Systems and Developments of Dance Improvisation:
an ongoing investigation taught by Daria Fain, K.J. Holmes or Jennifer Monson.
January 6 – June 30 SAT 11am – 1pm
January 6 - K.J. Holmes
January 13 - Jennifer Monson
January 20 - Jennifer Monson
January 27 - K.J. Holmes
Movement Research at Eden's Expressway
In these classes, students will explore somatic approaches to fine-tuning the body as an instrument and source for dance improvisations based on the eclectic and extensive experience of the three teachers. Investigations will vary each week depending on the teacher and may include: awareness and perceptual play; time and spatial elements of instant composition; experiential anatomy through Body-Mind Centering® and the Alexander Technique™; and skills and practices of Contact Improvisation, martial arts forms and Chi Kung. All three teachers share interests in empowering the individual in relationship to self, others and the environment and in discovering new challenges and risks within movement and performance.
Barbara Mahler January 2 – July 19 TUE THU 10am – 12pm
Jan 2 – 25 at Danspace Project
Jan 30 – July 19 at Movement Research at Eden's Expressway
The purpose of this class is to re-educate the dancer’s body, interweaving theory and practice on a physical and organic level. From this comes the potential for students to discover a range of intelligence in their dancing, as well as to help them discover and develop their own choreographic vision. Initially inspired by the work of pioneer kinesiologist Dorothy Vislcoky, and then continuing for upwards of 20 years with Susan Klein, Barbara Mahler has learned to see, feel and teach each person/body individually to help their body function at its highest level of efficiency and function.
Daria Fain January 9 – April 26 TUE THU 10am – 12pm
Body Language, 241 Bedford Avenue #7
(bet N 3rd & 4th), Brooklyn The Affect of Perception on Performance: An ongoing experiment in creating means to apprehend language as performers
This forum is addressed to participants in the performing arts who are interested in experiential and theoretical research in perception. It proposes a mind/body practice based on movement and internal “activation” of energy using Chinese energetics as a basic principal to develop sensory perception. By heightening sensory perception, the experience of one’s activity becomes multidimensional. The sessions will offer open improvisational situations and structures that integrate the senses, organs, body systems, emotions and directions in space. This work will immerse the student in an intra/extra-corporeal journey.
Contact Improvisation Charlie Mosey teaches for the month of January.
September 6 – January 31 WED 6:45 – 9:10pm
(no class Nov 22 and no class Dec 27)
Cathy Weis Studio
Contact Improvisation is a partnering dance form. Skills such as rolling,
releasing, giving and supporting weight, expanding range of spatial
concentration, lifting, catching and falling help one move with and
through gravity, share weight in motion and use momentum and flow in
physical contact. These weekly classes, open to people of all levels
of movement experience, are informed variously by the individual teaching
artists.
winter melt 2007 > click here for detailed info > download
the brochure (pdf version) January 1 – 19, 2007
Movement Research at Eden's Expressway
3 weeks of intensive workshops with internationally acclaimed faculty
in Technique, Improvisation, Composition and Releasing. Winter Melt 2007 faculty includes: Ori Flomin, Yvonne Meier, Sara Pearson & Patrik Widrig, Juliette Mapp, K.J. Holmes, John Jasperse, Gwen Welliver, Irene Dowd, and Jennifer Monson.
workshops
Sam Kim Selected Sundays 10am –
1pm
Jan 14, 21 & 28
$20 per class; Sign-up
is first-come, first-served (limited to 5 choreographers per session)
starting at 9:30am on the day of the workshop; no advanced registration
required).
DTW David R. White Studio, 3rd Fl Real Feedback Real Feedback provides the much-needed platform for small groups
of choreographers to get together, show work and get substantive feedback.
Our goal is to use language as a vital tool to get at the essential
nature of what we see – elevating our dances and the choreographic
process. Expect dynamic feedback that addresses the fundamental tenets
of your work and learn how we derive meaning from them. By sharpening
your critical skills in Real Feedback, fall into deeper conversation
with the choreographic form and use your freshened awareness to help
you create dances that truly match your vision.