The inflexibility of the established paralyzes the movement, dims the ingenuity, and casts a shadow over surprise. But life force makes us adaptable, it gives us the opportunity to transform space and to translate energy into matter, matter into its own evolution. The outline of the spontaneous is blurred to disappear, the margins of the predictable are softened and we know the interrogation point of those questions is the automatic response. The body allows us to transcend.

Horacio proposes a highly physical work that demands attention, interest and intensity rather than a certain technique level, challenging the potentiality of each dancer to push the limits of body imagination and expression further to discover new and surprising possibilities.

The workshop evolves with what the group offers, as the ability to create and compose physically needs training and attention as well as technique or style. Through the group process, the participants learn from each other through acceptance and transformation, collaboration and observation of their own dance and of the whole group.

Let’s dive into the work, get the engines started and let the imagination flow!

Let’s dance!

ROLLER COASTER

Roller Coaster is a class developed from the basic principles of the release technique - focus on breathing; skeletal alignment, joint articulation, muscle relaxation, and the use of gravity and impulse - to facilitate efficient movement. The class consists of several movement sequences with a strong focus on floor work, which evolve to verticality, combined with improvisation exercises, thus being able to play with the idea of a roller coaster.  

www.danielacruz.com 

TREMÚRIA

It is simply to shake off the axis of gravity, that is, the pelvic region, in relation to the physical extension of the movements controlled by the athletes, with the aim of exploring the awareness of the body in movement, letting oneself be carried away by space.

We deeply seek to transcend the limits of the body in motion, from the deepest to the most elementary, to generate new signs, a new proposal or a new dance technique that can arise. 

https://pakndjamena.com/ 

PRACTISING FOR CREATIVE FREEDOM

Based on body practices focusing on dance and the Gestalt psychotherapy repertoire, we will explore the form and function of the creative gesture in producing meaning in artistic discourse.

How do I move and let myself be carried in relation to my taboos, obsessions, urgencies, dissociations and creative gaps?

What do we choose to forget and illuminate in the processes of (de)composition of the artistic experience?

Risk improbable relational poetics.

Active listening and the aesthetics of sensitivity.

Ebb and flow in fiction between inside and outside, animal and rational, public and private, intimate and shared.

Form, intensity, resistance and resonance are some of the keywords. 

A GLOSSARY OF TOGETHERNESS

How can we develop choreographic and performative material that emerges directly from the work itself, from what is already present in the space? How do we create our own language, our own terminology, our own lexicon  in a group? In the workshop "A Glossary of togetherness" I will present current strategies I use in developing choreographic material.

On the one hand, these methods are compact, meant to be taken away, on the other hand, they are fragile, because they emerge in encounter with the workshop participants. It is a workshop that deals with beginnings, invitations and togetherness in order to let a space of shared responsibility emerge.

In this workshop we will dance, write, talk and listen, eat, be led and guide, adapt and resist.  It is an attempt to develop a space where we care for each other, be different and yet share one space with each other and develop something third, a creative matter. The most tangible end result of the workshop will be a glossary where the group collects their writings under self-defined categories, such as beginnings, decisions, preparation, routine, silence, stopping, translation, trust (categories from a recent workshop). This workshop is also a preparation for the following three-week creative process in April. 

www.marielenakaiser.com

CLASH NO CRASH!

The workshop will be divided into two closely linked parts: floor-work + partnering

First part objectives:

- establish a fluid, soft, safe and at the same time clear and sharp relationship with the floor, as if it were a "partner" to dance with;

- increase the ability to absorb impact with the floor while performing movements based on the relationship between weight and gravity going up and down;

- dancing an extended and dynamic phrase with many changes of levels and directions, without losing power, softness, concentration and presence.

Than the second part on partnering will start.

Exploring the skills of leaning on a body and the ability to counterbalance weight, we will learn how to support and use our partner's weight while moving; to lift our partner using minimal effort as well as to make ourselves light while being lifted in static and off balance situations.

We will observe different ways of giving and receiving weight in the action of leaning, climbing and jumping on a partner. We will learn how to jump on each other and how to take and absorb the impact of the jumping body without interrupting the flow of movement. We will learn dynamic partnering sequences in which we manipulate each other in different ways as we move through space.

piccoliproduction.com

FLYING LOW + PASSING THROUGH

I embody and share the knowledge of David Zambrano’s Flying Low and Passing Through techniques adapted to my own artistic vision and needs, always taking care of the temporary group that is formed for this practice. I see them, as techniques that teach my body spiralling pathways and group dynamics - it's something I always keep in my pocket and take it out when I need to use it, just like other techniques.

In the 1st part of the practice, we focus on the Flying Low technique and the dynamics increase progressively using imagery and touch by exploring and exploding each short exercise, where participants are challenged to find their own solutions through doing, figuring out what are the pathways that cross their bodies, rather than established formulas or shapes. The technique focuses on the relationship with the floor by utilizing simple movement sequences and by practicing speed and the release of energy throughout the body in order to activate the centre. There is a special attention given to the extremities as extensions of the centre and indicators of direction, proposing awareness and clarity to the movement.

There's no Passing Through without Flying Low and the other way around, therefore in the 2nd part of the practice we take over Passing Through. It is a set of tools organized in several chapters from the simplest one to the most complex, from the individual to the collective, challenging the space in and around us. In this process of constant temporary compositions, we focus on developing systems as a group-net.

Through pathways in curve and spirals that expand to the macro-space, participants are proposed to create flexible but complex dynamics, maintaining the cohesion of the group, yet keeping it open enough for unpredictability.

We move constantly, transforming the environment, playing together, within a matrix of common rules and sub-rules each of us adds on.

www.bacteria.ac

Instagram

SATE OF ALERT

The class is very physical and dynamic, drawing from Sabrina's background and experience as a professional dance artist. The class includes exercises that allow connecting breath and body, improvisation to stimulate imagination and creativity, floor work, which is very enriched by the use of spirals, fast transitions to challenge coordination and stamina, and a big influence of capoeira which is inspiring Sabrina's work for eight years. 

Those elements are fused into a practice that has a focus on grounding, efficiency, fluidity, and connection through space and in and out of the floor through acrobatic transitions.

As well as the physical side,  the workshop will include moments where there will be more time and space to investigate the dramaturgy of the movements.

To understand what's happening around us in order to transform an idea into something concrete and understand what we are doing and why and how we can be present in every single moment.

Video Class

https://youtu.be/bQAuzNZaKjE

Showreel. 

https://youtu.be/1a5ZIsw_BN8

BODY INTELLIGENCE

Deeogo oliveira will teach a workshop based on body intelligence. How can a dance improvisation look choreographed? How can a choreography look a real time composition? This are the questions that he loves to work on. 

 Body intelligence is about internal rhythm, intuition and attention, but also curiosity and joy about each moment.

We will also work on several tecniques such as body arquitecture and isolations, horizontal movement and floorwork, inverted coordination, but always with the sense of unpredictability and surprise.

And what would all of this change after we fullfill the space with the 5 human senses? Lets keep the challenge awake with mental questions so we all have a important message to discover at the end.

deeogo.momentum

Deeogo Oliveira

FARISOGO SIRA METHOD

The creation of this method and its pedagogy comes from the path of its creator Eva azevedo, as a dancer, choreographer, trainer and researcher in the Dances of the West Coast of Africa, namely Burkina Faso, Guinea Conakry, Benin and Senegal, as well as in Specialization in Pilates Method.

Its main objective is to teach the specific technique that characterizes the movements of those dances, adapting it to bodies with different postural, social and cultural experiences, leading them to an individual discovery, having as references the 5 natural elements (earth, water, fire, air and space) and the 5 expressive and creative rhythms (Flowing, Staccato, Chaos, Lyrical and Stillness) translated by the dancer and writer Gabrielle Roth.

This work represents the realization of a vision and translation of the emerging qualities of dance, resulting from the coexistence between tradition and contemporaneity, establishing other movements in creative processes, through the approach of new connections between being and the world, art and culture.

“Farisogo Sira” received support from the GDA, Artists' Rights Management and the Calouste Gulbenkian Foundation during its research/creation and its touring in Burkina Faso, Benin and Brazil.

www.evazevedo.com