The class begins with a simple warm-up focusing on the breathing, internal structure, weight and the body’s articulations. Directed exercises give the opportunity to each of the students to observe and experience their own particularity and range of mobility. As the class progresses we look to integrate the parts of the body and the use of the floor. Towards the end of the class a phrase will be provided to be used for individual explorations: to manipulate it, to follow it, to watch it, to re-interpret or to copy it. This class is the result of personal investigations and is influenced by many years of study of somatic technics and work with Jerem Nelson, Klein-Mahler Technique, Alexander Technique™, BodyMind-Centering® and the Feldenkrais Method.

Luis Lara Malvacías is a Venezuelan choreographer, dancer, dance teacher and multidisciplinary artist. He has danced in the work of Jeremy Nelson (1994 – 2004), David Zambrano, Mark Tompkins, John Jasperse, Yoshiko Chuma, and in his own choreography. He has presented his work in New York since 1994, including DTW, PS122, Danspace Project, the Kitchen and Joyce SoHo among others. In the United States he has taught, created and presented work in several colleges and institutions. Internationally, he regularly teaches and present work in many countries in Europe, South America, North America and Asia. He was a 1998/1999 and 2002/2003 Movement Research Artist-in-Residence and a 2006 Dance New Amsterdam Artist in Residence. He is the recipient of a 2006 NYFA Fellowship for choreography.

The class begins with a simple warm-up focusing on the breathing, internal structure, weight and the body’s articulations. Directed exercises give the opportunity to each of the students to observe and experience their own particularity and range of mobility. As the class progresses we look to integrate the parts of the body and the use of the floor. Towards the end of the class a phrase will be provided to be used for individual explorations: to manipulate it, to follow it, to watch it, to re-interpret or to copy it. This class is the result of personal investigations and is influenced by many years of study of somatic technics and work with Jerem Nelson, Klein-Mahler Technique, Alexander Technique™, BodyMind-Centering® and the Feldenkrais Method.

Luis Lara Malvacías is a Venezuelan choreographer, dancer, dance teacher and multidisciplinary artist. He has danced in the work of Jeremy Nelson (1994 – 2004), David Zambrano, Mark Tompkins, John Jasperse, Yoshiko Chuma, and in his own choreography. He has presented his work in New York since 1994, including DTW, PS122, Danspace Project, the Kitchen and Joyce SoHo among others. In the United States he has taught, created and presented work in several colleges and institutions. Internationally, he regularly teaches and present work in many countries in Europe, South America, North America and Asia. He was a 1998/1999 and 2002/2003 Movement Research Artist-in-Residence and a 2006 Dance New Amsterdam Artist in Residence. He is the recipient of a 2006 NYFA Fellowship for choreography.

The class begins with a simple warm-up focusing on the breathing, internal structure, weight and the body’s articulations. Directed exercises give the opportunity to each of the students to observe and experience their own particularity and range of mobility. As the class progresses we look to integrate the parts of the body and the use of the floor. Towards the end of the class a phrase will be provided to be used for individual explorations: to manipulate it, to follow it, to watch it, to re-interpret or to copy it. This class is the result of personal investigations and is influenced by many years of study of somatic technics and work with Jerem Nelson, Klein-Mahler Technique, Alexander Technique™, BodyMind-Centering® and the Feldenkrais Method.

Luis Lara Malvacías is a Venezuelan choreographer, dancer, dance teacher and multidisciplinary artist. He has danced in the work of Jeremy Nelson (1994 – 2004), David Zambrano, Mark Tompkins, John Jasperse, Yoshiko Chuma, and in his own choreography. He has presented his work in New York since 1994, including DTW, PS122, Danspace Project, the Kitchen and Joyce SoHo among others. In the United States he has taught, created and presented work in several colleges and institutions. Internationally, he regularly teaches and present work in many countries in Europe, South America, North America and Asia. He was a 1998/1999 and 2002/2003 Movement Research Artist-in-Residence and a 2006 Dance New Amsterdam Artist in Residence. He is the recipient of a 2006 NYFA Fellowship for choreography.

The class begins with a simple warm-up focusing on the breathing, internal structure, weight and the body’s articulations. Directed exercises give the opportunity to each of the students to observe and experience their own particularity and range of mobility. As the class progresses we look to integrate the parts of the body and the use of the floor. Towards the end of the class a phrase will be provided to be used for individual explorations: to manipulate it, to follow it, to watch it, to re-interpret or to copy it. This class is the result of personal investigations and is influenced by many years of study of somatic technics and work with Jerem Nelson, Klein-Mahler Technique, Alexander Technique™, BodyMind-Centering® and the Feldenkrais Method.

Luis Lara Malvacías is a Venezuelan choreographer, dancer, dance teacher and multidisciplinary artist. He has danced in the work of Jeremy Nelson (1994 – 2004), David Zambrano, Mark Tompkins, John Jasperse, Yoshiko Chuma, and in his own choreography. He has presented his work in New York since 1994, including DTW, PS122, Danspace Project, the Kitchen and Joyce SoHo among others. In the United States he has taught, created and presented work in several colleges and institutions. Internationally, he regularly teaches and present work in many countries in Europe, South America, North America and Asia. He was a 1998/1999 and 2002/2003 Movement Research Artist-in-Residence and a 2006 Dance New Amsterdam Artist in Residence. He is the recipient of a 2006 NYFA Fellowship for choreography.

PRAKTisch is a platform initiated by the Frankfurt dancer and choreographer Anja Sauer, which allows professional dancers from the region to meet regularly, try out and exchange ideas. At the centre of this very special regular’s table is joint physical experimentation and research – independent from consistent artistic concepts and cultural institutions. A space for meetings, in which participants can exchange practical exercises, drafts, suggestions, or working methods.

The class begins with a simple warm-up focusing on the breathing, internal structure, weight and the body’s articulations. Directed exercises give the opportunity to each of the students to observe and experience their own particularity and range of mobility. As the class progresses we look to integrate the parts of the body and the use of the floor. Towards the end of the class a phrase will be provided to be used for individual explorations: to manipulate it, to follow it, to watch it, to re-interpret or to copy it. This class is the result of personal investigations and is influenced by many years of study of somatic technics and work with Jerem Nelson, Klein-Mahler Technique, Alexander Technique™, BodyMind-Centering® and the Feldenkrais Method.

Luis Lara Malvacías is a Venezuelan choreographer, dancer, dance teacher and multidisciplinary artist. He has danced in the work of Jeremy Nelson (1994 – 2004), David Zambrano, Mark Tompkins, John Jasperse, Yoshiko Chuma, and in his own choreography. He has presented his work in New York since 1994, including DTW, PS122, Danspace Project, the Kitchen and Joyce SoHo among others. In the United States he has taught, created and presented work in several colleges and institutions. Internationally, he regularly teaches and present work in many countries in Europe, South America, North America and Asia. He was a 1998/1999 and 2002/2003 Movement Research Artist-in-Residence and a 2006 Dance New Amsterdam Artist in Residence. He is the recipient of a 2006 NYFA Fellowship for choreography.

• Der Besuch eines Einführungsworkshops ist Voraussetzung für die Teilnahme an der Weiterbildung KitaTanz.

KitaTanz ist eine berufsbegleitende Weiterbildung in der Tanzvermittlung für pädagogische Fachkräfte entsprechend den Richtlinien des Hessischen Bildungs- und Erziehungsplans im Bereich 0 bis 10 Jahre. Die Weiterbildung KitaTanz ist ein Projekt der Crespo Foundation und der Tanzplattform Rhein-Main und wurde auf einer künstlerisch-pädagogischen Basis konzipiert und entwickelt.

In der Weiterbildung wird praktisch und theoretisch mit der frühkindlichen Bewegungsentwicklung nach Body-Mind Centering® (BMC) und der Laban/Bartenieff Bewegungsstudien (LBBS) gearbeitet. Es werden grundlegende Prinzipien und Techniken der Bewegungsarbeit und Tanzimprovisation vermittelt. Durch:

• eine kontinuierliche Verbindung von Theorie und Praxis
• die Verknüpfung von künstlerischen und pädagogischen Prinzipien zu Bewegung
• die Selbsterfahrung mit Bewegungsentwicklung
• sowie sensomotorische Körperarbeit
• multiprofessionelles Team
• Beratung und Prozessbegleitung beim Transfer der Inhalte vor Ort in den Einrichtungen

Ziel
Die Weiterbildung unterstützt Fachkräfte, Methoden der Tanzvermittlung in ihren jeweiligen Institutionen professionell einzuführen und zu etablieren. Den Teilnehmer*innen wird praktisches Handwerkszeug vermittelt, um Bewegungsangebote und Tanzprojekte nach dem derzeitigen Stand der pädagogischen Tanzvermittlung für Kinder und Jugendliche zu gestalten und darin verschiedene Konzepte und Praktiken zu integrieren. Der Zugang zu Bewegung über einen kreativen und künstlerischen Prozess steht im Vordergrund.

An wen richtet sich KitaTanz?
An Erzieher*innen, Lehrkräfte, Pädagog*innen in der Elementarpädagogik, Kindertagesstätten und sozialpädagogische Einrichtungen, die mit Kindern arbeiten und ihre Kompetenzen im Bereich Tanz und Bewegung einsetzen möchten sowie Menschen, die neugierig auf neue Bewegungs- und Körpererfahrung sind.

Eckdaten/Zeitrahmen
Laufzeit August 2019 – Dezember 2020

• 180 UE aufgeteilt in 5 Module
• 14-tägige Trainingseinheiten, mittwochs von 18.00 – 21.00 Uhr, ausgenommen Schulferien
• sowie ein Workshop pro Modul mit hochqualifizierten Gastdozent*innen, samstags 10.00 – 17.30 Uhr
• individuelles Coaching in der Kita/Einrichtung
• Besuch von zeitgenössischen Tanzaufführungen
• Durchführung eines individuellen Projektes in der Kita/Einrichtung
• 2 Tage für Projektpräsentationen zum Abschluss der Weiterbildung
• Abschlussgespräch

Team
Leitung: Nira Priore Nouak | zeitgenössische Tanzpädagogin, Lern- und Entwicklungsbegleiterin
mit Sibylle Magel | Tanz- und Theaterpädagogin, Certified DanceAbility Teacher

Kosten
2.150,00 € pro Teilnehmer*in | zahlbar in 3 Raten je 716 €
Einführungsworkshops: Freitag 29.3. und Freitag 10.5.| Kosten je 25,00 €

• Anmeldung bis 15.6.2019

Kontakt
Nira Priore Nouak | nira.priore@nouak.de, Tel.: 0160 6281473
Cora Stein | cora.stein@crespo-foundation.de, Tel.: 069 271079514

After a proper warm-up, the class challenges the dancers technically. Starting slow, with a respectful heating of the body and a kinesiologic basis it develops progressively into highly dynamic and structured patterns. Besides placement special attention is given to a proper release of the weight into the floor, alternation of balance and off-balance material, and a constant change of energy. The final part of the lesson includes the learning of a choreographic phrase as a means to develop interpretation skills as well as an individual expressivity of the dancer.

Improvising freely or on set material using theatrical imagery and text, with partners as well as sharing the creative process with the whole group, are some of the tools to explore new choreographic material. As the workshop develops and new movement is created, the focus will shift naturally to composition and possibly to the structuring of small pieces of choreography. The general aim is to stimulate self-confidence in the creative skills of the dancers.

Peter Mika was born in Michalovce, Slovakia, in 1972. He received his education at the University of Music and Dramatic Art in Bratislava. He has danced with Torzo Ballet in Bratislava, with Bruno Genty in Paris, and was a member of S.O.A.P. Dance Theatre Frankfurt for four years. Afterwards he joined the Robert Pool Dance Company in Essen. In 1999 he was a member of Rui Horta stage works in Munich. In 1998, he was awarded the prize of the Rudolf Nureyev Foundation at the 8th International Concours de Dance de Paris. In 2002, he and Olga Cobos – with whom he has been directing the CobosMika Company since 2002 – received the Tanzförderpreis of the City of Munich.

He regularly teaches at Iwanson dance school in Munich where he also restaged a piece (Mozart) by Rui Horta. He cooperates with Bratislava Dance theater as a guest teacher and, together with Olga Cobos, as a guest choreographer. He regularly holds dance workshops at several dance festivals, for example in Toulouse, Prague, Munich, Barcelona, Madrid or London.

For the TV station Arte he and Marcus Beherens made a documentary about the S.O.A.P. Dance Theatre, and a short film of the duo piece Duet. Lately, he worked for Russell Maliphant and performed solo and duet pieces together with Olga Cobos. During the last six years he has been performing in Europe, the USA, Canada and Russia, in theatres like Joyce Theater (New York), The Place (London), Royal Opera (London) or the Théâtre de la Ville (Paris).

What is taken for granted by many professional athletes – medical and therapeutic support throughout their entire active career – should also become available for dancers!
Priv.-Doz. Dr. med. Benita Kuni will offer support and assistance on the following:

• Prevention of Dance Injuries
• Rehabilitation and How to Make a Comeback after a Dance Injury
• Analysis of Dance Technique and Technique Coaching
• Alternative Training Methods for Dancers
• “Dance Medicine Check-Up”
• Guidance and Supervision in the Field of Dance Medicine

Registration:
Online form

After a proper warm-up, the class challenges the dancers technically. Starting slow, with a respectful heating of the body and a kinesiologic basis it develops progressively into highly dynamic and structured patterns. Besides placement special attention is given to a proper release of the weight into the floor, alternation of balance and off-balance material, and a constant change of energy. The final part of the lesson includes the learning of a choreographic phrase as a means to develop interpretation skills as well as an individual expressivity of the dancer.

Improvising freely or on set material using theatrical imagery and text, with partners as well as sharing the creative process with the whole group, are some of the tools to explore new choreographic material. As the workshop develops and new movement is created, the focus will shift naturally to composition and possibly to the structuring of small pieces of choreography. The general aim is to stimulate self-confidence in the creative skills of the dancers.

Peter Mika was born in Michalovce, Slovakia, in 1972. He received his education at the University of Music and Dramatic Art in Bratislava. He has danced with Torzo Ballet in Bratislava, with Bruno Genty in Paris, and was a member of S.O.A.P. Dance Theatre Frankfurt for four years. Afterwards he joined the Robert Pool Dance Company in Essen. In 1999 he was a member of Rui Horta stage works in Munich. In 1998, he was awarded the prize of the Rudolf Nureyev Foundation at the 8th International Concours de Dance de Paris. In 2002, he and Olga Cobos – with whom he has been directing the CobosMika Company since 2002 – received the Tanzförderpreis of the City of Munich.

He regularly teaches at Iwanson dance school in Munich where he also restaged a piece (Mozart) by Rui Horta. He cooperates with Bratislava Dance theater as a guest teacher and, together with Olga Cobos, as a guest choreographer. He regularly holds dance workshops at several dance festivals, for example in Toulouse, Prague, Munich, Barcelona, Madrid or London.

For the TV station Arte he and Marcus Beherens made a documentary about the S.O.A.P. Dance Theatre, and a short film of the duo piece Duet. Lately, he worked for Russell Maliphant and performed solo and duet pieces together with Olga Cobos. During the last six years he has been performing in Europe, the USA, Canada and Russia, in theatres like Joyce Theater (New York), The Place (London), Royal Opera (London) or the Théâtre de la Ville (Paris).

After a proper warm-up, the class challenges the dancers technically. Starting slow, with a respectful heating of the body and a kinesiologic basis it develops progressively into highly dynamic and structured patterns. Besides placement special attention is given to a proper release of the weight into the floor, alternation of balance and off-balance material, and a constant change of energy. The final part of the lesson includes the learning of a choreographic phrase as a means to develop interpretation skills as well as an individual expressivity of the dancer.

Improvising freely or on set material using theatrical imagery and text, with partners as well as sharing the creative process with the whole group, are some of the tools to explore new choreographic material. As the workshop develops and new movement is created, the focus will shift naturally to composition and possibly to the structuring of small pieces of choreography. The general aim is to stimulate self-confidence in the creative skills of the dancers.

Peter Mika was born in Michalovce, Slovakia, in 1972. He received his education at the University of Music and Dramatic Art in Bratislava. He has danced with Torzo Ballet in Bratislava, with Bruno Genty in Paris, and was a member of S.O.A.P. Dance Theatre Frankfurt for four years. Afterwards he joined the Robert Pool Dance Company in Essen. In 1999 he was a member of Rui Horta stage works in Munich. In 1998, he was awarded the prize of the Rudolf Nureyev Foundation at the 8th International Concours de Dance de Paris. In 2002, he and Olga Cobos – with whom he has been directing the CobosMika Company since 2002 – received the Tanzförderpreis of the City of Munich.

He regularly teaches at Iwanson dance school in Munich where he also restaged a piece (Mozart) by Rui Horta. He cooperates with Bratislava Dance theater as a guest teacher and, together with Olga Cobos, as a guest choreographer. He regularly holds dance workshops at several dance festivals, for example in Toulouse, Prague, Munich, Barcelona, Madrid or London.

For the TV station Arte he and Marcus Beherens made a documentary about the S.O.A.P. Dance Theatre, and a short film of the duo piece Duet. Lately, he worked for Russell Maliphant and performed solo and duet pieces together with Olga Cobos. During the last six years he has been performing in Europe, the USA, Canada and Russia, in theatres like Joyce Theater (New York), The Place (London), Royal Opera (London) or the Théâtre de la Ville (Paris).

After a proper warm-up, the class challenges the dancers technically. Starting slow, with a respectful heating of the body and a kinesiologic basis it develops progressively into highly dynamic and structured patterns. Besides placement special attention is given to a proper release of the weight into the floor, alternation of balance and off-balance material, and a constant change of energy. The final part of the lesson includes the learning of a choreographic phrase as a means to develop interpretation skills as well as an individual expressivity of the dancer.

Improvising freely or on set material using theatrical imagery and text, with partners as well as sharing the creative process with the whole group, are some of the tools to explore new choreographic material. As the workshop develops and new movement is created, the focus will shift naturally to composition and possibly to the structuring of small pieces of choreography. The general aim is to stimulate self-confidence in the creative skills of the dancers.

Peter Mika was born in Michalovce, Slovakia, in 1972. He received his education at the University of Music and Dramatic Art in Bratislava. He has danced with Torzo Ballet in Bratislava, with Bruno Genty in Paris, and was a member of S.O.A.P. Dance Theatre Frankfurt for four years. Afterwards he joined the Robert Pool Dance Company in Essen. In 1999 he was a member of Rui Horta stage works in Munich. In 1998, he was awarded the prize of the Rudolf Nureyev Foundation at the 8th International Concours de Dance de Paris. In 2002, he and Olga Cobos – with whom he has been directing the CobosMika Company since 2002 – received the Tanzförderpreis of the City of Munich.

He regularly teaches at Iwanson dance school in Munich where he also restaged a piece (Mozart) by Rui Horta. He cooperates with Bratislava Dance theater as a guest teacher and, together with Olga Cobos, as a guest choreographer. He regularly holds dance workshops at several dance festivals, for example in Toulouse, Prague, Munich, Barcelona, Madrid or London.

For the TV station Arte he and Marcus Beherens made a documentary about the S.O.A.P. Dance Theatre, and a short film of the duo piece Duet. Lately, he worked for Russell Maliphant and performed solo and duet pieces together with Olga Cobos. During the last six years he has been performing in Europe, the USA, Canada and Russia, in theatres like Joyce Theater (New York), The Place (London), Royal Opera (London) or the Théâtre de la Ville (Paris).

After a proper warm-up, the class challenges the dancers technically. Starting slow, with a respectful heating of the body and a kinesiologic basis it develops progressively into highly dynamic and structured patterns. Besides placement special attention is given to a proper release of the weight into the floor, alternation of balance and off-balance material, and a constant change of energy. The final part of the lesson includes the learning of a choreographic phrase as a means to develop interpretation skills as well as an individual expressivity of the dancer.

Improvising freely or on set material using theatrical imagery and text, with partners as well as sharing the creative process with the whole group, are some of the tools to explore new choreographic material. As the workshop develops and new movement is created, the focus will shift naturally to composition and possibly to the structuring of small pieces of choreography. The general aim is to stimulate self-confidence in the creative skills of the dancers.

Peter Mika was born in Michalovce, Slovakia, in 1972. He received his education at the University of Music and Dramatic Art in Bratislava. He has danced with Torzo Ballet in Bratislava, with Bruno Genty in Paris, and was a member of S.O.A.P. Dance Theatre Frankfurt for four years. Afterwards he joined the Robert Pool Dance Company in Essen. In 1999 he was a member of Rui Horta stage works in Munich. In 1998, he was awarded the prize of the Rudolf Nureyev Foundation at the 8th International Concours de Dance de Paris. In 2002, he and Olga Cobos – with whom he has been directing the CobosMika Company since 2002 – received the Tanzförderpreis of the City of Munich.

He regularly teaches at Iwanson dance school in Munich where he also restaged a piece (Mozart) by Rui Horta. He cooperates with Bratislava Dance theater as a guest teacher and, together with Olga Cobos, as a guest choreographer. He regularly holds dance workshops at several dance festivals, for example in Toulouse, Prague, Munich, Barcelona, Madrid or London.

For the TV station Arte he and Marcus Beherens made a documentary about the S.O.A.P. Dance Theatre, and a short film of the duo piece Duet. Lately, he worked for Russell Maliphant and performed solo and duet pieces together with Olga Cobos. During the last six years he has been performing in Europe, the USA, Canada and Russia, in theatres like Joyce Theater (New York), The Place (London), Royal Opera (London) or the Théâtre de la Ville (Paris).

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

PRAKTisch is a platform initiated by the Frankfurt dancer and choreographer Anja Sauer, which allows professional dancers from the region to meet regularly, try out and exchange ideas. At the centre of this very special regular’s table is joint physical experimentation and research – independent from consistent artistic concepts and cultural institutions. A space for meetings, in which participants can exchange practical exercises, drafts, suggestions, or working methods.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

In this contemporary training, emphasis is placed on developing movement quality by activating the participants’ center, softening the body’s joints, and releasing the weight of the body into the floor. Improvisation exercises will be guided with the use of visual imagery to bring attention to specific movement characteristics and encourage the participants’ individual approach to movement. Following a gentle warm-up, the class will increase in complexity involving set movement material. Through integrating partner-work the participants will have the possibility to explore dancing with others. The training will challenge coordination, agility and control. The aim is to provide a focused energetic movement experience.

Jason Jacobs is a dance teacher, maker and performer. He has worked with artists including Hofesh Shechter, Johannes Wieland, Alonzo King and Dwight Rhoden. Together with Ekaterine Giorgadze, he is part of the artistic collaboration MuddyBoots. Jason’s choreographic work has been presented at Hofesh Shechter’s In Good Company 2011, tanzhaus nrw, Mousonturm, International Tanz Festival Ingolstadt, and TanzArt Ost/West. As a teacher, he uses improvisational tools to encourage awareness and cultivate an understanding of movement quality. To further improve his artistic development and refine his ability to communicate movement, Jason joined the Master’s Program Contemporary Dance Education at the Frankfurt University of Music and Performing Arts.

In this contemporary training, emphasis is placed on developing movement quality by activating the participants’ center, softening the body’s joints, and releasing the weight of the body into the floor. Improvisation exercises will be guided with the use of visual imagery to bring attention to specific movement characteristics and encourage the participants’ individual approach to movement. Following a gentle warm-up, the class will increase in complexity involving set movement material. Through integrating partner-work the participants will have the possibility to explore dancing with others. The training will challenge coordination, agility and control. The aim is to provide a focused energetic movement experience.

Jason Jacobs is a dance teacher, maker and performer. He has worked with artists including Hofesh Shechter, Johannes Wieland, Alonzo King and Dwight Rhoden. Together with Ekaterine Giorgadze, he is part of the artistic collaboration MuddyBoots. Jason’s choreographic work has been presented at Hofesh Shechter’s In Good Company 2011, tanzhaus nrw, Mousonturm, International Tanz Festival Ingolstadt, and TanzArt Ost/West. As a teacher, he uses improvisational tools to encourage awareness and cultivate an understanding of movement quality. To further improve his artistic development and refine his ability to communicate movement, Jason joined the Master’s Program Contemporary Dance Education at the Frankfurt University of Music and Performing Arts.

The Choreographic Workshop offers local and regional dance professionals the opportunity to present their work-in-progress or research projects, to give an insight into current issues and their working methods, and to talk about them in a subsequent discussion.

Up to three presentations (15 min max.) will be shown per evening. In the subsequent discussion, the artists and the audience will have the opportunity to discuss questions, make references or give suggestions for further development.

APPLICATION deadline Fri. April 5, 2019 via email to info@tanzplattformrheinmain.de

Find all further information in our OPEN CALL

In this contemporary training, emphasis is placed on developing movement quality by activating the participants’ center, softening the body’s joints, and releasing the weight of the body into the floor. Improvisation exercises will be guided with the use of visual imagery to bring attention to specific movement characteristics and encourage the participants’ individual approach to movement. Following a gentle warm-up, the class will increase in complexity involving set movement material. Through integrating partner-work the participants will have the possibility to explore dancing with others. The training will challenge coordination, agility and control. The aim is to provide a focused energetic movement experience.

Jason Jacobs is a dance teacher, maker and performer. He has worked with artists including Hofesh Shechter, Johannes Wieland, Alonzo King and Dwight Rhoden. Together with Ekaterine Giorgadze, he is part of the artistic collaboration MuddyBoots. Jason’s choreographic work has been presented at Hofesh Shechter’s In Good Company 2011, tanzhaus nrw, Mousonturm, International Tanz Festival Ingolstadt, and TanzArt Ost/West. As a teacher, he uses improvisational tools to encourage awareness and cultivate an understanding of movement quality. To further improve his artistic development and refine his ability to communicate movement, Jason joined the Master’s Program Contemporary Dance Education at the Frankfurt University of Music and Performing Arts.

In this contemporary training, emphasis is placed on developing movement quality by activating the participants’ center, softening the body’s joints, and releasing the weight of the body into the floor. Improvisation exercises will be guided with the use of visual imagery to bring attention to specific movement characteristics and encourage the participants’ individual approach to movement. Following a gentle warm-up, the class will increase in complexity involving set movement material. Through integrating partner-work the participants will have the possibility to explore dancing with others. The training will challenge coordination, agility and control. The aim is to provide a focused energetic movement experience.

Jason Jacobs is a dance teacher, maker and performer. He has worked with artists including Hofesh Shechter, Johannes Wieland, Alonzo King and Dwight Rhoden. Together with Ekaterine Giorgadze, he is part of the artistic collaboration MuddyBoots. Jason’s choreographic work has been presented at Hofesh Shechter’s In Good Company 2011, tanzhaus nrw, Mousonturm, International Tanz Festival Ingolstadt, and TanzArt Ost/West. As a teacher, he uses improvisational tools to encourage awareness and cultivate an understanding of movement quality. To further improve his artistic development and refine his ability to communicate movement, Jason joined the Master’s Program Contemporary Dance Education at the Frankfurt University of Music and Performing Arts.

Analyzing our mind / body channel, we will ride the thin line between losing control and holding control. We will use different improvisational tasks and clear pathways to explore the endless possibilities our bodies can move through. We will push the limits of our physicality while finding comfort, attack and smoothness on the floor, standing, in mid space. We will reimagine how gravity can affect us. Technique will arise from our goal: to push our physical imagination while achieving clarity so our bodies can arrive in the most distorted places, and our minds can master them.

Lavinia Vago is from Italy and currently lives in Seattle. Performed with Sidra Bell Dance New York, Vim Vigor Dance Theater, Loni Landon Projects, Tom Weinberger, Saint Genet, RUBBERBANDance Group, and Kate Wallich/THE YC since 2010. Rehearsal director/choreographic assistant for Loni Landon, Kate Wallich, and Victor Quijada, recently at Staatstheater Mainz. NOESIS X, solo work with sound designer Harald Stojan. She teaches contemporary technique, improvisational investigative workshops, Dance Church™, the RUBBERBAND Method, and Dance for Parkinson’s.

Analyzing our mind / body channel, we will ride the thin line between losing control and holding control. We will use different improvisational tasks and clear pathways to explore the endless possibilities our bodies can move through. We will push the limits of our physicality while finding comfort, attack and smoothness on the floor, standing, in mid space. We will reimagine how gravity can affect us. Technique will arise from our goal: to push our physical imagination while achieving clarity so our bodies can arrive in the most distorted places, and our minds can master them.

Lavinia Vago is from Italy and currently lives in Seattle. Performed with Sidra Bell Dance New York, Vim Vigor Dance Theater, Loni Landon Projects, Tom Weinberger, Saint Genet, RUBBERBANDance Group, and Kate Wallich/THE YC since 2010. Rehearsal director/choreographic assistant for Loni Landon, Kate Wallich, and Victor Quijada, recently at Staatstheater Mainz. NOESIS X, solo work with sound designer Harald Stojan. She teaches contemporary technique, improvisational investigative workshops, Dance Church™, the RUBBERBAND Method, and Dance for Parkinson’s.

Analyzing our mind / body channel, we will ride the thin line between losing control and holding control. We will use different improvisational tasks and clear pathways to explore the endless possibilities our bodies can move through. We will push the limits of our physicality while finding comfort, attack and smoothness on the floor, standing, in mid space. We will reimagine how gravity can affect us. Technique will arise from our goal: to push our physical imagination while achieving clarity so our bodies can arrive in the most distorted places, and our minds can master them.

Lavinia Vago is from Italy and currently lives in Seattle. Performed with Sidra Bell Dance New York, Vim Vigor Dance Theater, Loni Landon Projects, Tom Weinberger, Saint Genet, RUBBERBANDance Group, and Kate Wallich/THE YC since 2010. Rehearsal director/choreographic assistant for Loni Landon, Kate Wallich, and Victor Quijada, recently at Staatstheater Mainz. NOESIS X, solo work with sound designer Harald Stojan. She teaches contemporary technique, improvisational investigative workshops, Dance Church™, the RUBBERBAND Method, and Dance for Parkinson’s.

PRAKTisch is a platform initiated by the Frankfurt dancer and choreographer Anja Sauer, which allows professional dancers from the region to meet regularly, try out and exchange ideas. At the centre of this very special regular’s table is joint physical experimentation and research – independent from consistent artistic concepts and cultural institutions. A space for meetings, in which participants can exchange practical exercises, drafts, suggestions, or working methods.

Analyzing our mind / body channel, we will ride the thin line between losing control and holding control. We will use different improvisational tasks and clear pathways to explore the endless possibilities our bodies can move through. We will push the limits of our physicality while finding comfort, attack and smoothness on the floor, standing, in mid space. We will reimagine how gravity can affect us. Technique will arise from our goal: to push our physical imagination while achieving clarity so our bodies can arrive in the most distorted places, and our minds can master them.

Lavinia Vago is from Italy and currently lives in Seattle. Performed with Sidra Bell Dance New York, Vim Vigor Dance Theater, Loni Landon Projects, Tom Weinberger, Saint Genet, RUBBERBANDance Group, and Kate Wallich/THE YC since 2010. Rehearsal director/choreographic assistant for Loni Landon, Kate Wallich, and Victor Quijada, recently at Staatstheater Mainz. NOESIS X, solo work with sound designer Harald Stojan. She teaches contemporary technique, improvisational investigative workshops, Dance Church™, the RUBBERBAND Method, and Dance for Parkinson’s.

The American choreographer Merce Cunningham has revolutionized dance. He regularly collaborated with artists from other disciplines such as the musicians John Cage and David Tudor or the visual artists Robert Rauschenberg and Bruce Nauman. The works resulting from these collaborations have also left their mark on avant-garde art outside the dance world. On April 16, Merce Cunningham would have turned 100 years old. On the occasion of this anniversary, Frankfurt choreographer Paula Rosolen and the musicians Nicolas Fehr and David Morrow invite one hundred dancers of all ages to an open-air performance.

A production by Paula Rosolen/Haptic Hide and the Tanzplattform Rhein-Main, in cooperation with the Museum Angewandte Kunst

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

Paul’s class is designed to warm, stretch, release and tone the whole body. Not based in any singular contemporary technique, although influenced by yoga, release technique, Kung Fu and floor work. The class focuses on grounding the body’s energy and power in dynamic movement. The exercises aim at articulating the spine as the instigator of movement and at working strongly the core to increase weight transfer ability out into the space. Opening up different sequential movement pathways to find power and grace. Continually working in and out of the floor seamlessly and efficiently. Physically demanding.

Australian born dance-artist Paul White has been living in Germany since 2011. Until 2017, he was employed by Tanztheater Wuppertal Pina Bausch, as the first dancer to join the company after Bausch’s death. His twenty year long career history as a performer and artistic collaborator includes working with companies and directors; Tanztheater Wuppertal Pina Bausch, Lloyd Newson (DV8 Physical Theatre), Tanja Liedtke, Nigel Jamieson and Garry Stewart (Australian Dance Theatre), Narelle Benjamin, Kristina Chan, Martin Del Amo, Danzahoy.
Paul is the Honorary Patron of Tanzrauschen Wuppertal, a dance-on-film society founded in Wuppertal, and is a founding member of the Free Arts Scene Society, Wuppertal Germany. He is the recipient of eight national and international awards for his performance and choreographic work. (Australian Dance Awards, Helpmann Awards, Tänzer des Jahres, UK Critics Circle Award)
In 2019, Paul is looking forward to choregraphic residencies in Limerick, Frankfurt and Chicago for various insitutions, and thrilled to have further presentation opportunities for the piece Cella, co-choreographed with long-term friend Narelle Benjamin.

• Der Besuch eines Einführungsworkshops ist Voraussetzung für die Teilnahme an der Weiterbildung KitaTanz.

KitaTanz ist eine berufsbegleitende Weiterbildung in der Tanzvermittlung für pädagogische Fachkräfte entsprechend den Richtlinien des Hessischen Bildungs- und Erziehungsplans im Bereich 0 bis 10 Jahre. Die Weiterbildung KitaTanz ist ein Projekt der Crespo Foundation und der Tanzplattform Rhein-Main und wurde auf einer künstlerisch-pädagogischen Basis konzipiert und entwickelt.

In der Weiterbildung wird praktisch und theoretisch mit der frühkindlichen Bewegungsentwicklung nach Body-Mind Centering® (BMC) und der Laban/Bartenieff Bewegungsstudien (LBBS) gearbeitet. Es werden grundlegende Prinzipien und Techniken der Bewegungsarbeit und Tanzimprovisation vermittelt. Durch:

• eine kontinuierliche Verbindung von Theorie und Praxis
• die Verknüpfung von künstlerischen und pädagogischen Prinzipien zu Bewegung
• die Selbsterfahrung mit Bewegungsentwicklung
• sowie sensomotorische Körperarbeit
• multiprofessionelles Team
• Beratung und Prozessbegleitung beim Transfer der Inhalte vor Ort in den Einrichtungen

Ziel
Die Weiterbildung unterstützt Fachkräfte, Methoden der Tanzvermittlung in ihren jeweiligen Institutionen professionell einzuführen und zu etablieren. Den Teilnehmer*innen wird praktisches Handwerkszeug vermittelt, um Bewegungsangebote und Tanzprojekte nach dem derzeitigen Stand der pädagogischen Tanzvermittlung für Kinder und Jugendliche zu gestalten und darin verschiedene Konzepte und Praktiken zu integrieren. Der Zugang zu Bewegung über einen kreativen und künstlerischen Prozess steht im Vordergrund.

An wen richtet sich KitaTanz?
An Erzieher*innen, Lehrkräfte, Pädagog*innen in der Elementarpädagogik, Kindertagesstätten und sozialpädagogische Einrichtungen, die mit Kindern arbeiten und ihre Kompetenzen im Bereich Tanz und Bewegung einsetzen möchten sowie Menschen, die neugierig auf neue Bewegungs- und Körpererfahrung sind.

Eckdaten/Zeitrahmen
Laufzeit August 2019 – Dezember 2020

• 180 UE aufgeteilt in 5 Module
• 14-tägige Trainingseinheiten, mittwochs von 18.00 – 21.00 Uhr, ausgenommen Schulferien
• sowie ein Workshop pro Modul mit hochqualifizierten Gastdozent*innen, samstags 10.00 – 17.30 Uhr
• individuelles Coaching in der Kita/Einrichtung
• Besuch von zeitgenössischen Tanzaufführungen
• Durchführung eines individuellen Projektes in der Kita/Einrichtung
• 2 Tage für Projektpräsentationen zum Abschluss der Weiterbildung
• Abschlussgespräch

Team
Leitung: Nira Priore Nouak | zeitgenössische Tanzpädagogin, Lern- und Entwicklungsbegleiterin
mit Sibylle Magel | Tanz- und Theaterpädagogin, Certified DanceAbility Teacher

Kosten
2.150,00 € pro Teilnehmer*in | zahlbar in 3 Raten je 716 €
Einführungsworkshops: Freitag 29.3. und Freitag 10.5.| Kosten je 25,00 €

• Anmeldung bis 15.6.2019

Kontakt
Nira Priore Nouak | nira.priore@nouak.de, Tel.: 0160 6281473
Cora Stein | cora.stein@crespo-foundation.de, Tel.: 069 271079514

This class draws from experiences with release-based and traditional modern dance techniques, from the work with contact as well as Forsythe improvisation methods and yoga. Class will begin with a simple warm-up on the floor or with improv exercises focusing on establishing a feeling for the center and the basic connections of the moving body as well as an efficient use of weight and breath. Class will continue with exercises at increasingly higher intensity and with an emphasis on an ever larger range of motion, clear and efficient transitions and an appropriate use of dynamic changes. The class culminates with a longer movement sequence meant to give room to apply technical discoveries that may have been made throughout the class while at the same time allowing for personal experiences in regards to space, the connection to fellow dancers and/or to the pure pleasure of moving. Falling and failure are highly encouraged.

Ildikó Tóth studied dance in education at Rotterdam Dance Academy in the Netherlands. After graduating, a DAAD scholarship led her to New York City in 2005 where she worked with Bill Young/Colleen Thomas & Company, Susan Marshall & Company as well as Kota Yamazaki among others. Since November 2012 she is a member of the Forsythe Company. She has taught for the department of education at Nederlands Dans Theater among others, and has been assisting Bill Young with staging new work for students at Barnard College in New York City.

This class draws from experiences with release-based and traditional modern dance techniques, from the work with contact as well as Forsythe improvisation methods and yoga. Class will begin with a simple warm-up on the floor or with improv exercises focusing on establishing a feeling for the center and the basic connections of the moving body as well as an efficient use of weight and breath. Class will continue with exercises at increasingly higher intensity and with an emphasis on an ever larger range of motion, clear and efficient transitions and an appropriate use of dynamic changes. The class culminates with a longer movement sequence meant to give room to apply technical discoveries that may have been made throughout the class while at the same time allowing for personal experiences in regards to space, the connection to fellow dancers and/or to the pure pleasure of moving. Falling and failure are highly encouraged.

Ildikó Tóth studied dance in education at Rotterdam Dance Academy in the Netherlands. After graduating, a DAAD scholarship led her to New York City in 2005 where she worked with Bill Young/Colleen Thomas & Company, Susan Marshall & Company as well as Kota Yamazaki among others. Since November 2012 she is a member of the Forsythe Company. She has taught for the department of education at Nederlands Dans Theater among others, and has been assisting Bill Young with staging new work for students at Barnard College in New York City.

This class draws from experiences with release-based and traditional modern dance techniques, from the work with contact as well as Forsythe improvisation methods and yoga. Class will begin with a simple warm-up on the floor or with improv exercises focusing on establishing a feeling for the center and the basic connections of the moving body as well as an efficient use of weight and breath. Class will continue with exercises at increasingly higher intensity and with an emphasis on an ever larger range of motion, clear and efficient transitions and an appropriate use of dynamic changes. The class culminates with a longer movement sequence meant to give room to apply technical discoveries that may have been made throughout the class while at the same time allowing for personal experiences in regards to space, the connection to fellow dancers and/or to the pure pleasure of moving. Falling and failure are highly encouraged.

Ildikó Tóth studied dance in education at Rotterdam Dance Academy in the Netherlands. After graduating, a DAAD scholarship led her to New York City in 2005 where she worked with Bill Young/Colleen Thomas & Company, Susan Marshall & Company as well as Kota Yamazaki among others. Since November 2012 she is a member of the Forsythe Company. She has taught for the department of education at Nederlands Dans Theater among others, and has been assisting Bill Young with staging new work for students at Barnard College in New York City.

This class draws from experiences with release-based and traditional modern dance techniques, from the work with contact as well as Forsythe improvisation methods and yoga. Class will begin with a simple warm-up on the floor or with improv exercises focusing on establishing a feeling for the center and the basic connections of the moving body as well as an efficient use of weight and breath. Class will continue with exercises at increasingly higher intensity and with an emphasis on an ever larger range of motion, clear and efficient transitions and an appropriate use of dynamic changes. The class culminates with a longer movement sequence meant to give room to apply technical discoveries that may have been made throughout the class while at the same time allowing for personal experiences in regards to space, the connection to fellow dancers and/or to the pure pleasure of moving. Falling and failure are highly encouraged.

Ildikó Tóth studied dance in education at Rotterdam Dance Academy in the Netherlands. After graduating, a DAAD scholarship led her to New York City in 2005 where she worked with Bill Young/Colleen Thomas & Company, Susan Marshall & Company as well as Kota Yamazaki among others. Since November 2012 she is a member of the Forsythe Company. She has taught for the department of education at Nederlands Dans Theater among others, and has been assisting Bill Young with staging new work for students at Barnard College in New York City.

This class draws from experiences with release-based and traditional modern dance techniques, from the work with contact as well as Forsythe improvisation methods and yoga. Class will begin with a simple warm-up on the floor or with improv exercises focusing on establishing a feeling for the center and the basic connections of the moving body as well as an efficient use of weight and breath. Class will continue with exercises at increasingly higher intensity and with an emphasis on an ever larger range of motion, clear and efficient transitions and an appropriate use of dynamic changes. The class culminates with a longer movement sequence meant to give room to apply technical discoveries that may have been made throughout the class while at the same time allowing for personal experiences in regards to space, the connection to fellow dancers and/or to the pure pleasure of moving. Falling and failure are highly encouraged.

Ildikó Tóth studied dance in education at Rotterdam Dance Academy in the Netherlands. After graduating, a DAAD scholarship led her to New York City in 2005 where she worked with Bill Young/Colleen Thomas & Company, Susan Marshall & Company as well as Kota Yamazaki among others. Since November 2012 she is a member of the Forsythe Company. She has taught for the department of education at Nederlands Dans Theater among others, and has been assisting Bill Young with staging new work for students at Barnard College in New York City.

ZuKT heißt Zeitgenössischer und Klassischer Tanz, ist Titel und zugleich Programm. ZuKT steht bekanntermaßen für ästhetische Vielfalt und sucht die Verbindung von Tradition und Innovation. ZuKT ist immer für Überraschungen gut und macht Lust auf Tanz.
Seit 2003 präsentiert ZuKT jährlich ansprechende und anspruchsvolle Programme im Mousonturm und lockt tanzbegeisterte Menschen in das Künstlerhaus, die bereit sind, sich immer wieder von der unbändigen Bewegungslust der jungen Tänzer*innen anstecken zu lassen.
Das Spektrum der in [ZuKT right now!] gezeigten Choreographien reicht von neuen Choreographien von Luc Dunberry, Peter Mika und Paul Whyte, der zum ersten Mal eine eigene Choreographie mit BAtanz Studierenden erarbeitet, zu Ausschnitten von _Work within Work von William Forsythe und Stücken von Cameron McMillan und Dieter Heitkamp.

Durch die Arbeit mit vielen verschiedenen Choreograph*innen haben die Studierenden Gelegenheit, die zahlreichen Facetten ihrer künstlerischen Gestaltungsfähigkeit spielerisch auszuloten – dynamisch, präzise, achtsam, bestechend, forsch!

Kartenvorbestellung: +49 (69) 40 58 95-20 | www.mousonturm.de

Eine Veranstaltung mit Studierenden des Studiengangs ZuKT_BAtanz der Hochschule für Musik und Darstellende Kunst Frankfurt am Main mit Unterstützung der Hessischen Theaterakademie

ZuKT heißt Zeitgenössischer und Klassischer Tanz, ist Titel und zugleich Programm. ZuKT steht bekanntermaßen für ästhetische Vielfalt und sucht die Verbindung von Tradition und Innovation. ZuKT ist immer für Überraschungen gut und macht Lust auf Tanz.
Seit 2003 präsentiert ZuKT jährlich ansprechende und anspruchsvolle Programme im Mousonturm und lockt tanzbegeisterte Menschen in das Künstlerhaus, die bereit sind, sich immer wieder von der unbändigen Bewegungslust der jungen Tänzer*innen anstecken zu lassen.
Das Spektrum der in [ZuKT right now!] gezeigten Choreographien reicht von neuen Choreographien von Luc Dunberry, Peter Mika und Paul Whyte, der zum ersten Mal eine eigene Choreographie mit BAtanz Studierenden erarbeitet, zu Ausschnitten von _Work within Work von William Forsythe und Stücken von Cameron McMillan und Dieter Heitkamp.

Durch die Arbeit mit vielen verschiedenen Choreograph*innen haben die Studierenden Gelegenheit, die zahlreichen Facetten ihrer künstlerischen Gestaltungsfähigkeit spielerisch auszuloten – dynamisch, präzise, achtsam, bestechend, forsch!

Kartenvorbestellung: +49 (69) 40 58 95-20 | www.mousonturm.de

Eine Veranstaltung mit Studierenden des Studiengangs ZuKT_BAtanz der Hochschule für Musik und Darstellende Kunst Frankfurt am Main mit Unterstützung der Hessischen Theaterakademie

ZuKT heißt Zeitgenössischer und Klassischer Tanz, ist Titel und zugleich Programm. ZuKT steht bekanntermaßen für ästhetische Vielfalt und sucht die Verbindung von Tradition und Innovation. ZuKT ist immer für Überraschungen gut und macht Lust auf Tanz.
Seit 2003 präsentiert ZuKT jährlich ansprechende und anspruchsvolle Programme im Mousonturm und lockt tanzbegeisterte Menschen in das Künstlerhaus, die bereit sind, sich immer wieder von der unbändigen Bewegungslust der jungen Tänzer*innen anstecken zu lassen.
Das Spektrum der in [ZuKT right now!] gezeigten Choreographien reicht von neuen Choreographien von Luc Dunberry, Peter Mika und Paul Whyte, der zum ersten Mal eine eigene Choreographie mit BAtanz Studierenden erarbeitet, zu Ausschnitten von _Work within Work von William Forsythe und Stücken von Cameron McMillan und Dieter Heitkamp.

Durch die Arbeit mit vielen verschiedenen Choreograph*innen haben die Studierenden Gelegenheit, die zahlreichen Facetten ihrer künstlerischen Gestaltungsfähigkeit spielerisch auszuloten – dynamisch, präzise, achtsam, bestechend, forsch!

Kartenvorbestellung: +49 (69) 40 58 95-20 | www.mousonturm.de

Eine Veranstaltung mit Studierenden des Studiengangs ZuKT_BAtanz der Hochschule für Musik und Darstellende Kunst Frankfurt am Main mit Unterstützung der Hessischen Theaterakademie

A good old fashion warm up.
This training will consist of the synergy of various physical and cognitive practices focusing on the coordination and understanding of movement flow, exploring body alignment, spatial visualization and the relationship between sensing and decision making.

Fabrice Mazliah
After his studies in Geneva, Athens and Lausanne Fabrice Mazliah was part of the Nederlands Dans Theater and the Ballett Frankfurt. He his currently a member of the Forsythe Company. In parrallel and within the Forsythe structure Fabrice produces several works and collaborations, pieces like “remote versions” and “Double B(l)ind” with the chekroun/mazliah/san martin collectif, the duet “P.A.D”. with Ioannis Mandafounis or “HUE” with and for the Forsythe Company. Since 2009 together with Mandafounis and Zarhy they forms the collaborative trio MAMAZA and create together the works “ZERO” 2009, “Cover Up” 2011, ‘asingeline” 2011, “Context without content” 2012, “The Nikel project songs&poems” 2012, “Z.E.R.O” revisited 2013, “Eifo Efi” 2013. Those works have been shown and co produced by numerous venues and Festivals internationally like the Kunstenfestivaldesarts, Künstlerhaus Mousonturm, The Forsythe Company, Les RCI Paris, PACT Zollverein, Kampnagel. MAMAZA is resident company in deSingel Antwerp in 2011 and in Mousonturm since 2012. Fabrice teaches seminars and workshops based on research and improvisation for amateurs and professionals (The Fine arts school in Geneva, master students CuP Giessen, P.A.R.T.S Brussels etc..).

A good old fashion warm up.
This training will consist of the synergy of various physical and cognitive practices focusing on the coordination and understanding of movement flow, exploring body alignment, spatial visualization and the relationship between sensing and decision making.

Fabrice Mazliah
After his studies in Geneva, Athens and Lausanne Fabrice Mazliah was part of the Nederlands Dans Theater and the Ballett Frankfurt. He his currently a member of the Forsythe Company. In parrallel and within the Forsythe structure Fabrice produces several works and collaborations, pieces like “remote versions” and “Double B(l)ind” with the chekroun/mazliah/san martin collectif, the duet “P.A.D”. with Ioannis Mandafounis or “HUE” with and for the Forsythe Company. Since 2009 together with Mandafounis and Zarhy they forms the collaborative trio MAMAZA and create together the works “ZERO” 2009, “Cover Up” 2011, ‘asingeline” 2011, “Context without content” 2012, “The Nikel project songs&poems” 2012, “Z.E.R.O” revisited 2013, “Eifo Efi” 2013. Those works have been shown and co produced by numerous venues and Festivals internationally like the Kunstenfestivaldesarts, Künstlerhaus Mousonturm, The Forsythe Company, Les RCI Paris, PACT Zollverein, Kampnagel. MAMAZA is resident company in deSingel Antwerp in 2011 and in Mousonturm since 2012. Fabrice teaches seminars and workshops based on research and improvisation for amateurs and professionals (The Fine arts school in Geneva, master students CuP Giessen, P.A.R.T.S Brussels etc..).

A good old fashion warm up.
This training will consist of the synergy of various physical and cognitive practices focusing on the coordination and understanding of movement flow, exploring body alignment, spatial visualization and the relationship between sensing and decision making.

Fabrice Mazliah
After his studies in Geneva, Athens and Lausanne Fabrice Mazliah was part of the Nederlands Dans Theater and the Ballett Frankfurt. He his currently a member of the Forsythe Company. In parrallel and within the Forsythe structure Fabrice produces several works and collaborations, pieces like “remote versions” and “Double B(l)ind” with the chekroun/mazliah/san martin collectif, the duet “P.A.D”. with Ioannis Mandafounis or “HUE” with and for the Forsythe Company. Since 2009 together with Mandafounis and Zarhy they forms the collaborative trio MAMAZA and create together the works “ZERO” 2009, “Cover Up” 2011, ‘asingeline” 2011, “Context without content” 2012, “The Nikel project songs&poems” 2012, “Z.E.R.O” revisited 2013, “Eifo Efi” 2013. Those works have been shown and co produced by numerous venues and Festivals internationally like the Kunstenfestivaldesarts, Künstlerhaus Mousonturm, The Forsythe Company, Les RCI Paris, PACT Zollverein, Kampnagel. MAMAZA is resident company in deSingel Antwerp in 2011 and in Mousonturm since 2012. Fabrice teaches seminars and workshops based on research and improvisation for amateurs and professionals (The Fine arts school in Geneva, master students CuP Giessen, P.A.R.T.S Brussels etc..).

A good old fashion warm up.
This training will consist of the synergy of various physical and cognitive practices focusing on the coordination and understanding of movement flow, exploring body alignment, spatial visualization and the relationship between sensing and decision making.

Fabrice Mazliah
After his studies in Geneva, Athens and Lausanne Fabrice Mazliah was part of the Nederlands Dans Theater and the Ballett Frankfurt. He his currently a member of the Forsythe Company. In parrallel and within the Forsythe structure Fabrice produces several works and collaborations, pieces like “remote versions” and “Double B(l)ind” with the chekroun/mazliah/san martin collectif, the duet “P.A.D”. with Ioannis Mandafounis or “HUE” with and for the Forsythe Company. Since 2009 together with Mandafounis and Zarhy they forms the collaborative trio MAMAZA and create together the works “ZERO” 2009, “Cover Up” 2011, ‘asingeline” 2011, “Context without content” 2012, “The Nikel project songs&poems” 2012, “Z.E.R.O” revisited 2013, “Eifo Efi” 2013. Those works have been shown and co produced by numerous venues and Festivals internationally like the Kunstenfestivaldesarts, Künstlerhaus Mousonturm, The Forsythe Company, Les RCI Paris, PACT Zollverein, Kampnagel. MAMAZA is resident company in deSingel Antwerp in 2011 and in Mousonturm since 2012. Fabrice teaches seminars and workshops based on research and improvisation for amateurs and professionals (The Fine arts school in Geneva, master students CuP Giessen, P.A.R.T.S Brussels etc..).

A good old fashion warm up.
This training will consist of the synergy of various physical and cognitive practices focusing on the coordination and understanding of movement flow, exploring body alignment, spatial visualization and the relationship between sensing and decision making.

Fabrice Mazliah
After his studies in Geneva, Athens and Lausanne Fabrice Mazliah was part of the Nederlands Dans Theater and the Ballett Frankfurt. He his currently a member of the Forsythe Company. In parrallel and within the Forsythe structure Fabrice produces several works and collaborations, pieces like “remote versions” and “Double B(l)ind” with the chekroun/mazliah/san martin collectif, the duet “P.A.D”. with Ioannis Mandafounis or “HUE” with and for the Forsythe Company. Since 2009 together with Mandafounis and Zarhy they forms the collaborative trio MAMAZA and create together the works “ZERO” 2009, “Cover Up” 2011, ‘asingeline” 2011, “Context without content” 2012, “The Nikel project songs&poems” 2012, “Z.E.R.O” revisited 2013, “Eifo Efi” 2013. Those works have been shown and co produced by numerous venues and Festivals internationally like the Kunstenfestivaldesarts, Künstlerhaus Mousonturm, The Forsythe Company, Les RCI Paris, PACT Zollverein, Kampnagel. MAMAZA is resident company in deSingel Antwerp in 2011 and in Mousonturm since 2012. Fabrice teaches seminars and workshops based on research and improvisation for amateurs and professionals (The Fine arts school in Geneva, master students CuP Giessen, P.A.R.T.S Brussels etc..).

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.