The class Milena teaches is an improvisation/task-based training geared towards strengthening and heightening the agility of the body as well as the mind. The tasks that are given are designed to train the connection between body and brain to make them more intuitively responsive to one another. The class is formed as a set of continues instructions that together form a personal research in which ideas, images and exercises are given in movement.
As a teacher Milena draws from her experience as a dancer creating contemporary work with various choreographers.
Nowadays dancers are often required to respond quickly or even immediately to the input of a choreographer or choreographic situation. This skill asks for a certain readiness, combining instinct and conscious choice into an intuitive, sensitive state. As with any other skill, this requires training and maintenance. Two of the main influences to this way of teaching are Gaga movement research and the training method of Amos Ben-Tal.

After her training at a classical conservatory in Den Haag and contemporary dance education at The Juilliard School in New York, Milena danced in a number of companies before becoming a freelance dancer. She has worked with many choreographers (such as Ohad Naharin, Itamar Serussi, Jiri Kylian), and in recent years mainly with Emanuel Gat and Amos Ben-Tal. A lot of her performing experience involves live-choreography and improvisation in many different contexts and combinations. Her teaching practice started in 2005 while dancing in the Ensemble Batsheva in Israel. She is also co-founder of the artist collective OFFprojects in The Netherlands.

The class Milena teaches is an improvisation/task-based training geared towards strengthening and heightening the agility of the body as well as the mind. The tasks that are given are designed to train the connection between body and brain to make them more intuitively responsive to one another. The class is formed as a set of continues instructions that together form a personal research in which ideas, images and exercises are given in movement.
As a teacher Milena draws from her experience as a dancer creating contemporary work with various choreographers.
Nowadays dancers are often required to respond quickly or even immediately to the input of a choreographer or choreographic situation. This skill asks for a certain readiness, combining instinct and conscious choice into an intuitive, sensitive state. As with any other skill, this requires training and maintenance. Two of the main influences to this way of teaching are Gaga movement research and the training method of Amos Ben-Tal.

After her training at a classical conservatory in Den Haag and contemporary dance education at The Juilliard School in New York, Milena danced in a number of companies before becoming a freelance dancer. She has worked with many choreographers (such as Ohad Naharin, Itamar Serussi, Jiri Kylian), and in recent years mainly with Emanuel Gat and Amos Ben-Tal. A lot of her performing experience involves live-choreography and improvisation in many different contexts and combinations. Her teaching practice started in 2005 while dancing in the Ensemble Batsheva in Israel. She is also co-founder of the artist collective OFFprojects in The Netherlands.

The class Milena teaches is an improvisation/task-based training geared towards strengthening and heightening the agility of the body as well as the mind. The tasks that are given are designed to train the connection between body and brain to make them more intuitively responsive to one another. The class is formed as a set of continues instructions that together form a personal research in which ideas, images and exercises are given in movement.
As a teacher Milena draws from her experience as a dancer creating contemporary work with various choreographers.
Nowadays dancers are often required to respond quickly or even immediately to the input of a choreographer or choreographic situation. This skill asks for a certain readiness, combining instinct and conscious choice into an intuitive, sensitive state. As with any other skill, this requires training and maintenance. Two of the main influences to this way of teaching are Gaga movement research and the training method of Amos Ben-Tal.

After her training at a classical conservatory in Den Haag and contemporary dance education at The Juilliard School in New York, Milena danced in a number of companies before becoming a freelance dancer. She has worked with many choreographers (such as Ohad Naharin, Itamar Serussi, Jiri Kylian), and in recent years mainly with Emanuel Gat and Amos Ben-Tal. A lot of her performing experience involves live-choreography and improvisation in many different contexts and combinations. Her teaching practice started in 2005 while dancing in the Ensemble Batsheva in Israel. She is also co-founder of the artist collective OFFprojects in The Netherlands.

The class Milena teaches is an improvisation/task-based training geared towards strengthening and heightening the agility of the body as well as the mind. The tasks that are given are designed to train the connection between body and brain to make them more intuitively responsive to one another. The class is formed as a set of continues instructions that together form a personal research in which ideas, images and exercises are given in movement.
As a teacher Milena draws from her experience as a dancer creating contemporary work with various choreographers.
Nowadays dancers are often required to respond quickly or even immediately to the input of a choreographer or choreographic situation. This skill asks for a certain readiness, combining instinct and conscious choice into an intuitive, sensitive state. As with any other skill, this requires training and maintenance. Two of the main influences to this way of teaching are Gaga movement research and the training method of Amos Ben-Tal.

After her training at a classical conservatory in Den Haag and contemporary dance education at The Juilliard School in New York, Milena danced in a number of companies before becoming a freelance dancer. She has worked with many choreographers (such as Ohad Naharin, Itamar Serussi, Jiri Kylian), and in recent years mainly with Emanuel Gat and Amos Ben-Tal. A lot of her performing experience involves live-choreography and improvisation in many different contexts and combinations. Her teaching practice started in 2005 while dancing in the Ensemble Batsheva in Israel. She is also co-founder of the artist collective OFFprojects in The Netherlands.

Dynamic Floorwork
The class begins with a warm-up awakening the functional anatomy of the body to explore technical principles of the floor work. Followed by a physical endurance phase focusing on movement phrases using the physical law of expansion and cohesion, the spiral, the centrifugal energy, and gravity. The class ends with a cool-down, to regenerate the flexibility of the body. Kutschera draws on various backgrounds such as Spiral Dynamics, Flying Low (David Zambrano), and Release-Technique to move in and out of the floor

Verena Kutschera, born in Berlin, and works as a professional dancer/performer, choreographer, and lecturer. She received her BA in Dance Theatre from the Trinity Laban Conservatoire of Music and Dance in London and an MA of Contemporary Dance Education from the Frankfurt University of Music and Performing Arts. After several engagements with international choreographers and companies SomoSQuien, La Fura Dels Baus, David Zambrano, Jeremy Nelson, Jun Takahashi, Kutschera develops her artistic works and performs them throughout Europe. As a lecturer she works internationally in various mediation formats, and teaches professional dance training at Centro De Danca Deborah Colker in Rio de Janeiro, La RUCHE in Lyon, the North Karelian College Outokumpu in Finland, TENZA-Schmiede in Dresden, TanzNetz Freiburg, K3 Tanzplan Hamburg.

Dynamic Floorwork
The class begins with a warm-up awakening the functional anatomy of the body to explore technical principles of the floor work. Followed by a physical endurance phase focusing on movement phrases using the physical law of expansion and cohesion, the spiral, the centrifugal energy, and gravity. The class ends with a cool-down, to regenerate the flexibility of the body. Kutschera draws on various backgrounds such as Spiral Dynamics, Flying Low (David Zambrano), and Release-Technique to move in and out of the floor

Verena Kutschera, born in Berlin, and works as a professional dancer/performer, choreographer, and lecturer. She received her BA in Dance Theatre from the Trinity Laban Conservatoire of Music and Dance in London and an MA of Contemporary Dance Education from the Frankfurt University of Music and Performing Arts. After several engagements with international choreographers and companies SomoSQuien, La Fura Dels Baus, David Zambrano, Jeremy Nelson, Jun Takahashi, Kutschera develops her artistic works and performs them throughout Europe. As a lecturer she works internationally in various mediation formats, and teaches professional dance training at Centro De Danca Deborah Colker in Rio de Janeiro, La RUCHE in Lyon, the North Karelian College Outokumpu in Finland, TENZA-Schmiede in Dresden, TanzNetz Freiburg, K3 Tanzplan Hamburg.

Dynamic Floorwork
The class begins with a warm-up awakening the functional anatomy of the body to explore technical principles of the floor work. Followed by a physical endurance phase focusing on movement phrases using the physical law of expansion and cohesion, the spiral, the centrifugal energy, and gravity. The class ends with a cool-down, to regenerate the flexibility of the body. Kutschera draws on various backgrounds such as Spiral Dynamics, Flying Low (David Zambrano), and Release-Technique to move in and out of the floor

Verena Kutschera, born in Berlin, and works as a professional dancer/performer, choreographer, and lecturer. She received her BA in Dance Theatre from the Trinity Laban Conservatoire of Music and Dance in London and an MA of Contemporary Dance Education from the Frankfurt University of Music and Performing Arts. After several engagements with international choreographers and companies SomoSQuien, La Fura Dels Baus, David Zambrano, Jeremy Nelson, Jun Takahashi, Kutschera develops her artistic works and performs them throughout Europe. As a lecturer she works internationally in various mediation formats, and teaches professional dance training at Centro De Danca Deborah Colker in Rio de Janeiro, La RUCHE in Lyon, the North Karelian College Outokumpu in Finland, TENZA-Schmiede in Dresden, TanzNetz Freiburg, K3 Tanzplan Hamburg.

Dynamic Floorwork
The class begins with a warm-up awakening the functional anatomy of the body to explore technical principles of the floor work. Followed by a physical endurance phase focusing on movement phrases using the physical law of expansion and cohesion, the spiral, the centrifugal energy, and gravity. The class ends with a cool-down, to regenerate the flexibility of the body. Kutschera draws on various backgrounds such as Spiral Dynamics, Flying Low (David Zambrano), and Release-Technique to move in and out of the floor

Verena Kutschera, born in Berlin, and works as a professional dancer/performer, choreographer, and lecturer. She received her BA in Dance Theatre from the Trinity Laban Conservatoire of Music and Dance in London and an MA of Contemporary Dance Education from the Frankfurt University of Music and Performing Arts. After several engagements with international choreographers and companies SomoSQuien, La Fura Dels Baus, David Zambrano, Jeremy Nelson, Jun Takahashi, Kutschera develops her artistic works and performs them throughout Europe. As a lecturer she works internationally in various mediation formats, and teaches professional dance training at Centro De Danca Deborah Colker in Rio de Janeiro, La RUCHE in Lyon, the North Karelian College Outokumpu in Finland, TENZA-Schmiede in Dresden, TanzNetz Freiburg, K3 Tanzplan Hamburg.

Dynamic Floorwork
The class begins with a warm-up awakening the functional anatomy of the body to explore technical principles of the floor work. Followed by a physical endurance phase focusing on movement phrases using the physical law of expansion and cohesion, the spiral, the centrifugal energy, and gravity. The class ends with a cool-down, to regenerate the flexibility of the body. Kutschera draws on various backgrounds such as Spiral Dynamics, Flying Low (David Zambrano), and Release-Technique to move in and out of the floor

Verena Kutschera, born in Berlin, and works as a professional dancer/performer, choreographer, and lecturer. She received her BA in Dance Theatre from the Trinity Laban Conservatoire of Music and Dance in London and an MA of Contemporary Dance Education from the Frankfurt University of Music and Performing Arts. After several engagements with international choreographers and companies SomoSQuien, La Fura Dels Baus, David Zambrano, Jeremy Nelson, Jun Takahashi, Kutschera develops her artistic works and performs them throughout Europe. As a lecturer she works internationally in various mediation formats, and teaches professional dance training at Centro De Danca Deborah Colker in Rio de Janeiro, La RUCHE in Lyon, the North Karelian College Outokumpu in Finland, TENZA-Schmiede in Dresden, TanzNetz Freiburg, K3 Tanzplan Hamburg.

Kasia Kiziors class is based on Gaga. Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and the artistic director of Batsheva Dance Company. Gaga originated from Naharin’s need to communicate with his dancers and his curiosity in the ongoing research of movement.

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, and rather than turning from one prompt to another, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Inside this shared research, the improvisational nature of the exploration enables each participant’s deeply personal connection with Gaga.

Gaga provides a framework for discovering and strengthening the body and adding
flexibility, stamina, agility, and skills including coordination and efficiency while
stimulating the senses and imagination. The classes offer a workout that investigates form, speed, and effort while traversing additional spectrums such as those between soft and thick textures, delicacy and explosive power, and understatement and exaggeration.
Participants awaken numb areas, increase their awareness of habits, and improve their
efficiency of movement inside multilayered tasks, and they are encouraged to connect to
pleasure inside moments of effort. The language of Gaga is in a continual process of
evolution, and the classes vary and develop accordingly.

Gaga has two tracks: Gaga/people and Gaga/dancers.

Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of
available movement options, enhances their ability to modulate their energy and engage
their explosive power, and enriches their movement quality with a wide range of textures. The classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar skills with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well, unlocking the endlessness of possibilities. Dancers are guided to connect their effort to pleasure and to discover the virtue of silliness. Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

Kasia Kizior was born in Poland. In her early years, she studied ballet and folk dance at the National Ballet School/Lodz. Her interest in social aspects of dance and performance led her to the University of Humanities Science/Lodz where she obtained a B.A. degree in Political Science. Since 2007, she has been working with Zawirowania Dance Theatre, the Polish National Opera in Warsaw and the Opera House in Frankfurt am Main. In 2015 Kasia obtained a master’s degree in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts (HfMDK). Currently she works as a dance educator, choreographer and freelance dancer. Recent work includes choreography for TV productions and films. Kasia became a certified Gaga Teacher in 2019 in Tel Aviv, under the artistic direction of Bosmat Nossan, Saar Harari, and Ohad Naharin.

Kasia Kiziors class is based on Gaga. Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and the artistic director of Batsheva Dance Company. Gaga originated from Naharin’s need to communicate with his dancers and his curiosity in the ongoing research of movement.

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, and rather than turning from one prompt to another, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Inside this shared research, the improvisational nature of the exploration enables each participant’s deeply personal connection with Gaga.

Gaga provides a framework for discovering and strengthening the body and adding
flexibility, stamina, agility, and skills including coordination and efficiency while
stimulating the senses and imagination. The classes offer a workout that investigates form, speed, and effort while traversing additional spectrums such as those between soft and thick textures, delicacy and explosive power, and understatement and exaggeration.
Participants awaken numb areas, increase their awareness of habits, and improve their
efficiency of movement inside multilayered tasks, and they are encouraged to connect to
pleasure inside moments of effort. The language of Gaga is in a continual process of
evolution, and the classes vary and develop accordingly.

Gaga has two tracks: Gaga/people and Gaga/dancers.

Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of
available movement options, enhances their ability to modulate their energy and engage
their explosive power, and enriches their movement quality with a wide range of textures. The classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar skills with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well, unlocking the endlessness of possibilities. Dancers are guided to connect their effort to pleasure and to discover the virtue of silliness. Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

Kasia Kizior was born in Poland. In her early years, she studied ballet and folk dance at the National Ballet School/Lodz. Her interest in social aspects of dance and performance led her to the University of Humanities Science/Lodz where she obtained a B.A. degree in Political Science. Since 2007, she has been working with Zawirowania Dance Theatre, the Polish National Opera in Warsaw and the Opera House in Frankfurt am Main. In 2015 Kasia obtained a master’s degree in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts (HfMDK). Currently she works as a dance educator, choreographer and freelance dancer. Recent work includes choreography for TV productions and films. Kasia became a certified Gaga Teacher in 2019 in Tel Aviv, under the artistic direction of Bosmat Nossan, Saar Harari, and Ohad Naharin.

Kasia Kiziors class is based on Gaga. Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and the artistic director of Batsheva Dance Company. Gaga originated from Naharin’s need to communicate with his dancers and his curiosity in the ongoing research of movement.

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, and rather than turning from one prompt to another, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Inside this shared research, the improvisational nature of the exploration enables each participant’s deeply personal connection with Gaga.

Gaga provides a framework for discovering and strengthening the body and adding
flexibility, stamina, agility, and skills including coordination and efficiency while
stimulating the senses and imagination. The classes offer a workout that investigates form, speed, and effort while traversing additional spectrums such as those between soft and thick textures, delicacy and explosive power, and understatement and exaggeration.
Participants awaken numb areas, increase their awareness of habits, and improve their
efficiency of movement inside multilayered tasks, and they are encouraged to connect to
pleasure inside moments of effort. The language of Gaga is in a continual process of
evolution, and the classes vary and develop accordingly.

Gaga has two tracks: Gaga/people and Gaga/dancers.

Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of
available movement options, enhances their ability to modulate their energy and engage
their explosive power, and enriches their movement quality with a wide range of textures. The classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar skills with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well, unlocking the endlessness of possibilities. Dancers are guided to connect their effort to pleasure and to discover the virtue of silliness. Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

Kasia Kizior was born in Poland. In her early years, she studied ballet and folk dance at the National Ballet School/Lodz. Her interest in social aspects of dance and performance led her to the University of Humanities Science/Lodz where she obtained a B.A. degree in Political Science. Since 2007, she has been working with Zawirowania Dance Theatre, the Polish National Opera in Warsaw and the Opera House in Frankfurt am Main. In 2015 Kasia obtained a master’s degree in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts (HfMDK). Currently she works as a dance educator, choreographer and freelance dancer. Recent work includes choreography for TV productions and films. Kasia became a certified Gaga Teacher in 2019 in Tel Aviv, under the artistic direction of Bosmat Nossan, Saar Harari, and Ohad Naharin.

Kasia Kiziors class is based on Gaga. Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and the artistic director of Batsheva Dance Company. Gaga originated from Naharin’s need to communicate with his dancers and his curiosity in the ongoing research of movement.

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, and rather than turning from one prompt to another, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Inside this shared research, the improvisational nature of the exploration enables each participant’s deeply personal connection with Gaga.

Gaga provides a framework for discovering and strengthening the body and adding
flexibility, stamina, agility, and skills including coordination and efficiency while
stimulating the senses and imagination. The classes offer a workout that investigates form, speed, and effort while traversing additional spectrums such as those between soft and thick textures, delicacy and explosive power, and understatement and exaggeration.
Participants awaken numb areas, increase their awareness of habits, and improve their
efficiency of movement inside multilayered tasks, and they are encouraged to connect to
pleasure inside moments of effort. The language of Gaga is in a continual process of
evolution, and the classes vary and develop accordingly.

Gaga has two tracks: Gaga/people and Gaga/dancers.

Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of
available movement options, enhances their ability to modulate their energy and engage
their explosive power, and enriches their movement quality with a wide range of textures. The classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar skills with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well, unlocking the endlessness of possibilities. Dancers are guided to connect their effort to pleasure and to discover the virtue of silliness. Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

Kasia Kizior was born in Poland. In her early years, she studied ballet and folk dance at the National Ballet School/Lodz. Her interest in social aspects of dance and performance led her to the University of Humanities Science/Lodz where she obtained a B.A. degree in Political Science. Since 2007, she has been working with Zawirowania Dance Theatre, the Polish National Opera in Warsaw and the Opera House in Frankfurt am Main. In 2015 Kasia obtained a master’s degree in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts (HfMDK). Currently she works as a dance educator, choreographer and freelance dancer. Recent work includes choreography for TV productions and films. Kasia became a certified Gaga Teacher in 2019 in Tel Aviv, under the artistic direction of Bosmat Nossan, Saar Harari, and Ohad Naharin.

Kasia Kiziors class is based on Gaga. Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and the artistic director of Batsheva Dance Company. Gaga originated from Naharin’s need to communicate with his dancers and his curiosity in the ongoing research of movement.

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, and rather than turning from one prompt to another, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Inside this shared research, the improvisational nature of the exploration enables each participant’s deeply personal connection with Gaga.

Gaga provides a framework for discovering and strengthening the body and adding
flexibility, stamina, agility, and skills including coordination and efficiency while
stimulating the senses and imagination. The classes offer a workout that investigates form, speed, and effort while traversing additional spectrums such as those between soft and thick textures, delicacy and explosive power, and understatement and exaggeration.
Participants awaken numb areas, increase their awareness of habits, and improve their
efficiency of movement inside multilayered tasks, and they are encouraged to connect to
pleasure inside moments of effort. The language of Gaga is in a continual process of
evolution, and the classes vary and develop accordingly.

Gaga has two tracks: Gaga/people and Gaga/dancers.

Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of
available movement options, enhances their ability to modulate their energy and engage
their explosive power, and enriches their movement quality with a wide range of textures. The classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar skills with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well, unlocking the endlessness of possibilities. Dancers are guided to connect their effort to pleasure and to discover the virtue of silliness. Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

Kasia Kizior was born in Poland. In her early years, she studied ballet and folk dance at the National Ballet School/Lodz. Her interest in social aspects of dance and performance led her to the University of Humanities Science/Lodz where she obtained a B.A. degree in Political Science. Since 2007, she has been working with Zawirowania Dance Theatre, the Polish National Opera in Warsaw and the Opera House in Frankfurt am Main. In 2015 Kasia obtained a master’s degree in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts (HfMDK). Currently she works as a dance educator, choreographer and freelance dancer. Recent work includes choreography for TV productions and films. Kasia became a certified Gaga Teacher in 2019 in Tel Aviv, under the artistic direction of Bosmat Nossan, Saar Harari, and Ohad Naharin.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.

This class is informed by different practices such as Tai-Chi, floor work, and releasing techniques. With a deep focus on spine mobilization, we work on finding movement ease while playing with a distinct use of movement qualities. We challenge our coordination and spatial orientation. Starting with a gentle but energetic warm-up, the class builds up towards complexity combining explorative and task-oriented exercises as well as movement sequences and combinations. The aim is to embrace a mindful physicality.

Mar Rodríguez is a freelance teacher, dancer and choreographer from Spain. She graduated in Performance and Choreography from the CSDMA, Madrid and she also studied the Master’s degree in Contemporary Dance Education (MA CoDE) established at the Frankfurt University of Music and performance Arts.
As a dancer she worked for Ballet de Teatres, Ava Dance Company, Dani Pannullo Dance Theatre Co, dance company DA MOTUS!, amongst others. She is deeply interested in collaborative choreographic processes and her work has been performed internationally. As a teacher, she is involved in different projects teaching contemporary dance, ballet, composition and improvisation in different institutions from Spain, France, Germany, Italy and Finland.

This class is informed by different practices such as Tai-Chi, floor work, and releasing techniques. With a deep focus on spine mobilization, we work on finding movement ease while playing with a distinct use of movement qualities. We challenge our coordination and spatial orientation. Starting with a gentle but energetic warm-up, the class builds up towards complexity combining explorative and task-oriented exercises as well as movement sequences and combinations. The aim is to embrace a mindful physicality.

Mar Rodríguez is a freelance teacher, dancer and choreographer from Spain. She graduated in Performance and Choreography from the CSDMA, Madrid and she also studied the Master’s degree in Contemporary Dance Education (MA CoDE) established at the Frankfurt University of Music and performance Arts.
As a dancer she worked for Ballet de Teatres, Ava Dance Company, Dani Pannullo Dance Theatre Co, dance company DA MOTUS!, amongst others. She is deeply interested in collaborative choreographic processes and her work has been performed internationally. As a teacher, she is involved in different projects teaching contemporary dance, ballet, composition and improvisation in different institutions from Spain, France, Germany, Italy and Finland.

This class is informed by different practices such as Tai-Chi, floor work, and releasing techniques. With a deep focus on spine mobilization, we work on finding movement ease while playing with a distinct use of movement qualities. We challenge our coordination and spatial orientation. Starting with a gentle but energetic warm-up, the class builds up towards complexity combining explorative and task-oriented exercises as well as movement sequences and combinations. The aim is to embrace a mindful physicality.

Mar Rodríguez is a freelance teacher, dancer and choreographer from Spain. She graduated in Performance and Choreography from the CSDMA, Madrid and she also studied the Master’s degree in Contemporary Dance Education (MA CoDE) established at the Frankfurt University of Music and performance Arts.
As a dancer she worked for Ballet de Teatres, Ava Dance Company, Dani Pannullo Dance Theatre Co, dance company DA MOTUS!, amongst others. She is deeply interested in collaborative choreographic processes and her work has been performed internationally. As a teacher, she is involved in different projects teaching contemporary dance, ballet, composition and improvisation in different institutions from Spain, France, Germany, Italy and Finland.

This class is informed by different practices such as Tai-Chi, floor work, and releasing techniques. With a deep focus on spine mobilization, we work on finding movement ease while playing with a distinct use of movement qualities. We challenge our coordination and spatial orientation. Starting with a gentle but energetic warm-up, the class builds up towards complexity combining explorative and task-oriented exercises as well as movement sequences and combinations. The aim is to embrace a mindful physicality.

Mar Rodríguez is a freelance teacher, dancer and choreographer from Spain. She graduated in Performance and Choreography from the CSDMA, Madrid and she also studied the Master’s degree in Contemporary Dance Education (MA CoDE) established at the Frankfurt University of Music and performance Arts.
As a dancer she worked for Ballet de Teatres, Ava Dance Company, Dani Pannullo Dance Theatre Co, dance company DA MOTUS!, amongst others. She is deeply interested in collaborative choreographic processes and her work has been performed internationally. As a teacher, she is involved in different projects teaching contemporary dance, ballet, composition and improvisation in different institutions from Spain, France, Germany, Italy and Finland.

This class is informed by different practices such as Tai-Chi, floor work, and releasing techniques. With a deep focus on spine mobilization, we work on finding movement ease while playing with a distinct use of movement qualities. We challenge our coordination and spatial orientation. Starting with a gentle but energetic warm-up, the class builds up towards complexity combining explorative and task-oriented exercises as well as movement sequences and combinations. The aim is to embrace a mindful physicality.

Mar Rodríguez is a freelance teacher, dancer and choreographer from Spain. She graduated in Performance and Choreography from the CSDMA, Madrid and she also studied the Master’s degree in Contemporary Dance Education (MA CoDE) established at the Frankfurt University of Music and performance Arts.
As a dancer she worked for Ballet de Teatres, Ava Dance Company, Dani Pannullo Dance Theatre Co, dance company DA MOTUS!, amongst others. She is deeply interested in collaborative choreographic processes and her work has been performed internationally. As a teacher, she is involved in different projects teaching contemporary dance, ballet, composition and improvisation in different institutions from Spain, France, Germany, Italy and Finland.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.

This Tanzklub addresses young people, who are excited about experiencing new forms of movements. Everyone between the ages 13 and 18 is welcome!

Together with choreographer and performer Joana Tischkau, a collection of music videos and internet clips will be copied and imitated as a creative recycling process develops.

As special bonus, all members of the Mousonturm Tanzklubs get a special discount on individual performances.

This Tanzklub addresses young people, who are excited about experiencing new forms of movements. Everyone between the ages 13 and 18 is welcome!

Together with choreographer and performer Joana Tischkau, a collection of music videos and internet clips will be copied and imitated as a creative recycling process develops.

As special bonus, all members of the Mousonturm Tanzklubs get a special discount on individual performances.

This class is inspired by the human capacity to jump, to lift off, to propel and to land. How does this sensation live as an energetic dynamic in the body? We begin with a gentle warm-up inspired by somatic and release techniques where breath serves as a fundamental support and movement ease is encouraged through body alignment. The class progresses in space emphasizing a sense of weight, rebound, momentum and spatial dynamics inspired through the act of jumping. Phrase material is then layered together to create a frame to explore these elements. The aim is to ignite a sense of vitality in the body that is continuous and alive.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad. For the past two years she tours her latest collaborative work LIEGEN 0 with performer Philipe Rives in street performance festivals around Europe. Currently Ilana is studying for her Master’s Degree in contemporary dance education at the Hochschule für Musik und Darstellende und Kunst in Frankfurt am Main and is an awarded scholar of the Studienstiftung des deutschen Volkes.
Ilana Reynolds wichtigste Einflüsse als Tänzerin, Performerin und unterrichtende Künstlerin sind der afro-brasilianische Tanz/Capeoira, Release-Technik, somatischen Praxen und Tanzimprovisation. Sie begann ihr Bachelor-Studium im Fach Tanz an der University of Massachusetts-Amherst (USA) und beendete es an der Escola da Fundaçao de Danca in Salvador (Brasilien). Zwischen 2004 und 2012 tanzte Ilana beim brasilianischen Choreografen Augusto Soledade in Miami (USA). Anschließend begleitete sie die Kompanie auf nationalen und internationalen Reisen und arbeitete während dieser Zeit als Tänzerin, Probeleiterin und Repertoire-Lehrerin, wobei sie ebenfalls intensiv mit Kindern arbeitete. 2008 erhielt Ilana zwei Kunststipendien des Staates Florida, um mit der Choreografin Christine Brunel in Essen zusammenarbeiten zu können. Ausgehend von der Inspiration, die mit diesem Austausch für sie verbunden war, entschloss sich Ilana 2012 nach Deutschland zu ziehen. Innerhalb eines Jahres begründete sie die Lake Studios Berlin mit, ein von Künstler*innen geschaffener Probe-, Performance- und Produktionsort, an welchem sie ihre Arbeiten und die Arbeit anderer Künstler*innen produzieren und kuratieren konnte. Daneben arbeitet sie weiterhin als Lehrerin für zeitgenössischen Tanz und unterrichtet sowohl Studierende und professionelle Tanzschaffende in Deutschland und im Ausland. In den vergangenen zwei Jahren tourte sie mit ihrer Arbeit –LIEGEN 0-, welche in Kollaboration mit dem Performer Philipe Rives entstand, zu europäischen Streetart-Festivals. Aktuell absolviert Ilana ihren Master in Contemporary Dance Education an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main und erhält ein Stipendium der Studienstiftung des deutschen Volkes.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad.

This class is inspired by the human capacity to jump, to lift off, to propel and to land. How does this sensation live as an energetic dynamic in the body? We begin with a gentle warm-up inspired by somatic and release techniques where breath serves as a fundamental support and movement ease is encouraged through body alignment. The class progresses in space emphasizing a sense of weight, rebound, momentum and spatial dynamics inspired through the act of jumping. Phrase material is then layered together to create a frame to explore these elements. The aim is to ignite a sense of vitality in the body that is continuous and alive.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad. For the past two years she tours her latest collaborative work LIEGEN 0 with performer Philipe Rives in street performance festivals around Europe. Currently Ilana is studying for her Master’s Degree in contemporary dance education at the Hochschule für Musik und Darstellende und Kunst in Frankfurt am Main and is an awarded scholar of the Studienstiftung des deutschen Volkes.
Ilana Reynolds wichtigste Einflüsse als Tänzerin, Performerin und unterrichtende Künstlerin sind der afro-brasilianische Tanz/Capeoira, Release-Technik, somatischen Praxen und Tanzimprovisation. Sie begann ihr Bachelor-Studium im Fach Tanz an der University of Massachusetts-Amherst (USA) und beendete es an der Escola da Fundaçao de Danca in Salvador (Brasilien). Zwischen 2004 und 2012 tanzte Ilana beim brasilianischen Choreografen Augusto Soledade in Miami (USA). Anschließend begleitete sie die Kompanie auf nationalen und internationalen Reisen und arbeitete während dieser Zeit als Tänzerin, Probeleiterin und Repertoire-Lehrerin, wobei sie ebenfalls intensiv mit Kindern arbeitete. 2008 erhielt Ilana zwei Kunststipendien des Staates Florida, um mit der Choreografin Christine Brunel in Essen zusammenarbeiten zu können. Ausgehend von der Inspiration, die mit diesem Austausch für sie verbunden war, entschloss sich Ilana 2012 nach Deutschland zu ziehen. Innerhalb eines Jahres begründete sie die Lake Studios Berlin mit, ein von Künstler*innen geschaffener Probe-, Performance- und Produktionsort, an welchem sie ihre Arbeiten und die Arbeit anderer Künstler*innen produzieren und kuratieren konnte. Daneben arbeitet sie weiterhin als Lehrerin für zeitgenössischen Tanz und unterrichtet sowohl Studierende und professionelle Tanzschaffende in Deutschland und im Ausland. In den vergangenen zwei Jahren tourte sie mit ihrer Arbeit –LIEGEN 0-, welche in Kollaboration mit dem Performer Philipe Rives entstand, zu europäischen Streetart-Festivals. Aktuell absolviert Ilana ihren Master in Contemporary Dance Education an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main und erhält ein Stipendium der Studienstiftung des deutschen Volkes.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad.

This class is inspired by the human capacity to jump, to lift off, to propel and to land. How does this sensation live as an energetic dynamic in the body? We begin with a gentle warm-up inspired by somatic and release techniques where breath serves as a fundamental support and movement ease is encouraged through body alignment. The class progresses in space emphasizing a sense of weight, rebound, momentum and spatial dynamics inspired through the act of jumping. Phrase material is then layered together to create a frame to explore these elements. The aim is to ignite a sense of vitality in the body that is continuous and alive.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad. For the past two years she tours her latest collaborative work LIEGEN 0 with performer Philipe Rives in street performance festivals around Europe. Currently Ilana is studying for her Master’s Degree in contemporary dance education at the Hochschule für Musik und Darstellende und Kunst in Frankfurt am Main and is an awarded scholar of the Studienstiftung des deutschen Volkes.
Ilana Reynolds wichtigste Einflüsse als Tänzerin, Performerin und unterrichtende Künstlerin sind der afro-brasilianische Tanz/Capeoira, Release-Technik, somatischen Praxen und Tanzimprovisation. Sie begann ihr Bachelor-Studium im Fach Tanz an der University of Massachusetts-Amherst (USA) und beendete es an der Escola da Fundaçao de Danca in Salvador (Brasilien). Zwischen 2004 und 2012 tanzte Ilana beim brasilianischen Choreografen Augusto Soledade in Miami (USA). Anschließend begleitete sie die Kompanie auf nationalen und internationalen Reisen und arbeitete während dieser Zeit als Tänzerin, Probeleiterin und Repertoire-Lehrerin, wobei sie ebenfalls intensiv mit Kindern arbeitete. 2008 erhielt Ilana zwei Kunststipendien des Staates Florida, um mit der Choreografin Christine Brunel in Essen zusammenarbeiten zu können. Ausgehend von der Inspiration, die mit diesem Austausch für sie verbunden war, entschloss sich Ilana 2012 nach Deutschland zu ziehen. Innerhalb eines Jahres begründete sie die Lake Studios Berlin mit, ein von Künstler*innen geschaffener Probe-, Performance- und Produktionsort, an welchem sie ihre Arbeiten und die Arbeit anderer Künstler*innen produzieren und kuratieren konnte. Daneben arbeitet sie weiterhin als Lehrerin für zeitgenössischen Tanz und unterrichtet sowohl Studierende und professionelle Tanzschaffende in Deutschland und im Ausland. In den vergangenen zwei Jahren tourte sie mit ihrer Arbeit –LIEGEN 0-, welche in Kollaboration mit dem Performer Philipe Rives entstand, zu europäischen Streetart-Festivals. Aktuell absolviert Ilana ihren Master in Contemporary Dance Education an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main und erhält ein Stipendium der Studienstiftung des deutschen Volkes.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad.

This class is inspired by the human capacity to jump, to lift off, to propel and to land. How does this sensation live as an energetic dynamic in the body? We begin with a gentle warm-up inspired by somatic and release techniques where breath serves as a fundamental support and movement ease is encouraged through body alignment. The class progresses in space emphasizing a sense of weight, rebound, momentum and spatial dynamics inspired through the act of jumping. Phrase material is then layered together to create a frame to explore these elements. The aim is to ignite a sense of vitality in the body that is continuous and alive.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad. For the past two years she tours her latest collaborative work LIEGEN 0 with performer Philipe Rives in street performance festivals around Europe. Currently Ilana is studying for her Master’s Degree in contemporary dance education at the Hochschule für Musik und Darstellende und Kunst in Frankfurt am Main and is an awarded scholar of the Studienstiftung des deutschen Volkes.
Ilana Reynolds wichtigste Einflüsse als Tänzerin, Performerin und unterrichtende Künstlerin sind der afro-brasilianische Tanz/Capeoira, Release-Technik, somatischen Praxen und Tanzimprovisation. Sie begann ihr Bachelor-Studium im Fach Tanz an der University of Massachusetts-Amherst (USA) und beendete es an der Escola da Fundaçao de Danca in Salvador (Brasilien). Zwischen 2004 und 2012 tanzte Ilana beim brasilianischen Choreografen Augusto Soledade in Miami (USA). Anschließend begleitete sie die Kompanie auf nationalen und internationalen Reisen und arbeitete während dieser Zeit als Tänzerin, Probeleiterin und Repertoire-Lehrerin, wobei sie ebenfalls intensiv mit Kindern arbeitete. 2008 erhielt Ilana zwei Kunststipendien des Staates Florida, um mit der Choreografin Christine Brunel in Essen zusammenarbeiten zu können. Ausgehend von der Inspiration, die mit diesem Austausch für sie verbunden war, entschloss sich Ilana 2012 nach Deutschland zu ziehen. Innerhalb eines Jahres begründete sie die Lake Studios Berlin mit, ein von Künstler*innen geschaffener Probe-, Performance- und Produktionsort, an welchem sie ihre Arbeiten und die Arbeit anderer Künstler*innen produzieren und kuratieren konnte. Daneben arbeitet sie weiterhin als Lehrerin für zeitgenössischen Tanz und unterrichtet sowohl Studierende und professionelle Tanzschaffende in Deutschland und im Ausland. In den vergangenen zwei Jahren tourte sie mit ihrer Arbeit –LIEGEN 0-, welche in Kollaboration mit dem Performer Philipe Rives entstand, zu europäischen Streetart-Festivals. Aktuell absolviert Ilana ihren Master in Contemporary Dance Education an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main und erhält ein Stipendium der Studienstiftung des deutschen Volkes.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad.

This class is inspired by the human capacity to jump, to lift off, to propel and to land. How does this sensation live as an energetic dynamic in the body? We begin with a gentle warm-up inspired by somatic and release techniques where breath serves as a fundamental support and movement ease is encouraged through body alignment. The class progresses in space emphasizing a sense of weight, rebound, momentum and spatial dynamics inspired through the act of jumping. Phrase material is then layered together to create a frame to explore these elements. The aim is to ignite a sense of vitality in the body that is continuous and alive.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad. For the past two years she tours her latest collaborative work LIEGEN 0 with performer Philipe Rives in street performance festivals around Europe. Currently Ilana is studying for her Master’s Degree in contemporary dance education at the Hochschule für Musik und Darstellende und Kunst in Frankfurt am Main and is an awarded scholar of the Studienstiftung des deutschen Volkes.
Ilana Reynolds wichtigste Einflüsse als Tänzerin, Performerin und unterrichtende Künstlerin sind der afro-brasilianische Tanz/Capeoira, Release-Technik, somatischen Praxen und Tanzimprovisation. Sie begann ihr Bachelor-Studium im Fach Tanz an der University of Massachusetts-Amherst (USA) und beendete es an der Escola da Fundaçao de Danca in Salvador (Brasilien). Zwischen 2004 und 2012 tanzte Ilana beim brasilianischen Choreografen Augusto Soledade in Miami (USA). Anschließend begleitete sie die Kompanie auf nationalen und internationalen Reisen und arbeitete während dieser Zeit als Tänzerin, Probeleiterin und Repertoire-Lehrerin, wobei sie ebenfalls intensiv mit Kindern arbeitete. 2008 erhielt Ilana zwei Kunststipendien des Staates Florida, um mit der Choreografin Christine Brunel in Essen zusammenarbeiten zu können. Ausgehend von der Inspiration, die mit diesem Austausch für sie verbunden war, entschloss sich Ilana 2012 nach Deutschland zu ziehen. Innerhalb eines Jahres begründete sie die Lake Studios Berlin mit, ein von Künstler*innen geschaffener Probe-, Performance- und Produktionsort, an welchem sie ihre Arbeiten und die Arbeit anderer Künstler*innen produzieren und kuratieren konnte. Daneben arbeitet sie weiterhin als Lehrerin für zeitgenössischen Tanz und unterrichtet sowohl Studierende und professionelle Tanzschaffende in Deutschland und im Ausland. In den vergangenen zwei Jahren tourte sie mit ihrer Arbeit –LIEGEN 0-, welche in Kollaboration mit dem Performer Philipe Rives entstand, zu europäischen Streetart-Festivals. Aktuell absolviert Ilana ihren Master in Contemporary Dance Education an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main und erhält ein Stipendium der Studienstiftung des deutschen Volkes.

As a dancer, performer and teaching artist, Ilana Reynold’s influences are based in Afro-Brazilian dance/Capeoira, release techniques, somatic practices and dance improvisation. She began her BA in dance at the University of Massachusetts-Amherst/USA and finished her studies at Escola da Fundaçao de Dança in Salvador, Brazil. Between 2004 and 2012, Ilana danced professionally with Brazilian choreographer Augusto Soledade in Miami, FL. She toured nationally and internationally with the company as a dancer, rehearsal director, repertory teacher and worked extensively with children. In 2008 Ilana received two artistic scholarships through the State of Florida to work with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange, she moved to Germany in 2012. Within a year, she co-founded Lake Studios Berlin, an artist initiated rehearsal/performance/production space, where she has produced and curated works of her own and others. She continues to teach contemporary dance approaches to students and professionals in Germany and abroad.

Powerful rhythms and virtuoso movements connect the six dancers. “Dua” means in Albanian love or want. In his powerful piece, choreographer Taulant Shehu takes his Albanian roots. The wedding as a summit of solemnity, joy and the promise to stay together forever is in Dua the starting point of a reflection of human coexistence.

Powerful rhythms and virtuoso movements connect the six dancers. “Dua” means in Albanian love or want. In his powerful piece, choreographer Taulant Shehu takes his Albanian roots. The wedding as a summit of solemnity, joy and the promise to stay together forever is in Dua the starting point of a reflection of human coexistence.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.

Powerful rhythms and virtuoso movements connect the six dancers. “Dua” means in Albanian love or want. In his powerful piece, choreographer Taulant Shehu takes his Albanian roots. The wedding as a summit of solemnity, joy and the promise to stay together forever is in Dua the starting point of a reflection of human coexistence.

Powerful rhythms and virtuoso movements connect the six dancers. “Dua” means in Albanian love or want. In his powerful piece, choreographer Taulant Shehu takes his Albanian roots. The wedding as a summit of solemnity, joy and the promise to stay together forever is in Dua the starting point of a reflection of human coexistence.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.