Apart from almost always being there – to rest upon, to balance, to push from, to gain speed, the floor is one of our first and lifelong teachers. Inviting us to feel ourselves through the feedback it offers to our structure, we will throughout the week find ways to listen to the proposed invitation and find different relationships to how and when.

Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. For the Emerging Choreographers program of Ballett Frankfurt she created ‘between: a dance installation’ in 1999 and in 2001 a duet called ‘Fusiform’. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season.
Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005 and the “explorationen 07” at PACT Zollverein in October 2007. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Apart from almost always being there – to rest upon, to balance, to push from, to gain speed, the floor is one of our first and lifelong teachers. Inviting us to feel ourselves through the feedback it offers to our structure, we will throughout the week find ways to listen to the proposed invitation and find different relationships to how and when.

Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. For the Emerging Choreographers program of Ballett Frankfurt she created ‘between: a dance installation’ in 1999 and in 2001 a duet called ‘Fusiform’. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season.
Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005 and the “explorationen 07” at PACT Zollverein in October 2007. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Apart from almost always being there – to rest upon, to balance, to push from, to gain speed, the floor is one of our first and lifelong teachers. Inviting us to feel ourselves through the feedback it offers to our structure, we will throughout the week find ways to listen to the proposed invitation and find different relationships to how and when.

Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. For the Emerging Choreographers program of Ballett Frankfurt she created ‘between: a dance installation’ in 1999 and in 2001 a duet called ‘Fusiform’. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season.
Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005 and the “explorationen 07” at PACT Zollverein in October 2007. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

It is a combination of the Indian Classical Kathak Dance, Folk and Contemporary Movement Vocabulary. It has lot of powerful footwork, hand combinations, rhythms and spins.
Class starts with Meditative posture and Asanas (Asana is a specific posture which strengthens Mind and Body). We continue to conditioning the body through Yoga and movement and it includes body toning and Martial arts exercises which are later incorporated into the movement phrase.
Playing with momentum, suspension and dynamic floor routines (which combines speed and centrifugal energy). It also combines floor exploration with antigravity falls, recovery, agile partnering and strength based technique which allows the individual to discover organic body rhythms and floor connections. Participates can expect to learn certain Indian classical Mudras from the dance form of Kathak & Bharatnatyam which can be incorporated in to the final phrase.
Classes will be focused on – Speed, musicality, strength, moving in the space, rhythm, emotions, different movement vocabulary Phrases, movement precision and efficiency. After more than 9 years as a close follower of David Zambrano, I will share a number of phrases which experiments on the flying low principles.

Narendra Patil is the first Indian contemporary dancer who has got scholarship and has studied under David Zambrano as a part of a 30 days intensive workshop of “Flying Low” and “Passing Through” technique in Berlin, Germany, 2014. He was one of the 45 dancers amongst 489 applicants around the world to be selected. Again he got selected for EXIN for 30 days Flying Low and Passing Through intensives which was conducted in Madrid, Spain September 2016.

It is a combination of the Indian Classical Kathak Dance, Folk and Contemporary Movement Vocabulary. It has lot of powerful footwork, hand combinations, rhythms and spins.
Class starts with Meditative posture and Asanas (Asana is a specific posture which strengthens Mind and Body). We continue to conditioning the body through Yoga and movement and it includes body toning and Martial arts exercises which are later incorporated into the movement phrase.
Playing with momentum, suspension and dynamic floor routines (which combines speed and centrifugal energy). It also combines floor exploration with antigravity falls, recovery, agile partnering and strength based technique which allows the individual to discover organic body rhythms and floor connections. Participates can expect to learn certain Indian classical Mudras from the dance form of Kathak & Bharatnatyam which can be incorporated in to the final phrase.
Classes will be focused on – Speed, musicality, strength, moving in the space, rhythm, emotions, different movement vocabulary Phrases, movement precision and efficiency. After more than 9 years as a close follower of David Zambrano, I will share a number of phrases which experiments on the flying low principles.

Narendra Patil is the first Indian contemporary dancer who has got scholarship and has studied under David Zambrano as a part of a 30 days intensive workshop of “Flying Low” and “Passing Through” technique in Berlin, Germany, 2014. He was one of the 45 dancers amongst 489 applicants around the world to be selected. Again he got selected for EXIN for 30 days Flying Low and Passing Through intensives which was conducted in Madrid, Spain September 2016.

It is a combination of the Indian Classical Kathak Dance, Folk and Contemporary Movement Vocabulary. It has lot of powerful footwork, hand combinations, rhythms and spins.
Class starts with Meditative posture and Asanas (Asana is a specific posture which strengthens Mind and Body). We continue to conditioning the body through Yoga and movement and it includes body toning and Martial arts exercises which are later incorporated into the movement phrase.
Playing with momentum, suspension and dynamic floor routines (which combines speed and centrifugal energy). It also combines floor exploration with antigravity falls, recovery, agile partnering and strength based technique which allows the individual to discover organic body rhythms and floor connections. Participates can expect to learn certain Indian classical Mudras from the dance form of Kathak & Bharatnatyam which can be incorporated in to the final phrase.
Classes will be focused on – Speed, musicality, strength, moving in the space, rhythm, emotions, different movement vocabulary Phrases, movement precision and efficiency. After more than 9 years as a close follower of David Zambrano, I will share a number of phrases which experiments on the flying low principles.

Narendra Patil is the first Indian contemporary dancer who has got scholarship and has studied under David Zambrano as a part of a 30 days intensive workshop of “Flying Low” and “Passing Through” technique in Berlin, Germany, 2014. He was one of the 45 dancers amongst 489 applicants around the world to be selected. Again he got selected for EXIN for 30 days Flying Low and Passing Through intensives which was conducted in Madrid, Spain September 2016.

It is a combination of the Indian Classical Kathak Dance, Folk and Contemporary Movement Vocabulary. It has lot of powerful footwork, hand combinations, rhythms and spins.
Class starts with Meditative posture and Asanas (Asana is a specific posture which strengthens Mind and Body). We continue to conditioning the body through Yoga and movement and it includes body toning and Martial arts exercises which are later incorporated into the movement phrase.
Playing with momentum, suspension and dynamic floor routines (which combines speed and centrifugal energy). It also combines floor exploration with antigravity falls, recovery, agile partnering and strength based technique which allows the individual to discover organic body rhythms and floor connections. Participates can expect to learn certain Indian classical Mudras from the dance form of Kathak & Bharatnatyam which can be incorporated in to the final phrase.
Classes will be focused on – Speed, musicality, strength, moving in the space, rhythm, emotions, different movement vocabulary Phrases, movement precision and efficiency. After more than 9 years as a close follower of David Zambrano, I will share a number of phrases which experiments on the flying low principles.

Narendra Patil is the first Indian contemporary dancer who has got scholarship and has studied under David Zambrano as a part of a 30 days intensive workshop of “Flying Low” and “Passing Through” technique in Berlin, Germany, 2014. He was one of the 45 dancers amongst 489 applicants around the world to be selected. Again he got selected for EXIN for 30 days Flying Low and Passing Through intensives which was conducted in Madrid, Spain September 2016.

What about jumping?
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.

What about jumping?
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.

What about jumping?
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.

What about jumping?
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.

What about jumping?
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.

A contemporary approach using the basic movement principles of José Limón, in collaboration with technique and improvisation. Basic to complex exercises and movement exploration tasks will fine tune the senses and wake up the ability to listen and respond to what is happening at the moment. The class will investigate the usage of weight, space, and dynamics, while concentrating on alignment, musicality, focus, breath of the movement. The class will provide an environment for exploring different modes of learning and developing movement material, thus providing the body with an increased physical activity as the class proceeds.

Gregory Livingston was born in Washington, Tacoma & grew up in NYC. He received his BFA from the SUNY Purchase Conservatory of Dance. Upon graduation he went abroad to join the City Contemporary Dance Company in Hong Kong. He then made his way to Europe and Germany, where he’s been ever since performing for Roberto Galvan, Jean Renshaw, Ismael Ivo, Rui Horta, Iris Tenge, Joseph Tmim, and Claire Russ.
Since 2001, Gregory has been dancing, teaching and choreographing nationally and internationally in conjunction with NY Institute of Dance & Education (NYIDE), The Korean National University of Arts (KNUA), Salzburg Experimental Academy of Dance (SEAD), Akram Khan, Tanzplan Frankfurt / Germany, Iwanson School, Codarts-Rotterdam Dance Academy, Balettakademien Stockholm, Folkhögskola Härnösand, Dance Ireland, Opéra de Monte Carlo, Theater Erfurt, Hessisches Staatstheater Wiesbaden, as well as other theaters within Germany. Gregory is a guest artist with the Limon Company since 2011 and a graduate of the MA Contemporary Dance Education program at the Frankfurt University of Music and Performing Arts (HfMDK).

A contemporary approach using the basic movement principles of José Limón, in collaboration with technique and improvisation. Basic to complex exercises and movement exploration tasks will fine tune the senses and wake up the ability to listen and respond to what is happening at the moment. The class will investigate the usage of weight, space, and dynamics, while concentrating on alignment, musicality, focus, breath of the movement. The class will provide an environment for exploring different modes of learning and developing movement material, thus providing the body with an increased physical activity as the class proceeds.

Gregory Livingston was born in Washington, Tacoma & grew up in NYC. He received his BFA from the SUNY Purchase Conservatory of Dance. Upon graduation he went abroad to join the City Contemporary Dance Company in Hong Kong. He then made his way to Europe and Germany, where he’s been ever since performing for Roberto Galvan, Jean Renshaw, Ismael Ivo, Rui Horta, Iris Tenge, Joseph Tmim, and Claire Russ.
Since 2001, Gregory has been dancing, teaching and choreographing nationally and internationally in conjunction with NY Institute of Dance & Education (NYIDE), The Korean National University of Arts (KNUA), Salzburg Experimental Academy of Dance (SEAD), Akram Khan, Tanzplan Frankfurt / Germany, Iwanson School, Codarts-Rotterdam Dance Academy, Balettakademien Stockholm, Folkhögskola Härnösand, Dance Ireland, Opéra de Monte Carlo, Theater Erfurt, Hessisches Staatstheater Wiesbaden, as well as other theaters within Germany. Gregory is a guest artist with the Limon Company since 2011 and a graduate of the MA Contemporary Dance Education program at the Frankfurt University of Music and Performing Arts (HfMDK).

A contemporary approach using the basic movement principles of José Limón, in collaboration with technique and improvisation. Basic to complex exercises and movement exploration tasks will fine tune the senses and wake up the ability to listen and respond to what is happening at the moment. The class will investigate the usage of weight, space, and dynamics, while concentrating on alignment, musicality, focus, breath of the movement. The class will provide an environment for exploring different modes of learning and developing movement material, thus providing the body with an increased physical activity as the class proceeds.

Gregory Livingston was born in Washington, Tacoma & grew up in NYC. He received his BFA from the SUNY Purchase Conservatory of Dance. Upon graduation he went abroad to join the City Contemporary Dance Company in Hong Kong. He then made his way to Europe and Germany, where he’s been ever since performing for Roberto Galvan, Jean Renshaw, Ismael Ivo, Rui Horta, Iris Tenge, Joseph Tmim, and Claire Russ.
Since 2001, Gregory has been dancing, teaching and choreographing nationally and internationally in conjunction with NY Institute of Dance & Education (NYIDE), The Korean National University of Arts (KNUA), Salzburg Experimental Academy of Dance (SEAD), Akram Khan, Tanzplan Frankfurt / Germany, Iwanson School, Codarts-Rotterdam Dance Academy, Balettakademien Stockholm, Folkhögskola Härnösand, Dance Ireland, Opéra de Monte Carlo, Theater Erfurt, Hessisches Staatstheater Wiesbaden, as well as other theaters within Germany. Gregory is a guest artist with the Limon Company since 2011 and a graduate of the MA Contemporary Dance Education program at the Frankfurt University of Music and Performing Arts (HfMDK).

A contemporary approach using the basic movement principles of José Limón, in collaboration with technique and improvisation. Basic to complex exercises and movement exploration tasks will fine tune the senses and wake up the ability to listen and respond to what is happening at the moment. The class will investigate the usage of weight, space, and dynamics, while concentrating on alignment, musicality, focus, breath of the movement. The class will provide an environment for exploring different modes of learning and developing movement material, thus providing the body with an increased physical activity as the class proceeds.

Gregory Livingston was born in Washington, Tacoma & grew up in NYC. He received his BFA from the SUNY Purchase Conservatory of Dance. Upon graduation he went abroad to join the City Contemporary Dance Company in Hong Kong. He then made his way to Europe and Germany, where he’s been ever since performing for Roberto Galvan, Jean Renshaw, Ismael Ivo, Rui Horta, Iris Tenge, Joseph Tmim, and Claire Russ.
Since 2001, Gregory has been dancing, teaching and choreographing nationally and internationally in conjunction with NY Institute of Dance & Education (NYIDE), The Korean National University of Arts (KNUA), Salzburg Experimental Academy of Dance (SEAD), Akram Khan, Tanzplan Frankfurt / Germany, Iwanson School, Codarts-Rotterdam Dance Academy, Balettakademien Stockholm, Folkhögskola Härnösand, Dance Ireland, Opéra de Monte Carlo, Theater Erfurt, Hessisches Staatstheater Wiesbaden, as well as other theaters within Germany. Gregory is a guest artist with the Limon Company since 2011 and a graduate of the MA Contemporary Dance Education program at the Frankfurt University of Music and Performing Arts (HfMDK).

A contemporary approach using the basic movement principles of José Limón, in collaboration with technique and improvisation. Basic to complex exercises and movement exploration tasks will fine tune the senses and wake up the ability to listen and respond to what is happening at the moment. The class will investigate the usage of weight, space, and dynamics, while concentrating on alignment, musicality, focus, breath of the movement. The class will provide an environment for exploring different modes of learning and developing movement material, thus providing the body with an increased physical activity as the class proceeds.

Gregory Livingston was born in Washington, Tacoma & grew up in NYC. He received his BFA from the SUNY Purchase Conservatory of Dance. Upon graduation he went abroad to join the City Contemporary Dance Company in Hong Kong. He then made his way to Europe and Germany, where he’s been ever since performing for Roberto Galvan, Jean Renshaw, Ismael Ivo, Rui Horta, Iris Tenge, Joseph Tmim, and Claire Russ.
Since 2001, Gregory has been dancing, teaching and choreographing nationally and internationally in conjunction with NY Institute of Dance & Education (NYIDE), The Korean National University of Arts (KNUA), Salzburg Experimental Academy of Dance (SEAD), Akram Khan, Tanzplan Frankfurt / Germany, Iwanson School, Codarts-Rotterdam Dance Academy, Balettakademien Stockholm, Folkhögskola Härnösand, Dance Ireland, Opéra de Monte Carlo, Theater Erfurt, Hessisches Staatstheater Wiesbaden, as well as other theaters within Germany. Gregory is a guest artist with the Limon Company since 2011 and a graduate of the MA Contemporary Dance Education program at the Frankfurt University of Music and Performing Arts (HfMDK).

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.

The Kinesthetic Resonance

Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

www.laurahicks.net

Apart from almost always being there – to rest upon, to balance, to push from, to gain speed, the floor is one of our first and lifelong teachers. Inviting us to feel ourselves through the feedback it offers to our structure, we will throughout the week find ways to listen to the proposed invitation and find different relationships to how and when.

Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. For the Emerging Choreographers program of Ballett Frankfurt she created ‘between: a dance installation’ in 1999 and in 2001 a duet called ‘Fusiform’. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season.
Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005 and the “explorationen 07” at PACT Zollverein in October 2007. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

The Kinesthetic Resonance

Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

www.laurahicks.net

The Kinesthetic Resonance

Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

www.laurahicks.net

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

The Kinesthetic Resonance

Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

www.laurahicks.net

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

Ohad Naharin is considered one of the most original and progressive dance creators of our time. In Sadeh21, he let dancers of the company he directs, the Batsheva Dance Company, meet and explore the spaces of interpersonal relationships. He not only received waves of enthusiasm from audiences throughout the world – he also captivated international dance critics. After its world premiere, the piece travelled from Tel Aviv to New York, from Hamburg to Perth in Australia – always danced by 18 dancers of the Batsheva Dance Company. For the premiere at the Staatstheater Darmstadt, the piece will be put on stage by a different company for the first time.

In 21 exciting fields ( הדש , sadeh, Hebrew: field), in 21 sections, Ohad Naharin shows the audience the entire expanse of relationships and meetings, of attraction, rejection and all human sentiments in between – in all possible combinations and constellations. Thus our dancers will enter into this pressure chamber of emotions to open the Hessian State Ballet’s season; here they will meet in a spirit of sensitivity and explosiveness – to then finally submit themselves to the overwhelming flood of danced images.

Length: 75 min.

Choreography: Ohad Naharin
Music selected by: Maxim Waratt
Stage: Ohad Naharin
Lighting: Avi Yona Bueno
Costume: Ariel Cohen
Dance: Hessisches Staatsballett

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

How do we perceive music? What can one do with music? The two-part evening Opus / Näss combines two fundamentally different approaches to music and how dance can work with it. The Greek choreographer Christos Papadopoulos allows music to become an integral element of the performance: the borders between dancers’ bodies and music instruments meld; music and movement are inextricably joined. Thus Opus, a meditation on musical progressions, opens up a completely new perspective on our own automatic behaviour patterns that come into force once the music starts.
Näss, created by the French-Moroccan choreographer Fouad Boussouf, is also energized by music and an all-determining rhythm. Based on traditional movement sequences in Moroccan dance culture and in hip-hop, Boussouf lets traditions and modernity clash in the movements of his seven dancers; thus transporting the audience into the streets of Morocco.

OPUS
Length: 40 min.
Concept, Choreography: Christos Papadopoulos
Musical Arrangements: Johann Sebastian Bach
Music: Staatsorchester Darmstadt
Music Editor: Kornilios Selamsis
Light Design: Miltiadis Athanasiou, Christos Papadopoulos
Costumes: Claire Breiswel
Dance: Georgios Kotsifakis, Ioanna Paraskevopoulou, Maria Bregianni, Amalia Kosma

NÄSS
Length: 40 min.
Choreography: Fouad Boussouf
Assistant Choreographer: Bruno Domingues Torres
Lighting: Françoise Michel
Costumes & Scenography: Camille Vallat
Musical Arrangements: Roman Bestion
Music: Staatsorchester Darmstadt
Dance: Élias Ardoin, Sami Blond, Mathieu Bord, Maxime Cozic, Loïc Elice, Justin Gouin, Nicolas Grosclaude

Production: Massala Company
Co-production: Théâtre Jean Vilar de Vitry-sur-Seine / Le Prisme – Centre de développement artistique de Saint-Quentin-en-Yvelines / Institut du Monde Arabe – Tourcoing / Fontenay-en-Scènes – Fontenay-sous-Bois / Théâtre des Bergeries – Noisy-le-Sec / FLOW – Centre Eurorégional des Cultures Urbaines – Lille / La Briqueterie – CDCN du Val-de-Marne / ARCADI Ile-de-France / ADAMI / Institut Français de Marrakech
Financial Support: Région Île-de-France / Conseil départemental du Val-de-Marne / Ville de Vitry-sur-Seine
Support: La Briqueterie – CDC du Val-de-Marne / Pôle Culturel d’Alfortville / Centre National de la Danse / FLOW – Centre Eurorégional des Cultures Urbaines – Lille / Cirque Shems’y – Salé (Maroc) / Studios Dyptik – St-Etienne

How do we look at each other? How do we allow ourselves to be seen? How do our bodies shape the ways we perceive the world around us? Can we change how we see others?
The Way You Look (at me) Tonight is a social sculpture – a sensory journey, for two performers and audience. Dancing, singing, telling stories and asking questions, leading UK disabled artist Claire Cunningham and international choreographer and performer Jess Curtis, combine performance, original music, and video to wrestle (sometimes literally) with important questions about our habits and practices of perceiving each other and the world.
In collaboration with noted author and philosopher of perception Alva Noë, video artist Yoann Trellu, composer Matthias Herrmann, and dramaturge Luke Pell, they perform an evening-length duet that excavates their own ways of seeing each other – as a man and a woman of different ages, bodies and backgrounds.

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

In the 1920’s, tea dances were social highlights and informal possibilities to meet new acquaintances. Tea and canapés were served; there was dancing, laughter, mutual appraisals, a testing of the waters, profound talks and more dancing. As part of Tanzfestival Rhein-Main, Hessisches Staatsballett wants to revive this tradition anew. Bringing back memories that dance is not only something nice to look at, but can also be experiences by all, Tanztees will be hosted in both Darmstadt and Wiesbaden for everyone who wishes to enjoy a little dance themselves.

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

In Cuculand Souvenir, the spectacularity of circus and highly virtuous dance merges with visual arts into a large-scale performance. Catalan contemporary dance maker Roberto Olivan bets on the risky nature of an innovative language to explore the impact of technological evolution in our daily life. Seven performers show intertwined stories linked to technology and exploring the fine line between appropriation and addiction that shapes our daily experience of technological progress today.

For this latest creation Olivan cosigns his work with the sound of electroacoustic music sculptor Laurent Delforge and Romain Tardy, one of the most important visual artists of the current digital scene.

Concept, Direction & Choreography: Roberto Olivan
Creation & Performance: Manuel Tiger/Héctor Plaza “Buba”, Delia Ceruti, Luis García “Fruta”, Dunya Narli, Chey Jurado, Akira Yoshida, Tina Afiyan Breiova
Musical design, Creation and Direction: Laurent Delforge
Visual Artist: Romain Tardy
Dramaturgical Advice: Piero Steiner
Technical Direction and Lighting Design: Oriol Ibañez
Costume design: Adriana Parra
Executive Production and Management: Carmina Escardó – DROM

How do we look at each other? How do we allow ourselves to be seen? How do our bodies shape the ways we perceive the world around us? Can we change how we see others?
The Way You Look (at me) Tonight is a social sculpture – a sensory journey, for two performers and audience. Dancing, singing, telling stories and asking questions, leading UK disabled artist Claire Cunningham and international choreographer and performer Jess Curtis, combine performance, original music, and video to wrestle (sometimes literally) with important questions about our habits and practices of perceiving each other and the world.
In collaboration with noted author and philosopher of perception Alva Noë, video artist Yoann Trellu, composer Matthias Herrmann, and dramaturge Luke Pell, they perform an evening-length duet that excavates their own ways of seeing each other – as a man and a woman of different ages, bodies and backgrounds.

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

How do the likes you get online affect your behaviour and body image?
Blurring the lines between dance and lecture, real life and online reality, Likes explores the phenomena of dance covers and yoga tutorials on social networks. Half tutorial instructor and half anthropological researcher, Núria Guiu Sagarra takes us on a physical journey with a pinch of irony.
In Likes the Barcelona-based dancer, performer, and choreographer, who amongst others worked with renowned dance companies such as IT Danza, Carte Blanche and the Batsheva Dance Company, offers a fresh look at the presence of the body in the digital age.

Length: 60 min.

Direction, Choreography & Dance: Núria Guiu Sagarra
Artistic Assistance: Esther Freixa and Sónia Gómez
Costume Advisor: Nestor Reina
Photo & Video: Alice Brazzit

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

How do the likes you get online affect your behaviour and body image?
Blurring the lines between dance and lecture, real life and online reality, Likes explores the phenomena of dance covers and yoga tutorials on social networks. Half tutorial instructor and half anthropological researcher, Núria Guiu Sagarra takes us on a physical journey with a pinch of irony.
In Likes the Barcelona-based dancer, performer, and choreographer, who amongst others worked with renowned dance companies such as IT Danza, Carte Blanche and the Batsheva Dance Company, offers a fresh look at the presence of the body in the digital age.

Length: 60 min.

Direction, Choreography & Dance: Núria Guiu Sagarra
Artistic Assistance: Esther Freixa and Sónia Gómez
Costume Advisor: Nestor Reina
Photo & Video: Alice Brazzit

Nov, 9 | Subsequent Artist Talk

Where lies the difference that we feel – and how do we feel together? Together with the dancers Su-Mi Jang and Katja Cheraneva, the visual artist and director Ayla Pierrot Arendt creates with Harmless Being a fluid world in which alternative forms of togetherness are negotiated. She further develops the genre of video choreography – her suggestion – and uses influences from the Japanese lowbudget film genre “pinku eiga” in the borderline between video work and live performance. Arendt re-interprets these “erotic films”. She places the female protagonists at the centre of attention and extracts an unusual approach to feelings and relationships from their behaviour.
The piece thus develops a dynamic space between projection, audience and dance in which everyone becomes compassionate and thus can comprehend the characters.

Length: 90 min.

Concept, Direction, Space: Ayla Pierrot Arendt
Performance: Katja Cheraneva, Su-Mi Jang
Costume: Nina Divitschek
Camera Video: Sriram Srivigneswaramoorthy
Sound: Don Dyzette & Fullruhm
Head of Production: Lucia Primavera

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

The great musicality of Emanuel Gat’s works is truly captivating. At the last festival, his interpretation of Bobby Hebb’s hit Sunny enthused audiences. Now he returns to Frankfurt for another extraordinary project. By invitation of the Ensemble Modern, he developed a very special work at the Frankfurt LAB, bringing fifteen musicians and ten members of his dance company on stage in a piece, which premiered at the Festival d’Avignon at Cours d’honneur du Palais de Pape. The concept is unusual. One part of the choreography is being developed on the basis of finished scores: Dérive 2 by Pierre Boulez and Rebecca Saunders’ Fury II. For the third part FolkDance dancers and musicians create a musical-choreographic full score together, in which the gestures of sound generation and of dance merge – elegantly overstepping and dissolving established boundaries and responsibilities.

Koproduktion des Künstlerhaus Mousonturm im Rahmen der Tanzplattform Rhein-Main /
Co-production of Künstlerhaus Mousonturm as part of the Tanzplattform Rhein-Main

Compositions: Pierre Boulez, Rebecca Sauders
Artistic Direction, Choreography, Set, Lighting: Emanuel Gat
Live-Electronics: Felix Dreher
Conductor: Josep Planells Schiaffino
By and with: Emanuel Gat Dance und Ensemble Modern

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

The great musicality of Emanuel Gat’s works is truly captivating. At the last festival, his interpretation of Bobby Hebb’s hit Sunny enthused audiences. Now he returns to Frankfurt for another extraordinary project. By invitation of the Ensemble Modern, he developed a very special work at the Frankfurt LAB, bringing fifteen musicians and ten members of his dance company on stage in a piece, which premiered at the Festival d’Avignon at Cours d’honneur du Palais de Pape. The concept is unusual. One part of the choreography is being developed on the basis of finished scores: Dérive 2 by Pierre Boulez and Rebecca Saunders’ Fury II. For the third part FolkDance dancers and musicians create a musical-choreographic full score together, in which the gestures of sound generation and of dance merge – elegantly overstepping and dissolving established boundaries and responsibilities.

Koproduktion des Künstlerhaus Mousonturm im Rahmen der Tanzplattform Rhein-Main /
Co-production of Künstlerhaus Mousonturm as part of the Tanzplattform Rhein-Main

Compositions: Pierre Boulez, Rebecca Sauders
Artistic Direction, Choreography, Set, Lighting: Emanuel Gat
Live-Electronics: Felix Dreher
Conductor: Josep Planells Schiaffino
By and with: Emanuel Gat Dance und Ensemble Modern

Nov, 9 | Subsequent Artist Talk

Where lies the difference that we feel – and how do we feel together? Together with the dancers Su-Mi Jang and Katja Cheraneva, the visual artist and director Ayla Pierrot Arendt creates with Harmless Being a fluid world in which alternative forms of togetherness are negotiated. She further develops the genre of video choreography – her suggestion – and uses influences from the Japanese lowbudget film genre “pinku eiga” in the borderline between video work and live performance. Arendt re-interprets these “erotic films”. She places the female protagonists at the centre of attention and extracts an unusual approach to feelings and relationships from their behaviour.
The piece thus develops a dynamic space between projection, audience and dance in which everyone becomes compassionate and thus can comprehend the characters.

Length: 90 min.

Concept, Direction, Space: Ayla Pierrot Arendt
Performance: Katja Cheraneva, Su-Mi Jang
Costume: Nina Divitschek
Camera Video: Sriram Srivigneswaramoorthy
Sound: Don Dyzette & Fullruhm
Head of Production: Lucia Primavera

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

Ohad Naharin is considered one of the most original and progressive dance creators of our time. In Sadeh21, he let dancers of the company he directs, the Batsheva Dance Company, meet and explore the spaces of interpersonal relationships. He not only received waves of enthusiasm from audiences throughout the world – he also captivated international dance critics. After its world premiere, the piece travelled from Tel Aviv to New York, from Hamburg to Perth in Australia – always danced by 18 dancers of the Batsheva Dance Company. For the premiere at the Staatstheater Darmstadt, the piece will be put on stage by a different company for the first time.

In 21 exciting fields ( הדש , sadeh, Hebrew: field), in 21 sections, Ohad Naharin shows the audience the entire expanse of relationships and meetings, of attraction, rejection and all human sentiments in between – in all possible combinations and constellations. Thus our dancers will enter into this pressure chamber of emotions to open the Hessian State Ballet’s season; here they will meet in a spirit of sensitivity and explosiveness – to then finally submit themselves to the overwhelming flood of danced images.

Length: 75 min.

Choreography: Ohad Naharin
Music selected by: Maxim Waratt
Stage: Ohad Naharin
Lighting: Avi Yona Bueno
Costume: Ariel Cohen
Dance: Hessisches Staatsballett

Nov, 9 | Subsequent Artist Talk

Where lies the difference that we feel – and how do we feel together? Together with the dancers Su-Mi Jang and Katja Cheraneva, the visual artist and director Ayla Pierrot Arendt creates with Harmless Being a fluid world in which alternative forms of togetherness are negotiated. She further develops the genre of video choreography – her suggestion – and uses influences from the Japanese lowbudget film genre “pinku eiga” in the borderline between video work and live performance. Arendt re-interprets these “erotic films”. She places the female protagonists at the centre of attention and extracts an unusual approach to feelings and relationships from their behaviour.
The piece thus develops a dynamic space between projection, audience and dance in which everyone becomes compassionate and thus can comprehend the characters.

Length: 90 min.

Concept, Direction, Space: Ayla Pierrot Arendt
Performance: Katja Cheraneva, Su-Mi Jang
Costume: Nina Divitschek
Camera Video: Sriram Srivigneswaramoorthy
Sound: Don Dyzette & Fullruhm
Head of Production: Lucia Primavera

The time has finally come again! This year’s edition of the Tanztag Rhein-Main is offering a great program for people who enjoy dancing and moving. Join us in trying out standard dances and classical ballet – or try Bollywood or square dancing! Test your skills at hip hop or experience the movement sequences of historic dances.
The Tanztag programme, with its 180 introductory classes, not only makes clear how diverse the Rhine-Main region’s dance landscape is; it also brings together people of all ages and backgrounds.

The whole programme can be found here: Tanztag Rhein-Main

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

In the 1920’s, tea dances were social highlights and informal possibilities to meet new acquaintances. Tea and canapés were served; there was dancing, laughter, mutual appraisals, a testing of the waters, profound talks and more dancing. As part of Tanzfestival Rhein-Main, Hessisches Staatsballett wants to revive this tradition anew. Bringing back memories that dance is not only something nice to look at, but can also be experiences by all, Tanztees will be hosted in both Darmstadt and Wiesbaden for everyone who wishes to enjoy a little dance themselves.

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

What happens when the desires hidden in the dark corners of your mind are suddenly brought to light? What if they have been the driving force of your choices all this while? Inspired by the work of Sigmund Freud, Whist invites you on a journey into the unconscious mind, where your instincts will guide you through a narrative of surreal dreams and fears.
AΦE, a Ashford-based dance company, specialized in bringing the art of dance closer to its audiences, presents their first major work: being a fully immersive, virtual reality experience Whist merges Physical Theatre and Mixed Reality Technology, in an environment that blurs the boundaries between consciousness and unconsciousness, reality and fiction, the physical and the virtual. Through art and sound installation coupled with cinematic and interactive 360° film, you will be immersed in a world of unfolding dreams. Who knows where your subconscious will lead you?

Artistic Directors: AΦE (Esteban Fourmi and Aoi Nakamura)
Performance: Robert Hayden, Tomislav English, Yen-Ching Lin, Nina Brown, Steve Rimmer
Technology Partner: Happy Finish
Set Designer: James Shaw
Composers: Jozef Van Wissem, Scott Gibbons
3D Sound Designer: Oliver Kadel (1.618Digital)
Dramaturgy: Amanda Fromell
Psychoanalyst: Emilia Raczkowska (Freud Museum London)
Creative Mentor: Jasmin Vardimon
Production: JiaXuan Hon (Blackwinged Creatives)

Taulant Shehu, a dancer from the Hessian State Ballet and up-and-coming choreographer, explores his Albanian roots in his new creation Dua. “Family and traditions are two important foundations for Albanian culture; there is hardly another time when they are more closely bound than at a wedding ceremony,” he says. In Dua, a wedding as the pinnacle of festiveness, happiness and the promise of remaining together forever becomes the point of departure to reflect on living together in general. Taulant Shehu directs his attention to the individual participants and choreographically explores their own stories, emotions and backgrounds.

The composer Arne Stevens provides music for this danced approach to tradition; it places the cultural origins of this work in a musical focus as well by working with traditional Albanian instruments.

Choreography: Taulant Shehu
With: Amelia Eisen, Jorge Bascuñan Rivera Neto, Richard Oberscheven, Mamiko Sakurai, Lara Peinado, Max Levy
Composing: Arne Stevens
Production Manager: Sina Schönfeld

This year, the big dance festival at the Mousonturm is once again the grand conclusion of the Tanztag. Under the headline of trying new things or making new discoveries, on this evening the point is also to celebrate the seemingly endless diversity of dance together in a relaxed atmosphere. After a short introduction, a maximum of dance forms and styles will be tried out or used as a point of departure for your own movement ideas. Dance and celebrate with us into the night, at the Dance Festival 2018!

Kristin Gerwien carries us off into an intermediate sphere. She is a musician, performer and costume designer all at once; she created a piece full of sculptural power and a fine sense of tonality that is neither concert nor performance. It is everything at once! The piece by this young artist plays with disassociation and alienation. Gerwien stages and multiplies herself as an artistic character. The cover of a chronicle of possible meetings is opened; it tells of human skin, loss, touch, excess and other chasms between reality and fiction – all accompanied by electronically influenced songs.

Artistic Direction: Kristin Gerwien
Performance: Philip Albus, Antonia Beeskow, Kristin Gerwien, Clara Reiner, Sara Trawöger
DJ: OneMoe
Lighting: Lea König
Stage Design Assistants: Till Korfhage, Sara Trawöger
Concept for Sound Technology: Jörn Nettingsmeier
Dramaturge: Hanna Steinmair
Production Manager: Martin Bien

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

How can you find your way in a world of “grown-ups”– if everything that happens there seems to be too colorful, too big and too interesting somehow? What needs to be discovered?
After the great success of her work Farbenspiele in Wiesbaden and Darmstadt, the Lithuanian choreographer Birutė Banevičiūtė will return to the Hessian State Ballet. In Labyrinth, children between three and six years of age are invited to experience what it means to playfully conquer the world that they live in on a daily basis.

Starting with objects from children’s daily life, she creates a maze together with two dancers: it is colorful and thoughtful, confusing and then suddenly fantastically simple. They find their way out, and it then becomes a big playground for everyone.

Length: 40 min.

Idea, Concept, Choreography: Birutė Banevičiūtė
Dance: Kirill Berezovski, Vincenzo Rosario Minervini

A dance piece for adolescents and their fans | Age ten and over

Growing up is simultaneously a time of rebellion and fitting in. In his new ballet piece, Tim Plegge makes the moments visible in which restructuring life and defining your own personality are placed in the foreground. It shows situations that young adults experience with their peers: friendship, exclusion, group dynamics, self-confidence, sexuality and love. Just like at a building site, everything in this highly exciting phase of life is “under construction”. Important questions need time to mature – who am I? Who would I like to be? Maybe there is a little place where we don’t have to do what girls or boys are generally expected to do? The crisis of growing up wears the most colorful clothes!

Choreography: Tim Plegge
Stage: Flurin Borg Madsen
Costumes: Janine Werthmann
Video: Thorsten Greiner
Dramaturgy: Esther Dreesen-Schaback

Taulant Shehu, a dancer from the Hessian State Ballet and up-and-coming choreographer, explores his Albanian roots in his new creation Dua. “Family and traditions are two important foundations for Albanian culture; there is hardly another time when they are more closely bound than at a wedding ceremony,” he says. In Dua, a wedding as the pinnacle of festiveness, happiness and the promise of remaining together forever becomes the point of departure to reflect on living together in general. Taulant Shehu directs his attention to the individual participants and choreographically explores their own stories, emotions and backgrounds.

The composer Arne Stevens provides music for this danced approach to tradition; it places the cultural origins of this work in a musical focus as well by working with traditional Albanian instruments.

Choreography: Taulant Shehu
With: Amelia Eisen, Jorge Bascuñan Rivera Neto, Richard Oberscheven, Mamiko Sakurai, Lara Peinado, Max Levy
Composing: Arne Stevens
Production Manager: Sina Schönfeld

For much too long disabled bodies have mainly been used to represent Otherness. In his new work, choreographer and cultural activist Saša Asentić has assembled a team of people with and without disabilities, working together on equal footing to deal with aesthetic regimes of dance history. Three key works of the 20th century, which were created in Germany, but then revolutionized dance worldwide, serve as a starting point for the ensemble. The pieces Hexentanz by Mary Wigman, Kontakthof by Pina Bausch and Self Unfinished by Xavier Le Roy all represented completely unique bodily concepts at the time of their respective inception; they broke with existing convention and have all now become a part of the canon. Asentić and his team adopt this material with great empathy and expertise to develop a unique aesthetic and reclaim a place in dance history. Dis_Sylphide thus humorously and surprisingly overturns existing body norms and conventions and invites us to conquer the theatre as a place of alternative togetherness.

Nov, 14 | Subsequent Artist Talk

Concept and artistic direction: Saša Asentić
Artistic collaboration and choreography: Alexandre Achour, Olivera Kovačević Crnjanski
Performance: Natalija Vladisavljević, Jelena Stefanovska, Snežana Bulatović, Dalibor Šandor, Marko Bašica, Thomas Möller, Celina Scharff, Tom Reinecke, Katharina Bromka, Can Gecir, Liv Henriette Neuman, Alexandre Achour, Olivera Kovačević Crnjanski, Saša Asentić

Kristin Gerwien carries us off into an intermediate sphere. She is a musician, performer and costume designer all at once; she created a piece full of sculptural power and a fine sense of tonality that is neither concert nor performance. It is everything at once! The piece by this young artist plays with disassociation and alienation. Gerwien stages and multiplies herself as an artistic character. The cover of a chronicle of possible meetings is opened; it tells of human skin, loss, touch, excess and other chasms between reality and fiction – all accompanied by electronically influenced songs.

Artistic Direction: Kristin Gerwien
Performance: Philip Albus, Antonia Beeskow, Kristin Gerwien, Clara Reiner, Sara Trawöger
DJ: OneMoe
Lighting: Lea König
Stage Design Assistants: Till Korfhage, Sara Trawöger
Concept for Sound Technology: Jörn Nettingsmeier
Dramaturge: Hanna Steinmair
Production Manager: Martin Bien

For much too long disabled bodies have mainly been used to represent Otherness. In his new work, choreographer and cultural activist Saša Asentić has assembled a team of people with and without disabilities, working together on equal footing to deal with aesthetic regimes of dance history. Three key works of the 20th century, which were created in Germany, but then revolutionized dance worldwide, serve as a starting point for the ensemble. The pieces Hexentanz by Mary Wigman, Kontakthof by Pina Bausch and Self Unfinished by Xavier Le Roy all represented completely unique bodily concepts at the time of their respective inception; they broke with existing convention and have all now become a part of the canon. Asentić and his team adopt this material with great empathy and expertise to develop a unique aesthetic and reclaim a place in dance history. Dis_Sylphide thus humorously and surprisingly overturns existing body norms and conventions and invites us to conquer the theatre as a place of alternative togetherness.

Nov, 14 | Subsequent Artist Talk

Concept and artistic direction: Saša Asentić
Artistic collaboration and choreography: Alexandre Achour, Olivera Kovačević Crnjanski
Performance: Natalija Vladisavljević, Jelena Stefanovska, Snežana Bulatović, Dalibor Šandor, Marko Bašica, Thomas Möller, Celina Scharff, Tom Reinecke, Katharina Bromka, Can Gecir, Liv Henriette Neuman, Alexandre Achour, Olivera Kovačević Crnjanski, Saša Asentić

Kristin Gerwien carries us off into an intermediate sphere. She is a musician, performer and costume designer all at once; she created a piece full of sculptural power and a fine sense of tonality that is neither concert nor performance. It is everything at once! The piece by this young artist plays with disassociation and alienation. Gerwien stages and multiplies herself as an artistic character. The cover of a chronicle of possible meetings is opened; it tells of human skin, loss, touch, excess and other chasms between reality and fiction – all accompanied by electronically influenced songs.

Artistic Direction: Kristin Gerwien
Performance: Philip Albus, Antonia Beeskow, Kristin Gerwien, Clara Reiner, Sara Trawöger
DJ: OneMoe
Lighting: Lea König
Stage Design Assistants: Till Korfhage, Sara Trawöger
Concept for Sound Technology: Jörn Nettingsmeier
Dramaturge: Hanna Steinmair
Production Manager: Martin Bien

Taulant Shehu, a dancer from the Hessian State Ballet and up-and-coming choreographer, explores his Albanian roots in his new creation Dua. “Family and traditions are two important foundations for Albanian culture; there is hardly another time when they are more closely bound than at a wedding ceremony,” he says. In Dua, a wedding as the pinnacle of festiveness, happiness and the promise of remaining together forever becomes the point of departure to reflect on living together in general. Taulant Shehu directs his attention to the individual participants and choreographically explores their own stories, emotions and backgrounds.

The composer Arne Stevens provides music for this danced approach to tradition; it places the cultural origins of this work in a musical focus as well by working with traditional Albanian instruments.

Choreography: Taulant Shehu
With:* Amelia Eisen, Jorge Bascuñan Rivera Neto, Richard Oberscheven, Mamiko Sakurai, Lara Peinado, Max Levy
Composing: Arne Stevens

Thurs. Nov. 15 | 7 pm | Warm up for spectators

Taulant Shehu, a dancer from the Hessian State Ballet and up-and-coming choreographer, explores his Albanian roots in his new creation Dua. “Family and traditions are two important foundations for Albanian culture; there is hardly another time when they are more closely bound than at a wedding ceremony,” he says. In Dua, a wedding as the pinnacle of festiveness, happiness and the promise of remaining together forever becomes the point of departure to reflect on living together in general. Taulant Shehu directs his attention to the individual participants and choreographically explores their own stories, emotions and backgrounds.

The composer Arne Stevens provides music for this danced approach to tradition; it places the cultural origins of this work in a musical focus as well by working with traditional Albanian instruments.

Choreography: Taulant Shehu
With:* Amelia Eisen, Jorge Bascuñan Rivera Neto, Richard Oberscheven, Mamiko Sakurai, Lara Peinado, Max Levy
Composing: Arne Stevens

Thurs. Nov. 15 | 7 pm | Warm up for spectators

Premiere in the German-speaking area/No language skills required

This year, Meg Stuart receives the Biennale de Venezia’s Golden Lion for Lifetime Achievement.
In her latest dance piece, which is as associative as it is emotional, the choreographer goes on a journey into the human psyche. In a space of innumerable lightbulbs, designed by the Indonesian artist Jompet Kuswidananto, three dancers reveal layers of memory that have never been heard before. To driving sounds by the experimental musicians Mieko Suzuki and Ikbal Simamora Lubys, bodies meet more with gestures than narrative action – to then separate again. Darkness and light, unconscious and conscious elements, East and West all appear to want to connect in a universe of humanity. This piece is a real trip. In one word: mesmerizing!

Choreography: Meg Stuart
Installation: Jompet Kuswidananto
By and with: Jule Flierl, Gaëtan Rusquet, Claire Vivianne Sobottke
Live Music: Mieko Suzuki, Ikbal Simamora Lubys

Whistle While You Work is a platform addressing sexual harassment, discrimination and abuse in the arts with a special focus in dance. Dancer Frances Chiaverini and writer Robyn Doty, founders of the initiative are facilitating a workshop to open a forum where the local community can engage in a discussion, directly pointing out abuses of power, identifying deficits and formulating strategies of empowerment. Everyone from the dance world is invited: dancers, choreographers, programmers, administrators and production manager.

In English.

Ohad Naharin is considered one of the most original and progressive dance creators of our time. In Sadeh21, he let dancers of the company he directs, the Batsheva Dance Company, meet and explore the spaces of interpersonal relationships. He not only received waves of enthusiasm from audiences throughout the world – he also captivated international dance critics. After its world premiere, the piece travelled from Tel Aviv to New York, from Hamburg to Perth in Australia – always danced by 18 dancers of the Batsheva Dance Company. For the premiere at the Staatstheater Darmstadt, the piece will be put on stage by a different company for the first time.

In 21 exciting fields ( הדש , sadeh, Hebrew: field), in 21 sections, Ohad Naharin shows the audience the entire expanse of relationships and meetings, of attraction, rejection and all human sentiments in between – in all possible combinations and constellations. Thus our dancers will enter into this pressure chamber of emotions to open the Hessian State Ballet’s season; here they will meet in a spirit of sensitivity and explosiveness – to then finally submit themselves to the overwhelming flood of danced images.

Length: 75 min.

Choreography: Ohad Naharin
Music selected by: Maxim Waratt
Stage: Ohad Naharin
Lighting: Avi Yona Bueno
Costume: Ariel Cohen
Dance: Hessisches Staatsballett

Premiere in the German-speaking area/No language skills required

This year, Meg Stuart receives the Biennale de Venezia’s Golden Lion for Lifetime Achievement.
In her latest dance piece, which is as associative as it is emotional, the choreographer goes on a journey into the human psyche. In a space of innumerable lightbulbs, designed by the Indonesian artist Jompet Kuswidananto, three dancers reveal layers of memory that have never been heard before. To driving sounds by the experimental musicians Mieko Suzuki and Ikbal Simamora Lubys, bodies meet more with gestures than narrative action – to then separate again. Darkness and light, unconscious and conscious elements, East and West all appear to want to connect in a universe of humanity. This piece is a real trip. In one word: mesmerizing!

Choreography: Meg Stuart
Installation: Jompet Kuswidananto
By and with: Jule Flierl, Gaëtan Rusquet, Claire Vivianne Sobottke
Live Music: Mieko Suzuki, Ikbal Simamora Lubys

Premiere in the German-speaking area/No language skills required

This year, Meg Stuart receives the Biennale de Venezia’s Golden Lion for Lifetime Achievement.
In her latest dance piece, which is as associative as it is emotional, the choreographer goes on a journey into the human psyche. In a space of innumerable lightbulbs, designed by the Indonesian artist Jompet Kuswidananto, three dancers reveal layers of memory that have never been heard before. To driving sounds by the experimental musicians Mieko Suzuki and Ikbal Simamora Lubys, bodies meet more with gestures than narrative action – to then separate again. Darkness and light, unconscious and conscious elements, East and West all appear to want to connect in a universe of humanity. This piece is a real trip. In one word: mesmerizing!

Choreography: Meg Stuart
Installation: Jompet Kuswidananto
By and with: Jule Flierl, Gaëtan Rusquet, Claire Vivianne Sobottke
Live Music: Mieko Suzuki, Ikbal Simamora Lubys

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

Sat, 24.11., 3 p.m. – 9 p.m.
Sun, 25,11., 10 a.m. – 4 p.m.

Frey Faust is a veteran of the New York contemporary dance scene. In the late 90’s he developed an interdisciplinary movement analysis system. “The Axis Syllabus” system designates different parts of the body as “motors” and explores their potential for energy creation. The AS recognizes both broad general commonalities as well as unique individual qualities and proportions, and invites the student to work with rather than against their body’s resources.
In his workshop, Frey Faust invites the participants to practice for example the kinetic energy transfer from one body part to the other, practice joint centration and dynamic alignment, explore various options for optimal articular motion and turn physics to their favour for both large and small scale movements. The workshop addresses participants who have already gained basic experience in dance and movement techniques.