSION I-III
In the workshop, we will focus on connecting dance with rhythm, isolating specific body parts, fluid and articulated movement and communication between the dancers. The workshop will build through a warm-up with a focus on movement motifs from the West African dance tradition to the dance combination, which will bring together the various elements learned during the class.
The workshop is intended for both women and men, dancers and dance enthusiasts, those wishing to distill their dance expression and those who just want to relax with African music and get to know African culture through dance and music.
foto Tone Stojko
MAŠA KAGAO KNEZ
Maša Kagao Knez works as a dancer, choreographer and theatre practitioner. She first came into contact with the performing arts as a child through the work of her mother, Jasna Knez, a dancer and choreographer herself. Maša was educated by various international teachers, both in Slovenia and abroad, and in 2006 she completed professional training at Georges Momboye School of Traditional and Contemporary African dance in Paris. In 2013 she graduated from the Academy of Dance in Ljubljana and in 2021 she completed her Master's degree in the Art of Movement at the AGRFT (Academy of Theatre, Radio, Film and Television) in Ljubljana.
As a dancer, actress and choreographer she collaborates with institutional theatres as well as independent producers (PTL, SNG Drama, Municipal Theatre Ljubljana, SNG Nova Gorica, SLG Celje, APT, Mini Teater). For the last few years she has been a regular collaborator of director Ivana Djilas.
In 2009 Maša, together with dancer Dalanda Diallo and musician Damir Mazrek, co-founded the Baobab cultural and arts society, which operates in the field of dance, music and theatre. She is artistic director of cultural institution Studio 25 and director of Diaspora, an artistic collective dedicated to the creation of dance and music productions.
She received a Ksenija Hribar dance award in 2013. Three years later she won the third prize at the XX. Festival of choreographic miniatures in Belgrade as part of the duo with musician Murat.
Since 2004, when she began her independent choreographic career, she has created more than fifteen original performances, including Rojena zunaj svoje vasi, 1978, Koncert za Mam, Lakeless, YAAMAAM, ker je bilo, kar je bilo in Plesni Teater Ljubljana, Nameščeni in Španski borci, Dia diasso diasspora and MOMENTUM Avenija ujetih trenutkov in Cankarjev dom, Črna koža, bele maske in Anton Podbevšek Teater.
More at:
http://masakagaoknez.com/
https://www.youtube.com/channel/UCqjt8n76wqVU5pY1eFnFMtw
https://www.youtube.com/watch?v=-K6BrqNuiyo
https://www.youtube.com/watch?v=LYtq5116e7A
https://www.youtube.com/watch?v=WIIGxrO6FyM
FLYING LOW II-III – JASMINA KRIŽAJ
FLYING LOW II-III
The technical class is based on the following movement principles:
A spiral through cohesion and expansion - this is how we establish a relationship between the center, joints and extremities. By using our center properly and using spirals while moving, the body becomes more efficient as it moves into and out of the ground and through the spirals of space and body.
Weight transfer – is an essential component of movement and at the same time a key to maintaining body stability. I would like to say that dancing is just a slightly more complex way of walking. By applying these principles from warming-up to multilayered movement compositions, we aim to develop clarity of intention while moving our body, ourselves. We are our body and our body is us. Our bodies express who we are, our way of being in the world.
JASMINA KRIŽAJ
In 2006, Jasmina Križaj graduated in choreography at the Academy of Arts in Amsterdam at the Department for New Dance Development (SNDO). As a choreographer and performer, she performed at many festivals abroad and in Slovenia. In 2006, she received the award for the best new creation for her work Zebra in a hair salon (ACT Festival, Bilbao, Spain). In 2009, her collaborative work (with T. Valentan, N. Fajdiga) Sugar Rush was supported by the European Cultural Foundation - ECF. In 2010, she was one of the selected artists who participated in David Zambrano's project "Flying Low and Passing Through Costa Rica". Between 2010 and 2014, she was part of the international project Modul Dance, which allowed her to create The Very Delicious Piece and The Very Boring Piece in close collaboration with the Portuguese artist Cristina P. Leitao. In 2013, she received a scholarship for the Dance-WEB program under the mentorship of Ivo Dimchev within the framework of the ImPulsTanz festival. In recent years, Jasmina has been collaborating with the Swiss artist Simon Wehrli. Together they created performances: Nature Poetry with D. Gisler (2017), Nothing Works (Shakira, Shakira) - duet (2019), Nothing Works (Shakira, Shakira) - Les Etudes Madonna - quartet (2020), Deep Purple with D. Gisler (2022).
WORKSHOP BETWEEN EXTERNAL AND INTERNAL RHYTHM I-III – ANJA MEJAČ
foto Nika Hölcl Praper
WORKSHOP BETWEEN EXTERNAL AND INTERNAL RHYTHM I-III
The movement-sound workshop is aimed at exploring the common points of flamenco sound dance and dance improvisation, based on the observation of inner bodily sensations (somatics). The important difference between them is that they grasp time from opposite ends. Flamenco is a rhythmic dance where the the dancer's movement is absorbed into an external rhythm, audible to all, and through the movement of the body, builds a visible and audible composition. In dance improvisation, the dancer practises ways of listening to his or her body - her inner rhythm - and translates this into movement, space, and shaping the exterior.
Two questions summarise the theme of the workshop and are posed by Jonathan Burrows in the Choreography Handbook: What happens when material emerges from rhythm? What happens when rhythm emerges from material? We will explore how these two seemingly separate practices connect, contribute to each other, and what kind of movement-sound language is born in the space between them. The workshop is suitable for dancers of contemporary dance, as well as dancers of flamenco and other dance techniques, no prior knowledge is necessary.
foto Nika Hölcl Praper
ANJA MEJAČ
Anja Mejaja works in the field of contemporary flamenco and dance improvisation. She holds a Master of Arts in Movement at AGRFT, and a graduate in Visual Communication Design at ALUO. She studied Flamenco at the renowned Amor de Dios Academy in Madrid. For more than ten years she has been regularly training in the field of dance improvisation at home and abroad.
She devotes her artistic research to the study of flamenco dance and dance improvisation techniques based on listening to the inner sensations of the body. In their intersection she develops her own performative language She regularly creates and develops original projects and showcases them at various festivals, both locally and internationally. As a dancer and choreographer, she collaborates with Slovenian and foreign artists from various fields of performance, music and visual arts.
She is the founder of the project space Skladišče 172, where she regularly teaches flamenco dance and yoga, and works as a producer of artistic projects. As a teacher she works in flamenco dance schools at home and abroad, as well as in the form of contemporary dance research workshops at various performing arts institutions and festivals.
