DELAVNICE PPŠ 2026
  / WORKSHOPS SDS 2026

Ahmed Kullab: Acrodance II

SLO:
Acrodance je delavnica, ki združuje eksplozivno moč s tekočo ustvarjalnostjo akro plesa. Na delavnici se boste potopili globoko v svet akro plesa, kjer se akrobatika sreča z umetniškim gibanjem. Naučili se boste, kako z nadzorom, tekočnostjo in izražanjem združiti obrate, ravnotežja in dinamično delo na tleh v svoj ples. Raziskovali boste, kako povezati vsak trik z namenom, da bodo vaši akrobatski elementi ne samo močni, ampak tudi pomenljivi. Skozi ustvarjalne prehode in glasbeno interpretacijo boste odkrili, kako povedati svojo zgodbo z uporabo svojega telesa kot plesalca in akrobata.

Ahmed Kullab je akro plesalec, cirkuški umetnik in trener cirkuških akrobacij iz Palestine, ki trenutno živi v Sloveniji. Med leti 2014 in 2021 je bil performer in umetniški vodja Palestinske cirkuške šole.  Je tudi soustanovitelj skupine Terhal Circus ter cirkuški trener in performer v Circus Fuskabo v Sloveniji ter akro plesalec v Stereo 48. Sodeloval je v številnih plesnih predstavah v Palestini in po Evropi.  Na Hip-Hop Game festivalu v Lillu (Francija, 2019) je dosegel 1. mesto za najboljši akro solo ples. Je tudi prejemnik zlatega gumba in finalist oddaje Slovenija Ima Talent 2023. Zadnja leta poučuje mojstrske tečaje akrobatike v Sloveniji in Italiji.

ENG:
Acrodance is a workshop that blends the explosive power of hip hop with the fluid creativity of acro dance. On the workshop you will dive deep into the world of acro dance—where acrobatics meet artistic movement. You’ll learn how to blend flips, balances, and dynamic floorwork into your dance with control, fluidity, and expression. You’ll explore how to connect each trick with intention, making your acrobatic elements not just powerful, but meaningful. Through creative transitions and musical interpretation, you’ll discover how to tell your story using your body as both a dancer and an acrobat.

Ahmed Kullab is an acro dancer, circus artist and circus acrobatics trainer from Palestine, currently living in Slovenia. Between 2014 and 2021, he was a performer and artistic director of the Palestinian Circus School. He is also a co-founder of the Terhal Circus group, a circus trainer and performer at Circus Fuskabo in Slovenia and an acro dancer at Stereo 48. He has participated in numerous dance performances in Palestine and across Europe. At the Hip-Hop Game festival in Lille (France, 2019), he won 1st place for the best acro solo dance. He is also a recipient of the Golden Button and a finalist of the show Slovenia’s Got Talent 2023. In recent years, he has been teaching acrobatics master classes in Slovenia and Italy.

Več / More:
https://www.24ur.com/video/slovenija-ima-talent-ahmed-kullab-avdicijski-nastop_63148294.html
(Slovenia's Got talent);
https://www.instagram.com/ahmadkollab?igsh=b2puYzNheWt5aGdj

Barbara Potokar: Balet II / Ballet II
Barbara Potokar: Baletna delavnica I–II / Ballet workshop I–II

Brina Dokl: Sodobni plesni klas I / Contemporary dance class I

SLO:
K sodobnemu plesnemu klasu bomo pristopili na zelo fizičen, telesni način. Postavili bomo telo v prostor, dobro ogreli mišice in možgane. Od tal do stoječega materiala bomo z manjšimi frazami zbudili telo. Preplet talnih fraz in trikov s stoječimi gibalnimi materiali, vse do skokov in raznih prevalov, kjer se bomo naučili mehkih pristankov, a še vedno z veliko energije, dinamike in gibanja. Izzvali bomo telo k spominu, koordinaciji in predvsem našli užitek v gibanju.

Brina Dokl je plesalka in pedagoginja, bazirana v Berlinu. Svojo plesno pot je začela v Plesnem društvu Krokar. Med študijem kulturologije v Ljubljani je aktivno plesala in se pridružila Ursus dancers, pod vodstvom Urše Rupnik. Leta 2020 je bila Brina sprejeta na Univerzo za umetnost v Stockholmu, kjer je leta 2023 diplomirala iz plesnega performansa. Od takrat dalje je ustvarila otroško plesno predstavo; se priključila plesni skupini Babice pod vodstvom Zale Pezdir; udeležila raznih plesnih festivalov; postala del kolektiva KunstKartel v Berlinu in članica projekta 001 pod vodstvom Amalie Stitz. Leta 2025 je v PTL odplesala svoj plesni prvenec z naslovom Shifts. Brina občasno poučuje v Berlinu in tujini in nastopa v manjših konstalacijah in plesnih predstavah. Njen pristop k plesu je precej fizičen. Predvsem jo zanimajo odnosi, ki se lahko zgradijo med osebami s plesnim materialom in kako uporabiti lastne veščine in jih nadgraditi na medosebni ravni.

ENG:
In the "Dance in Motion" workshop, we will approach dance in a very physical, somatic way. We will position the body in space and thoroughly warm up both the muscles and the brain. From floorwork to standing material, we will awaken the body through short phrases—intertwining floor sequences and tricks with standing movements. We will progress all the way to jumps and various rolls, where we will learn soft landings while maintaining high energy, dynamics, and momentum. We will challenge the body's memory and coordination and, above all, find joy in movement.

Brina Dokl is a dancer and pedagogue based in Berlin. She began her dance journey at the Krokar Dance Association. While studying Culturology in Ljubljana, she danced actively and joined Ursus Dancers under the leadership of Urša Rupnik, with whom she performed in various productions. In 2020, Brina was accepted to the Stockholm University of the Arts, where she graduated in Dance Performance in 2023. Since then, she has produced a children's dance performance, joined the dance group Babice under the direction of Zala Pezdir, participated in various dance festivals, became part of the KunstKartel collective in Berlin, and a member of Project 001 led by Amalie Stitz. In 2025, she performed her dance debut titled Shifts at PTL. Brina occasionally teaches in Berlin and abroad and performs in smaller constellations and dance productions. Her approach to dance is quite physical. She is primarily interested in the relationships that can be built between individuals through dance material and how to use one's own skills and upgrade them on an interpersonal level.

Več / More:
https://youtu.be/hcZXrJHSQZ8

Brina Vadnjal: Hip Hop I

SLO:
Na Hip Hop delavnici bomo raziskovali razgibani svet Hip Hop kulture - odnos med glasbo in telesom. Spoznali bomo teme kot so: groove, muzikaličnost, izolacije ter osvojili osnovne korake in elemente Hip Hop-a, se preizkusili v osnovah Breaking-a (je prvi ples Hip Hop kulture) in ples delili v obliki plesnih jam-ov. Preko različnih gibalnih nalog bomo za zaključek poiskali načine, da novo znanje združimo v krajšo koreografijo.

Brina Vadnjal deluje na področju pedagogike, kineziologije, koreografije ter tehnike sodobnega in street plesa. Svojo plesno pot je začela na Konservatoriju za glasbo in balet Ljubljana, kjer je devet let plesala sodobni ples. Nato je svojo plesno pot nadaljevala v Plesni šoli Kazina. Leta 2018 je pod vodstvom idejne vodje in koreografinje Ade Kogovšek sodelovala pri ustvarjanju plesno-cirkuške predstave Oni, ki je bila na festivalih, v gledališčih in kulturnih domovih po Sloveniji uprizorjena več kot 50-krat. V zadnjih letih je sodelovala pri več interdisciplinarnih projektih. Njeno zanimanje za ples in gib je nadgradila z magisterijem kineziologije na Fakulteti za šport, kar je še poglobila svoje razumevanje telesa kot instrumenta za izraz.

ENG:
In the Hip Hop workshop, we will explore the dynamic world of Hip Hop culture—specifically the relationship between music and the body. We will cover topics such as groove, musicality, and isolations, as well as master the basic steps and elements of Hip Hop. We will also try out the basics of Breaking (the original dance of Hip Hop culture) and share the dance in the form of "dance jams." To conclude, we will use various movement tasks to find ways to integrate this new knowledge into short choreography.

Brina Vadnjal works in the fields of pedagogy, kinesiology, choreography, within both contemporary and street dance techniques. She began her dance journey at the Ljubljana Conservatory of Music and Ballet. Then she continued her training at the Kazina Dance School. In 2018, under the leadership of choreographer Ada Kogovšek, she participated in the creation of the dance-circus performance *Them*, which was performed over 50 times at festivals, theaters, and cultural centers throughout Slovenia. In recent years, Brina collaborated on many interdisciplinary projects. Brina furthered her interest in dance and movement with a Master’s degree in Kinesiology from the Faculty of Sport, which deepened her understanding of the body as a tool for expression.

Več / More:
https://www.instagram.com/kazinasvetplesa/reel/C_8qAiAoGId/
https://www.instagram.com/reel/CoSMsWwPYwx/?igsh=YTJ2bHppb29wdnpn
https://www.youtube.com/watch?v=rG0FrF21N5Q
https://www.youtube.com/watch?v=cwx-OGgNLEk&list=PLUaE_0YQbNeU8N0yRt4uxbqWqx2of7pX5

Darko Dragičevič: Koreografski lab III / Choreographic lab III

SLO:
Delavnica Koreografski lab se na napredni ravni osredotoča na ples in koreografijo kot osrednji kompozicijski metodi, pri čemer uporablja orodja, kot so mapiranje, prevajanje in koreografsko zapisovanje (scoring). Udeleženci bodo raziskovali, kako koncepte iz literature, filma in izbranih performativnih del preliti v koreografske strukture, ki vključujejo telesa, besedilo in objekte. Delavnica vključuje vaje, temelječe na nalogah, kjer udeleženci ustvarjajo koreografske partiture, s poudarkom na razvoju koreografije skozi interdisciplinarne in sodelovalne pristope. Delavnica je odprta za udeležence iz različnih umetniških okolij, vključno s plesom, performansom, vizualno umetnostjo in filmskim ustvarjanjem, njen cilj pa je vnaprejšnje razvijanje koreografske prakse z integracijo medijev in širjenjem ustvarjalnih možnosti.

Darko Dragičević je v Berlinu delujoč umetnik na področju performansa in vizualnih umetnosti, filmski ustvarjalec ter predavatelj. V svoji umetniški praksi raziskuje stičišča med koreografijo, performansom, vizualno umetnostjo in filmom skozi različne medije. Dragičevićevo delo odraža kritično preučevanje pogojev umetniške produkcije v postkapitalistični, visoko storilnostni družbi. Osredotoča se na estetiko ekonomije, identitete, dela, aktivizma in družbene organizacije. Poleg sodelovanja pri interdisciplinarnih projektih in medmedijskih sodelovanjih se ukvarja tudi z založništvom, predavanji in kuriranjem sodelovalnih projektov.
Dragičević poučuje na institucijah, kot so SKH Stockholmska univerza za umetnost, Freie Universität Berlin, Univerza umetnosti Folkwang v Essnu, ZZT/HfmT Köln, Y-Institute/Univerza umetnosti v Bernu in Tanzquartier Dunaj.

ENG:
This Choreographic lab workshop focuses on dance and choreography as central compositional methods, using tools such as mapping, translation, and choreographic scoring. Participants will explore how to translate concepts from literature, film, and selection of performance works, into choreographic structures that incorporate bodies, text, and objects. The workshop includes task-based exercises where participants create choreographic scores, emphasizing the development of choreography through interdisciplinary and collaborative approaches. Open to participants from diverse artistic backgrounds, including dance, performance, visual arts, and filmmaking, this workshop aims to advance the practice of choreography by integrating media and expanding its creative possibilities.

Darko Dragičević is a Berlin-based performance and visual artist, filmmaker, and lecturer. He explores the interfaces between choreography, performance, visual art, and film across different media in his artistic practice. Dragičević’s work reflects a critical examination of the conditions of artistic production in a post-capitalist, high-performance society. It focuses on the aesthetics of economy, identity, labor, activism, and social organization. In addition to his involvement in interdisciplinary projects and cross-media collaborations, he publishes, lectures, and curates collaborative projects.
Dragičević teaches at institutions such as SKH Stockholm University of the Arts, Freie University Berlin, Folkwang University of the Arts Essen, ZZT/HfmT Cologne, Y-Institute/ Bern University of the Arts and Tanzquartier Vienna.

Iryna Tsinbal: Balet III / Ballet III
Iryna Tsinbal: Baletni Repertoar II–III / Ballet Repertoire II–III

Manca Langus: Kontakt impro za najstnike I / Contact impro for teens I

SLO:
Na delavnici Kontakt impro za najstnike se bomo spoznali z osnovami kontaktne improvizacije. Tehnično se bomo lotili elementov, ki se najpogosteje pojavljajo in ki nam lahko pomagajo zajadrati v svet kontakta. Kontaktna improvizacija je svobodna, živa oblika plesa, kjer se srečujemo v spontanem, neplaniranem stiku z drugimi. Ni vnaprej določene koreografije — obstajata le prisotnost in trenutek tukaj in zdaj. V tej delavnici bomo skozi gib raziskovali, kako neverbalno pristopati k drugemu, ter kako lahko z dotikom, težo in zavestno prisotnostjo povemo več kot tisoč besed.
Praksa nas nežno sooča z nami samimi — z našimi odzivi, vzorci in mejami — ter nas uči poslušanja skozi telo in zaupanja v spontani gib. Obenem krepi občutek varnosti v telesu in odprtost za pristen stik.

Manca Langus je plesalka, pedagoginja in koreografinja. 12 let je svoje znanje predajala otrokom in mladini. Kot plesalka se je mojstrila v jazzu, modernu, hip hopu, komercialnih plesih ter plesom ob drogu. Vrsto let je delovala v komercialni plesni industriji z mnogimi pevci, ustvarjalci, glasbeniki. V zadnjih letih Manca vse bolj raziskuje, kako je gibanje neposredno povezano z izražanjem resnice. 
Verjame, da ples ni le umetnost, temveč tudi pot osebne transformacije, samozdravljenja in globljega utelešenja življenjske radosti v vsakdanjem življenju. Zadnja leta raziskuje kako je kontaktna improvizacija neposredno povezana z Življenjem. Prakso kontaktne improvizacije vsako leto poglablja na Tajskem.

ENG:
In Contact Impro for Teens  workshop, we will get acquainted with the foundations of contact improvisation. We will technically explore the elements that appear most frequently and that can help us enter the world of contact improvisation with greater ease. Contact improvisation is a free and living form of dance, where we meet each other through spontaneous, unplanned connection. There is no predetermined choreography — only presence and the moment of here and now.
Through movement, we will explore ways of approaching another person nonverbally, and discover how touch, weight, and conscious presence can communicate more than a thousand words.
This practice gently brings us face to face with ourselves — with our reactions, patterns, and boundaries — while teaching us to listen through the body and trust spontaneous movement. At the same time, it strengthens the sense of safety within the body and openness to authentic connection.

Manca Langus is a dancer, teacher, and choreographer. For 12 years, she shared her knowledge with children and youth. As a dancer, she trained extensively in jazz, modern dance, hip hop, commercial heels, and pole dance. For many years, she worked in the commercial dance industry alongside numerous singers, creators, and musicians. In recent years, her exploration has increasingly focused on how movement is directly connected to the expression of truth.
She believes that dance is not only an art form, but also a path of personal transformation, self-healing, and a deeper embodiment of joy in everyday life. In recent years, she has been exploring how contact improvisation is directly connected to Life itself. She deepens her contact improvisation practice every year in Thailand.

Več / More:
www.kahanicosmica.com

Maša Kagao Knez & Kristina Sicherl – Krista: Afrofusion & Afro-urban I-III

SLO:
Afrofuzija ponuja gibalno izkušnjo ob spremljavi bobnov v živo. Dialog med gibom in ritmom deluje izjemno povezovalno, gradi občutek skupnosti in skupne energije, ki je temelj afriških plesnih praks. Delavnica ne izhaja iz enega samega tradicionalnega plesa, temveč iz prepleta plesnih izrazov, navdihnjenih z raznolikimi afriškimi kulturnimi dediščinami. Na delavnici se osredotočamo na usklajenost plesa z ritmom, izolacijo posameznih delov telesa, tekoče in artikulirano gibanje ter medsebojno komunikacijo med plesalci.
Afro Urban zajema kompleksnost in raznolikost afriških urbanih plesov - Afrobeats, Afro House in Kuduro – glasbeni in plesni stil iz Angole, za katere je značilen hiter in pester footwork. Velik poudarek je na tehniki izvedbe korakov ali gibov, dodajanju groov-a (za vsak plesni žanr je značilno drugačno gibanje in izvedba) in na teoriji posameznega plesa.
Delavnica je primerna za vse - udeležencem odpira nova gibalna obzorja, jih seznanja z različnimi ritmi in jim skozi neposredno izkušnjo omogoča odkritje, da je trditev »nimam ritma« pogosto le posledica nesproščenosti in nepovezanosti s telesom.

Maša Kagao Knez je dipl. plesalka, koreografinja, mag. umetnosti giba, plesna pedagoginja in gledališka ustvarjalka. Z uprizoritvenimi umetnostmi se je srečala že kot otrok skozi delo svoje mame, plesalke in koreografinje Jasne Knez. Leta 2006 zaključila profesionalno izobraževanje na šoli Georgesa Momboyeja za tradicionalne in sodobne afriške plese v Parizu, leta 2013 je diplomirala na Akademiji za ples v Ljubljani, leta 2021 pa zaključila magistrski študij Umetnost giba na AGRFT (Akademija za gledališče, radio, film in televizijo) v Ljubljani. Od leta 2003, ko je začela samostojno koreografsko pot, je soustvarila več kot 15 avtorskih predstav. Kot plesalka, igralka in koreografinja sodeluje tako z institucionalnimi gledališči, kakor tudi z neodvisnimi producenti. Od leta 2014 je stalna sodelavka režiserke Ivane Djilas, s katero je kot koreografinja in asistentka režije soustvarila 14 predstav. Od leta 2017 je predavateljica na Akademiji za ples Alma mater Europaea.

Kristina Sicherl - Krista je svoje plesne izkušnje pridobivala pri Mojci Horvat, kjer je 10 let nastopala in tekmovala v show plesu v velikih formacijah in nastopala v otroških in mladinskih mjuziklih. S skupino so bili večkratni evropski in svetovni prvaki v show plesu. Nato je zajadrala v latino vode, kjer je spoznala salso in reggaeton. Krista je ustanoviteljica prve ženske salsa&reggaeton plesne skupine v Sloveniji, soavtorica prvega znanstvenega članka o salsi in prva, ki je v Sloveniji predstavila afriško plesno zvrst v paru, ki se imenuje Kizomba. Krista je prostovoljno poučevala ples v ženskem zaporu na Igu. Od leta 2018 se trudi približati slovenskim plesalcem afro-urbane plese kot so Afrobeats, Afro House, Kuduro, Ndombolo in Coupé Décalé. Njen pristop je prizemljen, neposreden in izjemno učinkovit. V plesu pomaga ljudem najti harmonijo, pravilnost giba, hkrati pa vzpodbuja individualnost in čutenje giba, tako da se plesalec navadi na izraz sebe.

ENG:
Afrofusion offers a movement experience accompanied by live drums. The dialogue between movement and rhythm is extremely unifying, building a sense of community and shared energy, which is the foundation of African dance practices. The workshop does not originate from a single traditional dance, but from an interweaving of dance expressions inspired by diverse African cultural heritages. The workshop focuses on the coordination of dance with rhythm, the isolation of individual body parts, fluid and articulate movement and mutual communication between dancers.
Afro Urban encompasses the complexity and diversity of African urban dances - Afrobeats, Afro House and Kuduro - a musical and dance style from Angola, which is characterized by fast and varied footwork. There is a strong emphasis on the technique of performing steps or movements, adding groove (each dance genre is characterized by different movements and performance) and on the theory of each dance.
The workshop is suitable for everyone - it opens up new movement horizons for participants, introduces them to different rhythms, and allows them to discover through direct experience that the statement "I have no rhythm" is often just a result of lack of relaxation and disconnection from the body.

Maša Kagao Knez is a graduate dancer, choreographer, MA in the Arts of Movement, dance pedagogue and theatre artist. She was introduced to the performing arts as a child through the work of her mother, dancer and choreographer Jasna Knez. In 2006, she completed her professional education at the Georges Momboye School for Traditional and Contemporary African Dances in Paris, in 2013 she graduated from the Academy of Dance in Ljubljana, and in 2021 she completed her master's degree in the Arts of Movement at the AGRFT (Academy of Theatre, Radio, Film and Television) in Ljubljana. Since 2003, when she began her independent choreographic journey, she has co-created more than 15 original performances. As a dancer, actress and choreographer, she collaborates with both institutional theatres and independent producers. Since 2014, she has been a permanent collaborator of director Ivana Djilas, with whom she has co-created 14 performances as a choreographer and assistant director. Since 2017, she has been a lecturer at the Alma Mater Europaea Dance Academy.

Kristina Sicherl - Krista gained her dance experience with Mojca Horvat, where she performed and competed in show dance in large formations for 10 years and performed in children's and youth musicals. The group was multiple European and world champions in show dance. Then she sailed into Latin waters, where she discovered salsa and reggaeton. Krista is the founder of the first female salsa&reggaeton dance group in Slovenia, co-author of the first scientific article about salsa and the first to present the African dance genre in pairs called Kizomba in Slovenia. Krista volunteered to teach dance in the women's prison in Igo. Since 2018, she has been trying to bring Afro-urban dances such as Afrobeats, Afro House, Kuduro, Ndombolo and Coupé Décalé closer to Slovenian dancers. Her approach is down-to-earth, direct and extremely effective. In dance, it helps people find harmony and regularity of movement, while at the same time encouraging individuality and a sense of movement, so that the dancer becomes accustomed to expressing themselves.

Več / More:
https://masakagaoknez.com/
https://youtube.com/@masakagaoknez7513?si=rC7c-1NNDgpVapq3
https://youtu.be/0kH4oS6Ifs4?feature=shared
https://youtu.be/6Z1AcaqgNB8?feature=shared

Ori Flomin: Sodobni plesni klas  II–III / Contemporary dance class II–III
Ori Flomin: Joga / Yoga
Ori Flomin: Narava v nas II–III / The nature within us II–III

SLO:
Sodobni plesni klas vodi udeležence k izvajanju gibalnih kvalitet, kot so pretočnost, prizemljenost, sočutje in prilagodljivost. Klas se neovirano premika od tal do stoječega položaja s poudarkom na anatomiji, da bi okrepili povezave pravilne poravnave s povečano pretočnostjo v sklepih. Plesalci bodo razvijali razumevanje nenehnega pretoka energije in diha v naših telesih ter spoznali, kako ohraniti občutek ravnovesja in zdravo stanje bivanja, kar nam omogoča raziskovanje celotnega gibalnega potenciala z jasno dinamiko in lahkotnostjo. Med delom na plesnih frazah bodo plesalci izvajali zahtevnejše sekvence, pozornost pa bo namenjena nadzorovanju diha za ohranjanje močnega centra, iz katerega lahko eksplodirajo v prostor.
Ori je znan po tem, da svoj klas vodi kot dialog s plesalci ter vključuje uporabo podob in humorja, kar plesalcem omogoča osebno navezavo na podano snov in iskanje lastnega izraza skozi izkušnjo na klasu.

Delavnica Narava v nas vodi udeležence k iskanju povezav med plešočim telesom in naravnim pretokom energije v nas in okoli nas skozi odkrivanje petih elementov (zemlja, voda, les, kovina in ogenj), kot se izražajo skozi sistem meridianov (energijskih poti), ki tečejo skozi naša telesa. Gre za raziskovanje kvalitet elementov s sledenjem fizični lokaciji meridianov na telesu in prakticiranje uravnoteženja energije s tehnikami samomasaže (šiatsu), gibalnimi vzorci ter vizualizacijo in improvizacijskimi nalogami. Te plesalcem omogočajo utelešenje neskončnih kvalitet meridianov: pretočnosti, prizemljenosti, sočutja in prilagodljivosti. V želji po iskanju ravnovesja in harmonije, tako telesne kot čustvene, to raziskovanje spodbuja udeležence, da se naučijo izkoristiti svoje edinstvene lastnosti z zavedanjem meridianov ter se odprejo novim gibalnim možnostim, ki navdihujejo naš ustvarjalni duh.

Ori Flomin je magistriral iz plesa na Tisch School of the Arts (NYU). Njegova koreografska dela so bila predstavljena v New Yorku v Dance Theater Workshop, Movement Research v cerkvi Judson, gledališču LaMama, Gibney Dance, Arts on Site ter mednarodno v Evropi, na Japonskem, v Indiji, Avstraliji in Izraelu. Poučuje ples, jogo in šiatsu masažo na številnih prestižnih svetovnih festivalih in šolah ter na fakultetah v New Yorku, med drugim: PARTS, Impulstanz, London Contemporary School, Sasha Waltz, Circuit Est, Western Australia Academy of Performing Arts, SUNY Purchase, Tisch NYU, The New School, Movement Research, Gibney in Rutgers University. Nastopal je v delih priznanih koreografov, kot so Stephen Petronio, Maria Hassabi, Neil Greenberg, Helena Franzen, Michael Clark, Kevin Wynn in Molissa Fenley.
Pred kratkim je bil njegov solo »Urban Crawler« (2022) predstavljen na prizoriščih v New Yorku, Berlinu in Stockholmu. Je prejemnik rezidence Gibney Dance in Process (DIP) za obdobje 2022–23 ter prejemnik nagrade Lower Manhattan Cultural Council za leto 2025.

ENG:
Contemporary Dance Class: Ori’s class guides participants on how to implement movement qualities such as fluidity, grounding, compassion, and adaptability through his influences in dance and healing practices such as Yoga, Shiatsu, Release, and floor work. The class moves smoothly from floor to standing with a focus on anatomy to strengthen connections of correct alignment with an increase in fluidity in the joints. Dancers will develop an understanding of the continuous flow of energy and breath in our bodies and how to maintain a sense of balance and a healthy state of being that can allow us to explore our full movement potential with a clear dynamic and sense of ease.  During phrase work, dancers will execute more complicated sequences, and attention will be paid to controlling the use of breath to maintain a strong center from which one can explode into space. Ori is known to approach his class as a dialogue with the dancers and include the use of imagery and humor to allow the dancers to relate personally to the given material and find their own voice through the experience in class.

The Nature Within us: This workshop guides participants to find connections between the dancing body and the natural flow of energy within and around us through the discovery of the five elements (Earth, Water, Wood, Metal and Fire) as expressed through the meridian system (energy pathways) that run through our bodies. It is about exploring the qualities of the elements by following the physical location of the meridians on the body and practicing how to balance energy through self-bodywork technique (Shiatsu), movement patterns, as well as imagery and improvisation tasks that allow dancers to embody the endless qualities of the meridians: fluidity, grounding, compassion and adaptability. Craving to find balance and harmony both physically and emotionally, this exploration encourages participants to learn how to take advantage of their unique characteristics through the awareness of the meridians and to feel open to new possibilities of movement, inspiring our creative spirit.

Ori Flomin holds an MFA in Dance from Tisch School of the Arts, NYU. His choreography has been presented in NYC at Dance Theater Workshop, Movement Research at Judson church, LaMama Theater, Gibney Dance, Arts on Site, and internationally in Europe, Japan, India, Australia, and Israel. He teaches dance, Yoga, and Shiatsu massage at many of the world's prestigious festivals and schools in addition to colleges around NYC: PARTS, Impulstanz, London Contemporary School, Sasha Waltz, Circuit Est, Western Australia Academy of Performing Arts, SUNY Purchase, Tisch NYU, The New School, Movement Research, Gibney, and Rutgers University, among others. He’s performed in the works of acclaimed choreographers Stephen Petronio, Maria Hassabi, Neil Greenberg, Helena Franzen, Michael Clark, Kevin Wynn, and Molissa Fenley, to name a few.
Recently, his Solo “Urban Crawler” (2022) has been presented at venues in New York City, Berlin,  and Stockholm. He is a 2022-23 recipient of the Gibney Dance in Process (DIP) Residency. and 2025 recipient of Lower Manhattan Cultural Counsil award.

Več / More:
http://www.oriflomin.com/
https://www.youtube.com/watch?v=b93e7ZBtVd0

Patricija Crnkovič: Modern II

SLO:
V delavnici Modern se bomo spoznali s fuzijo modernih plesnih tehnik. Ukvarjali se bomo z vajami postavitve telesa, prostorskega zavedanja, spreminjanja telesnega ritma in raznolikostjo plesnih kvalitet. Delo bomo povezovali v plesno frazo, ki ji bomo nadgrajevali čez cel teden. Vabljeni so plesalci, ki so že opremljeni z osnovnim plesnim znanjem in bi ga radi nadgradili in poglobili.

Patricija Crnkovič je plesalka, koreografinja in plesna pedagoginja, ki je zaključila Akademijo za ples Codarts, Rotterdam (2020). Sodelovala je z plesnima kompanijama IB Dance Company (Belgija) in ICK Amsterdam (Nizozemska). Sodelovala je v raznolikih projektih slovenskih in tujih koreografov (Rita Gobi, Aleksandra Madsen, Siniša Bukinac, Matjaž Farič, Rosana Hribar, Andreja Rauch Podrzavnik, Alejandro Longines..). Patricija je ustvarila naslednje predstave: Zgubani časi, v soavtorstvu VR predstavo TEBI (produkcija En-Knap), OD BLIZU, O nas in vmesni obredi. S svojimi deli je bila del mednarodnih festivalov in tekmovanj: FKM Beograd, Florence Dance Festival, Amsdans, Urban dance fest Udine.. Svoje plesno znanje aktivno deli z mlajšimi generacijami.

ENG:
In the Modern workshop, we will get acquainted with the fusion of modern dance techniques. We will work on exercises for body alignment, spatial awareness, changing bodily rhythms, and a variety of dance qualities. The work will be integrated into a dance phrase that will be built upon throughout the week. Dancers with basic knowledge who wish to upgrade and deepen their skills are welcome.

Patricija Crnkovič is a dancer, choreographer, and dance pedagogue who graduated from the Codarts University for the Arts, Rotterdam (2020). She has collaborated with the dance companies IB Dance Company (Belgium) and ICK Amsterdam (Netherlands). She has participated in various projects by Slovenian and foreign choreographers (Rita Gobi, Aleksandra Madsen, Siniša Bukinac, Matjaž Farič, Rosana Hribar, Andreja Rauch Podrzavnik, Alejandro Longines, etc.). Patricija has created the following performances: Wrinkled Times, the co-authored VR performance TEBI (produced by En-Knap), From Close Up, and About Us and Intermediate Rituals. With her works, she has been part of international festivals and competitions: FKM Belgrade, Florence Dance Festival, Amsdans, Urban Dance Fest Udine, and more. She actively shares her dance knowledge with younger generations.

Patryk Zamojski: Sodobna baletna tehnika III / Contemporary ballet technique III
Patryk Zamojski: Fusion koreografija klas III / Fusion Choreography class III
Patryk Zamojski: Fusion ustvarjalen klas II–III / Fusion creative class II–III

SLO:
Klas Sodobne baletne tehnike povezuje tok sodobne plesne tehnike in baletne moči. Klas, katerega cilj je spodbujati zavedanje telesa na zabaven in profesionalen način.

Fusion koreografija in fusion imro ustvarjalen klas se dotika različnih vidikov sodobnega in modernega giba. Razpon sega od bolj gledaliških koreografij pa vse do raznoraznih fuzijskih stilov.

Patryk Zamojski je vsestranski plesalec, koreograf in pedagog z nacionalno diplomo Trinity iz šole Tring Park School for the Performing Arts ter diplomo iz managementa. Njegova profesionalna kariera vključuje nastope v Narodnem gledališču moravsko-šlezijskem, Poljskem plesnem gledališču in Quorum Balletu v Lizboni, kjer je poustvarjal dela koreografov, kot sta Ohad Naharin in Justin Peck. Kot učitelj in koreograf, specializiran za sodobni ples, jazz in balet, je sodeloval z institucijami, kot so Contemporary CZ, Dance Life! Brno in Ravenna Summer School.

ENG:
Contemporary Ballet Technique class connecting the flow of contemporary & ballet strength. A class that aims to stimulate body awareness in a fun & professional way.

Fusion Choreography and creative class touch different aspects of contemporary/modern movement. Varying from more theatrical choreos, to fusion like.

Patryk Zamojski is a versatile dancer, choreographer, and educator with a Trinity National Diploma from Tring Park School for the Performing Arts and a Bachelor’s degree in Management. His professional career includes performances with the National Moravian-Silesian Theatre, Polish Dance Theatre, and Quorum Ballet Lisbon, featuring works by choreographers like Ohad Naharin and Justin Peck. As a teacher and choreographer specializing in Contemporary, Jazz, and Ballet, he has worked with institutions such as Contemporary CZ, Dance Life! Brno, and Ravenna Summer School.

Več / More:
https://www.instagram.com/zamoymasked?igsh=MXVodDBjczlib2xhbg==

Paula Zacharias: Uglaševanje v kontakt / Tunning into Contact *

SLO
Delavnica Uglaševanje v kontakt je zasnovana tako, da udeležence potopi v prakso Tuning Scores (praksa, ki jo je ustvarila Lisa Nelson). Ta raziskava bo preučevala dva dopolnjujoča se pristopa k improvizaciji in kompoziciji: senzorično polje zaznave, ki prebuja in "uglašuje" domišljijo v smeri improvizacije, ter jezik teh partitur, ki omogoča uglaševanje čutov v odnosu do njihovih preživetvenih navad, domišljije, spomina ter njihovih razmerij med jazom, ritmom, prostorom in kompozicijo.

Paula Zacharias je učiteljica tehnike Alexander (diplomirala na ETABA leta 2014) ter plesne improvizacije in kompozicije. Je diplomirana komunikologinja (UBA), fotografinja, videografinja in plesalka. Izobraževala se je na področju sodobnega plesa, butoh plesa in kontaktne improvizacije. Poučuje tehniko Alexander, uporabljeno v gibanju, improvizaciji in odrski kompoziciji, navdihnjeno z metodo Tuning Scores (TS) Lise Nelson. Sodeluje pri raziskavah in produkciji z umetniki, kot so Andrew Harwood, Lisa Nelson, Chris Aiken, Benno Voohrman, Ko Murobushi, Rhea Volij, Minako Seki, Yuko Kaseki, Natalia Tencer, Lucas Condro, Carmen Pereiro Numer in drugi. Sodeluje na rezidencah in festivalih v okviru programov usposabljanja, poučevanja in uprizarjanja ter na mednarodnih turnejah po Evropi in Južni Ameriki. Je del organizacijske ekipe Eimcila 2012 (Buenos Aires) in 2013 (Gamboa, Brazilija). Od leta 2018 sorežira festival Contact Cuba. Je članica ustvarjalne in raziskovalne skupine Sus Derivas, ki je leta 2021 prejela štipendijo FNA za somatske študije metod Rabine in Feldenkrais, osredotočene na raziskovanje giba, glasu in performansa. Paulino delo se osredotoča na odpiranje vizualnega in senzoričnega polja zaznave za improvizacijo skozi pristop k praksi Tuning Scores (avtorice koreografinje Lise Nelson): gre za sistem komunikacije in urejanja gibanja v realnem času, ki omogoča vzpostavitev odnosa opazovanja in kompozicije med akcijo in pozornostjo gibanja – v ta odnos pa vključuje senzorična polja, ki sodelujejo kot deli organizacije med sliko, zvokom, zaznavo, pozornostjo in domišljijo. Partiture (scores) ponujajo orodja in prakse notranje ter zunanje komunikacije, ki poudarjajo načine, na katere vsak od nas čuti, vidi in osmislisli gibanje.

ENG:
The workshop Tunning into Contact is designed to immerse participants in the practice of Tuning Scores (practice created by Lisa Nelson). This investigation will explore two complementary approaches to improvisation and composition. The sensory field of perception, which awakens and “tunes” the imagination, towards improvisation and the language of these scores that allow tuning the senses in relation to their habits of survival, imagination, memory and their relationships between me, rhythm, space and composition.

Paula Zacharias is Alexander Technique teacher (graduated from ETABA 2014) and dance improvisation and composition. Bachelor in Communication Sciences (UBA), photographer, videographer and dancer. Trained in contemporary dance, Butoh and Contact Improvisation. She teaches Alexander Technique applied to movement, improvisation and scenic composition inspired by Lisa Nelson’s Tuning Scores (TS) method. She collaborates in research and production with artists such as Andrew Harwood, Lisa Nelson, Chris Aiken, Benno Voohrman, Ko Murobushi, Rhea Volij, Minako Seki, Yuko Kaseki, Natalia Tencer, Lucas Condro, Carmen Pereiro Numer among others. She participates in residencies and festivals for training, teaching and performance programs, touring internationally between Europe and South America. She is part of the organizing team of Eimcila 2012 -BsAs and 2013 Gamboa- Brazil. Co-directs the Contact Cuba Festival since 2018. She is part of the creation and research group Sus Derivas, which won the FNA 2021 training grant for somatic studies of Rabine and Feldendrais method, focused on research on movement, voice and performance. Paula’s work will focus on the opening towards the visual and sensory field of perception towards improvisation from the approach to the practice of Tuning Scores (created by choreographer Lisa Nelson): A system of communication and editing of movement in real me that allow to establish a relationship of observation and composition between the action and the attention of movement - including in this relationship the sensory fields that are involved as parts of the sense of organization between image, sound, perception, attention and imagination. The scores offer tools and practices of internal and external communication that highlight the ways in which each of us feels, sees and makes sense of movement.

Petra Gabor: Modern I

SLO:
Na klasu Modern l raziskujemo modern plesno tehniko z osnovami baleta ter dodatki osnov  floorwork-a (talna tehnika). Ogrejemo s z aktivnimi vajami in fluidnim gibanjem. Raziskujemo tudi  improvizacijo v parih. Na koncu sestavimo kratko koreografijo za zaključni nastop.

Petra Gabor je plesalka, koreografinja in plesna pedagoginja, ki je svojo izobrazbo začela v plesni šoli Kazina, nadaljevala na Konservatoriju za glasbo in balet Ljubljana. Med šolanjem je dobila mesto v predprofesionalni plesni kompaniji EUROPADANS v Franciji za pol-letno obdobje, kjer so gostovali s predstavami Aleksandra Ekmana, Jiri Kyliana, Mats Eka, Alwin Nikolaisa.. Leta 2011 je zastopala Slovenijo na Evroviziji za mlade plesalce na Norveškem, in naši državi priplesala drugo mesto, na tekmovanju Youth Grand Prix v Parizu je dobila posebno nagrado žirije, v Rimu na tekmovanju Premio Roma pa nagrado za izvrstno izvedbo koreografije. Leta 2014 je bila sprejeta v kompanijo Landesbuhnen Sachsen v Nemciji. Avgusta 2017 je začela ustvarjati s free lance sodobno plesno sceno v Dresdnu in Nurenbergu. Od leta že 2023/2024 sodeluje s plesno akademijo AMEU, kjer poučuje moderno jazz plesno tehniko.

ENG:
In the Modern l class we will explore modern dance technique with the basics of ballet and the addition of the basics of floorwork. We will warm up with active exercises and fluid movement. We will also explore improvisation in pairs. Finally, we will create a short choreography for the final performance.

Petra Gabor is a dancer, choreographer and dance teacher who began her education at the Kazina dance school and continued at the Ljubljana Conservatory of Music and Ballet. During her studies, she got a place in the pre-professional dance company EUROPADANS in France for a six-month period, where they toured with performances by Aleksandar Ekman, Jiri Kylian, Mats Eko, Alwin Nikolais. In 2011, she represented Slovenia at the Eurovision Song Contest for Young Dancers in Norway, and danced to second place for our country, and at the Youth Grand Prix in Paris she won a special jury prize, and in Rome at the Premio Roma competition she won an award for excellent choreography. In 2014, she was accepted into the Landesbuhnen Sachsen company in Germany. In August 2017, she began creating a freelance contemporary dance scene in Dresden and Nuremberg. Since 2023/2024, she has been collaborating with the AMEU dance academy, where she teaches modern jazz dance technique.

Vita Osojnik: Delavnica za učitelje plesa / Workshop for dance teachers *

SLO:
Delavnica za učitelje plesa bo obsegala teorijo (sistematičen pregled informacij /znanja od ideje do izvedbe plesne kompozicije; koreografska in kompozicijska orodja; gibalne kvalitete in prvine) in praktično delo ( vaje za vodje in za sledilce na različnih nivojih poučevanja).
Poudarek bo na opazovanju prostora in teles, rabi tunelskega in perifernega vida, odnosih na bližino in daljavo, vlogah vodje in sledilca, posredovanju in sprejemanju informacij / navodil, govoru in neverbalni komunikaciji, načinih hitrejšega pomnjenja, raziskovanju lastnega gibalnega aparata in repertoarja.

Vita Osojnik je slovenska plesalka, koreografinja in pedagoginja, ki deluje predvsem na področju sodobnega plesa, uličnega gledališča in intervencije v prostoru. Izobraževanje je zaključila na Srednji glasbeni in baletni šoli v Ljubljani (program balet) ter nadaljevala na Salzburg Experimental Academy of Dance (SEAD) v Salzburgu, kjer se je specializirala za koreografijo in ples. Po vrnitvi v Slovenijo je začela intenzivno poučevati in premikati meje med sodobnim plesom in baletnimi tehnikami. Redno je poučevala na Srednji vzgojiteljski šoli, Gimnaziji in umetniški gimnaziji Ljubljana (SVSGUGL), v društvu Qulenium iz Kranja, na SEAD-u, v Šoli uličnega gledališča (ŠUGLA) in sodeluje z Akademijo za ples – Alma Mater Europaea univerzo. Kot pedagoginja vodi delavnice tako doma kot v tujini.
Je avtorica več plesnih predstav, kot so Nosila sem tuje otroke, Zlahka nosim svojo lastno težo, Del mene je narejen iz stekla in Cinični morilci lastne matere, ter solo trilogije: Vse, kar se je že zgodilo, Izven osi in Prostor z razgledom.

ENG:
The workshop for dance teachers will include theory (a systematic review of information/knowledge from idea to execution of a dance composition; choreographic and compositional tools; movement qualities and elements) and practical work (exercises for leaders and followers at different levels of teaching).
The emphasis will be on observing space and bodies, the use of tunnel and peripheral vision, relationships to proximity and distance, the roles of leader and follower, conveying and receiving information/instructions, speech and non-verbal communication, ways of faster memorization, exploring one's own locomotor apparatus and repertoire.

Vita Osojnik is a Slovenian dancer, choreographer, and pedagogue who works primarily in the fields of contemporary dance, street theatre, and spatial intervention. She completed her education at the Conservatory of Music and Ballet in Ljubljana (ballet program) and continued at the Salzburg Experimental Academy of Dance (SEAD) in Salzburg, where she specialized in choreography and dance. Upon returning to Slovenia, she began teaching intensively and pushing the boundaries between contemporary dance and ballet techniques. She has taught regularly at the Secondary School of Preschool Education, Grammar School, and Performing Arts Grammar School Ljubljana (SVŠGUGL), the Qulenium Association in Kranj, at SEAD, at the School of Street Theatre (ŠUGLA), and collaborates with the Academy of Dance – Alma Mater Europaea University. As a pedagogue, she leads workshops both at home and abroad.
She is the author of several dance performances, such as I Carried Other People's Children, I Carry My Own Weight With Ease, Part of Me Is Made of Glass, and Cynical Killers of Their Own Mother, as well as a solo trilogy: Everything That Has Already Happened, Off Axis, and A Room with a View.

Zala Pezdir: Balet I / Ballet I
Zala Pezdir: PROGRESSING BALLET TECHNIQUE - PBT I–III
Zala Pezdir: Regeneracija I–III / Regeneration I–III

SLO:
Balet I klas je namenjen učencem baleta, ki imajo baletno osnovo in poznajo osnovne baletne pojme. Klas je sestavljen iz baletnih vaj ob drogu in na sredini s poudarkom na baletni tehniki na osnovnem nivoju v povezavi s plesnostjo. 
Primeren je za učence od 10 do 14 let. Potek klasa in težavnost bo prilagojena prijavljenim kandidatom. 

Progressing Ballet Technique I - III je inovativen pristop h klasični baletni tehniki, ki ga je razvila avstralska pedagoginja Marie Walton-Mahon skupaj s fizioterapevti. Tehnika se osredotoča na oblikovanje funkcionalnih gibalnih vzorcev, mišičnega spomina, kot tudi na stabilnost, moč in gibljivost, ki so potrebne v klasičnem baletu. Na urah uporabljamo različne pripomočke, npr. velike in male napihljive žoge in vadbene trakove. PBT ure so lahko poučne, fizično zahtevne in zabavne! Zala je certificirana učiteljica tehnike PBT od leta 2019. Ko poučuje PBT Zala tudi rada vključuje druge aspekte varnega baleta in preventive pred plesnimi poškodbami. Vaje izvajamo v tesnih/baletnih oblačilih z bosimi stopali. S sabo prinesete svojo joga ležalko in teniško žogico.

Regeneracija I – III:
Naučili se bomo identificirati različne vrste napetosti v telesu, nato pa bomo ta mesta aktivno sproščali. S sproščanjem napetosti razširimo svoj gibalni obseg, kar pomeni, da postane telo bolj raztezno. Širjenje gibalnega obsega preko specifično usmerjenega sproščanja je v primerjavi z bolj tradicionalnimi in pasivnimi vrstami raztegovanja učinkovitejše in varno. Z mobilizacijskimi vajami in rabo kompresije damo telesu tudi možnost hitrejše regeneracije in torej boljše pripravljenosti na nov plesni dan.
Kaj prinesti s sabo: teniško žogico, majhno brisačo in »foam roller« (če ga imate).

Zala Pezdir je koreografinja, plesalka, plesna pedagoginja in antropologinja z več kot dvajset let delovanja na področju plesa in plesnega izobraževanja. Po končani Srednji glasbeni in baletni šoli v Mariboru in študiju na Filozofski fakulteti v Ljubljani je diplomirala iz plesne pedagogike na Dans och Cirkushögskolan v Stockholmu in sicer iz dveh predmetov: klasičnega baleta in sodobnega plesa. Od leta 2007 živi v Uppsali na Švedskem, od koder soustvarja švedsko sodobno plesno sceno ter poučuje klasični balet, sodobni ples, improvizacijo in kompozicijo. Od leta 2023 vodi plesno skupino Babice, s katero se posveča odrski improvizaciji. Njeno umetniško delo temelji na prepričanju, da je ples transformativna praksa v kateri se prepletajo družbeni in fizični elementi. Je tudi avtorica knjige o plesu Plesni pojmovnik za mlade (2025, Založba Aristej, Slovenija) in prejemnica kulturnih štipendij regije in občine Uppsala.

ENG:
Ballet class I is intended for ballet students who have a ballet foundation and are familiar with basic ballet terminology. The class consists of ballet exercises at the barre and in the center, with an emphasis on ballet technique at a basic level in connection with dance expression.
It is suitable for students aged 10 to 14. The course of the class and the difficulty level will be adjusted to the registered candidates.

Progressing Ballet Technique is an innovative approach to classical ballet developed by Australian Marie Walton-Mahon. The technique focuses on correct movement patterning as well as stability, strength, and flexibility needed in classical ballet. We use different equipment, for example, fit balls, soft balls, and resistance bands. PBT classes can be very informative for your individual ballet development, physically challenging, and fun!
Zala is a certified PBT teacher since 2019. When teaching PBT Zala also likes to include different aspects of safe ballet training and dance injury prevention.
What to bring to the class: ballet/tight clothes with possibility of bare feet for better friction. Bring your own yoga mat and a tennis ball.

Recovery I - III
We will learn how to identify different places and qualities of tension and learn how to release it. By releasing tension our range of motion expands, which means we become more flexible in a safe way. This is in contrast to more traditional passive stretches, which can sometimes end up as ineffective and injurious. When working on tension release, we also give our bodies possibility to recover and prepare for the challenges of the next day.
What to bring to the class: a tennis ball, a small towel, and, if you have one, a foam roller.

Zala Pezdir is a choreographer, dancer, dance pedagogue, and anthropologist with more than twenty years of activity in the field of dance and dance education. After graduating from the Conservatory of Music and Ballet in Maribor and studying at the Faculty of Arts in Ljubljana, she graduated in dance pedagogy from Dans och Cirkushögskolan in Stockholm, specializing in two subjects: classical ballet and contemporary dance. Since 2007, she has lived in Uppsala, Sweden, where she co-creates the Swedish contemporary dance scene and teaches classical ballet, contemporary dance, improvisation, and composition. Since 2023, she has led the dance group Babice, focusing on stage improvisation. Her artistic work is based on the belief that dance is a transformative practice in which social and physical elements intertwine. She is also the author of a book about dance, *Plesni pojmovnik za mlade* (Dance Glossary for Youth) (2025, Aristej Publishing, Slovenia), and a recipient of cultural grants from the region and municipality of Uppsala.

Žan Perko: Contact impro *

SLO:
Vprašanje pripadnosti. Kaj pomeni biti v stiku, s seboj, s svetom okoli mene, z drugim človekom? Ali zmorem vzdržati stik? Ali ga res zmorem vzdržati?
V tej Contact impro delavnici raziskujemo, kaj resnično pomeni biti v stiku. Skozi somatsko raziskavo vzpostavljamo stik s telesom in odpiramo prostor povezave skozi neverbalno komunikacijo. Raziskujemo, kako komunikacija vznikne skozi utelešeno naravo naših čustvenih in primarnih stanj bivanja. Gibali se bomo skozi notranje čustvene pokrajine in se učili, kako jih uporabiti kot material za ples. Kontaktna improvizacija postane praksa regeneracije, ko se zavedamo, kako se odnašamo do tega, kar nam življenje prinaša. V tem zavedanju leži polje ustvarjalnih možnosti, kjer ostajamo povezani s tem, kar je prisotno, hkrati pa aktivno izbiramo.
Elementi, s katerimi improviziramo: jaz, prostor, drugi, tla, moja čustva. Ne gre za gib ali vzorce. Gre za prisotnost. Izkustvena in edukativna, ne tehnična. Odprta za plesalce vseh ozadij in za vsakogar, ki ga zanima umetnost biti v stiku. Prostor za regeneracijo, polnjenje in navdih. Živi laboratorij plesa in človečnosti.

Žan Perko je interdisciplinarni umetnik in somatski terapevt, ki dela z utelešenimi praksami in podvodnim plesom. Z magisterijem iz impulza, glasu in avtentičnega gibanja raziskuje, kako se ta področja srečujejo v telesu in odpirajo poti k resničnemu samoizražanju. To delo deli skozi kontaktno improvizacijo. Njegovo raziskovanje izhaja iz naravnih impulzov telesa in se širi navzven, k globlji ponovni povezanosti s seboj in z živim svetom. Dela s celim človekom, vabi prisotnost, v kateri postaneta svoboda in avtentičnost v gibu možni. Skozi to vodi druge k večji samozavednosti in občutenem smislu medsebojne povezanosti.

ENG:
Belonging? What does it mean to be in contact, with myself, with the world around me, with another person? Can I bear contact? Can I really sustain it? In this Contact impro workshop we explore what it truly means to be in contact. Through somatic principles we establish contact with the body and open a playful space of connection through nonverbal communication. We explore how communication emerges through the embodied nature of our emotional and primary states of being. We will move through inner emotional landscapes, learning to use them as material for dance. Contact improvisation becomes a practice of regeneration when we grow aware of how we relate to what life brings us. In that awareness lies a field of creative possibilities, where we stay connected to what is present while actively making choices.
The elements we improvise with: myself, space, another, the ground, my emotions. It's not about movement or patterns. It's about presence. Experiential rather than technical. Open to dancers from all backgrounds and to anyone curious about the art of being in contact. A space to regenerate, recharge, find inspiration. A living laboratory of dance and humanness.

Žan Perko is an interdisciplinary artist and somatic therapist working with embodiment practices and water dance. Holding a Master's degree in impulse, voice, and authentic movement, he explores how these areas meet in the body and open pathways toward true self-expression. He shares this work through Contact Improvisation. His research moves from the body's natural impulses outward, toward a deeper reconnection with the self and with the living world. He works with the whole person, inviting a quality of presence where freedom and authenticity in movement become possible. Through this, he guides others toward greater self-awareness and a felt sense of interconnectedness.

Več / More:
https://www.instagram.com/primalstates_?igsh=MXhqZ3Fndmo3dm9jbA==
http://www.zanperko.com/

I BASIC: plesno predznanje ni potrebno  / dance knowledge is not necessary (priporočljivo za začetnike in plesalce do 14 let / recommended for beginners and dancers up to 14 years old)

II INTERMEDIATE: osnovno plesno znanje potrebno / basic dance skills are necessary (najnižja starost 14 let / the minimum age is 14 years)

III ADVANCED: visok nivo plesnega znanja / high level of dance knowledge

* - minimalna starost je 18 let, plesno znanje NI potrebno. / minimum age 18, dance knowledge is NOT necessary.

Kjer nivo ni naveden, ni omejitev. / Where no level is listed, there is no limit.