Teacher Roberto Olivan

By learning and using many different kinds of dance techniques Roberto Olivan discovered their limitations for artistic expression. Whilst accepting the necessity for these conventional techniques, he knows that using them exclusively curtails freedom in the dance and the dancers. So he is embarked on a constant quest for the freedom that creates new forms; refining his technique to develop a unique language which can be recognized as his own style – a language centered on speed and precision. The goal of this workshop is to encourage specificity within movement focussing on generating dance material from our animal instincts and our own creativity. We will work on efficiency of movement and gravity; bringing awareness to inner sensations such as breathing and the visualization of energy released by movement in order to develop a consciousness around the body & mind and understand how physical structure relates to spatial energies, to others and one self. In this sense the body becomes a tool of projection for the physical and emotional flow. The force of mental images such as lines and structures around and in the body are used to define and help us to understand the body’s functionality better.

Creative Path

Teacher Ale Jara

Creative Path workshop
During the “Creative path” workshop we will be encouraged to listen our bodies to generate movement from the inside, through clear tasks. We will use improvisation to create our own choreography and composition, not only individually but also as a group. This workshop aims to create a safe place to open ourselves as dancers and find our own voice.
Gaga is a movement language originated from the belief in the healing, dynamic, ever-changing power of movement, developed by Batsheva Dance Company’s artistic director Ohad Naharin. Gaga is a new way of gaining knowledge and self-awareness through your body. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for their elimination. The work improves instinctive movement and connects conscious and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes, accompanied by music, each person with himself and others.

VOICE BEING “Awareness through Voice”
Teacher Shai Dayan

Becoming aware of our true nature is our highest goal.Since ancient times sound and voice have been used for this purpose.At present this knowledge is introduced anew. The voice is usually regarded as a tool for self expression.. A good question would be ,what do we mean by ‘self’? There are varied dimensionsto the idea of self. From the personal self, to the universal self. Study of the personal self will lead us to the knowledge of our personality. Study of the universal self may lead us to knowledge of the universe.The voice is primarily made up of two elements, breath and sound. Breath is universal, it is the very life. Sound is unique, and so, particular. The voice is a way for life to express itself in a unique way.

There are three aspects to this work; One aspect, deals with the more technical dimension of the Voice; Breath as a carrier of energy and sound, The profound connection Between breath and voice, The flow and resonance of the voice In deferent parts of the body , Paying attention to the sensations That the voice is awakening in the body and mind. What is outer and inner voice. The study of our personal vocal range and the physical and energetic aspects of it. In what way do we influence and being influenced by our voice and other voices around us. What is a total listening, how does our body absorbs and carries sound. Whattapes of listeningisthere.

The second aspect, deals with the information that is being Carried within our individual voice. How a voice turns in to singing, A word, a language. How a sound turns in to a melody. What composes the sounds, carries them bounces them in to a melody.  Where this flow is happening, How do we tap in to it. How do we stop from interfering with its natural movement.

The third aspect is more abstract; we let the questions go, And we pay attention to the breath, to our body, to the presence Which experiences our voice, which is looking through the eyes, Through all our conditioning. without interfering, without having an opinion Or judgment.  Experiencing things as they are, pure and simple.

BMC – based Body Awareness
Teacher Iwona Olszowska

BMC is a learning method based on self-experience and body feedback. It is a way to open body awareness and embody newly discovered possibilities. It is also a time for the body to strengthen movement patterns and discover an effortless organic movement.
This year we will focus on connections inside the body. Basing on the BMC method, we will build a map of connections inside the body. We will organize our limb junctions through the navel. We will explore routes and reliances of our joints. We will find connections which support alignment on the bone level. Our movement will base on the links between body layers. We will support structure of the movement with bone-organic junctures. Our body integrity will be held by the body centers connection. We will bring breath and movement together, and use our senses to connect the body with the ground and the space around us.

Teacher Mirva Makinen

Main question in this workshop is choice making in contact improvisation. What kind of choices I make when i dance? What is my inner landscape? How do I connect with environment and nature while I dance? We will explore how sensory experiences of Contact Improvisation affects the choice making. We will also explore some of the main technical principals of contact improvisation.
Once we start exploring our questions about the choice making, we then can look at how this applies to our values in contact improvisation. Are we allowing the other person to see our bodily environments and our inner landscapes? Can we still have our sensations alive while being seen? Can we still connect to listening, seeing and sensing?
These questions have lead me to a further exploration of the sensations and intuition that guide my journey in contact improvisation. Curiosity to improvise in a present moment and finding connection between senses, nature and moments of surprise. I am interested in helping to create a space where nature is supporting contact improvisation and the experience that we share together with other person.

THE STRING OF THE BODY – Martial Partnering
Pedagodzy: Jakub Gontarski i Aga Rybak

The String of the Body program is an outcome of more than 20 years of practice and training within the vast platform of body work including gymnastics, sport and martial arts (such as judo, capoeira, jiu-jitsu, boxing), dance, theatre and body therapy. In our work, we constantly develop our experiences and deepen the creative process by conducting intensive research in communication, adaptation, presence, relation, identity, expression, potential and creativity. How that which is being acquired becomes embedded and a vital part of ourselves? Are we the practitioners or the practising? How does the body becomean embodied story of what is already known and of what is not yet discovered and understood in us? How to awaken in us our foundations and the internal rules and principles? Are you a body or do you have the Body? In the process of training and adapting new data, we translate its meaning into the needs of the Human – the Warrior – the Performer.

Martial Partnering is an intensive process embodied in form of a journey through the body centres such as spine, pelvic girdle, pectoral girdle, breath and senses. We will search for the natural rules of motility, kinetics, statics, dynamics and balance in the state of lost control. We will enhance the frequency of our mindfulness and presence. We will confront our selves and our limitations and face the group, the process of decision making, responsibility, safety and patterns of our body and psyche.

Topics of the Martial Partnering workshop:

  • comfort and discomfort zone, trust and lack thereof; unleashing the strategy, tactics, wit and agility through simple interactive games inspired by martial arts and sport experiences which trigger the interactive process and create potential forms of movement
  • expanding self-consciousness in terms of our own bodies and selves, the human psyche processes, relations with inner and outer spaces and relations between human beings in everyday and artistic life
  • building a strong, mobile and elastic structure supporting the body, improving the overall body shape and well-being

Open Classes

Contact Improvisation
Teachers Aga Rybak & Dorota Kamecka

Contact Improvisation provides conditions and possibilities for being in the flow. It is based on freeing one’s mind from results and practicing mindfulness – focused on one’s self and one’s partner during the contact between those two. Everything occurs in one moment and then dissolves in it. Communication is flowing, energy is exchanged and this way it creates a new quality, a potential for the next movement, next creation, next meeting.
To experience the flow, we will work with:
body awareness, organic movement and anatomy in motion – all this deepens the connection with one’s self and the surrounding world
improvisation which spontaneously brings out the potential of movement, and in consequence activates creativity.

Contact Improvisation
Experimental anatomy and bodywork towards dancing
Teachers Mirva Makinen

We will explore floor work, movement through the space and by using experimental anatomy that hopefully will support the dancing. By experimental anatomy I mean experiencing your different body parts through movement and through images. These short classes have strong improvisational influence and are aiming to support the journey towards jamming. Bodywork and hands on work will be part of these classes.

Fall In Dance
Teacher Iwona Olszowska

During this workshop we will follow in the footsteps of one of the forerunners of improvised modern dance. The freedom of dance in scores based on
Isadora’s ideas opening space for various new trends in modern dance.

Pedagog Ale Jara

GAGA to język ruchu stworzony przez Ohada Naharina, dyrektora artystycznego Batsheva Dance Company, mający swoje źródło w wierze w uzdrawiającą, dynamiczną i ulegającą nieustannym przemianom moc ruchu. Jest nową drogą zdobywania wiedzy i samoświadomości poprzez ciało. Wyostrzając zmysły i pobudzając wyobraźnię dostarcza narzędzi pozwalających na odkrywanie ciała, wzmacnianie jego siły, wytrzymałości, elastyczności i zwinności.

Groove / Flow / Energy
Teacher Michał Śniegu Strarek

Groove – working with rhythm which originates in the union of body and music; exploring the ways such trance influences dance and the ways to use it.
Flow – a term rich in meaning. It may be understood as shifting weight andpoints of support, or an energy flow based on waving technique.
Energy – action based on fixpoint technique. It comprises locking energy in a single point in space and conforming the rest of a dancer’s body to it.
The combination of those three issues opens up a lot of new possibilities. Workshop will be based on improvisation, so that everyone is given an opportunity to find their own solutions and reflections.

Hip Hop
Teacher Agnieszka Jaśkowska

In our classes we will focus on freestyle and technique. Each class will start with a short warm-up, usually combined with strength training, core stability exercises and stretching. Then we will move to technique practice and dance, starting from the easiest steps and moving towards more complex combinations. A lot of time will be spent on improving technique of isolating body parts in various dimensions and adding it to the previously learned steps.

Depending on the level of a group, most part of a lesson will focus on freestyle inspired by specific tasks. We will learn how to use rules and techniques to make our future sets interesting for the audience. A bit of choreography will help us memorize steps, combinations and exercises introduced earlier. Musicality and body awareness will remain at the center of our attention.

Contemporary Dance
Teacher Roberto Olivan

The goal of this class is to encourage specificity within movement focussing on generating dance material from our animal instincts and our own creativity. We will work on efficiency of movement and gravity; bringing awareness to inner sensations such as breathing and the visualization of energy released by movement in order to develop a consciousness around the body & mind and understand how physical structure relates to spatial energies, to others and one self. In this sense the body becomes a tool of projection for the physical and emotional flow.

Morning Warm-up ANIMAL FLOW
Teacher Paulina Święcańska

Animal Flow is a unique method of working with the body, developed by Mike Fitcha (Global Bodyweight Training), based on many years of experience with various form of bodyweight-training.
Every workout includes 6 components:
wrist mobilizations
activations stabilizations
form specific stretches
traveling forms
switches and transitions

Thanks to the workout you will strengthen your body and make it more flexible, you will improve your mobility, and build your body in an interesting and healthy way.

The training is designed in such a way that both beginners and advanced practitioners can benefit and improve their athletic performance. It is possible due to diversified tempo of the workout and different variations of the given exercise/task.

The workout focuses on the spine, the strengthening of the bone structure and the muscles improving the stability of the body. It includes spirals, rotations, front and back bends of therapeutic character.

Animal Flow includes a wide range of variations and combinations, which can be combined together, depending on the result we wish to achieve. Animal Flow is more of a practice, like yoga or martial arts than a simple workout, and enables everybody to develop their own style and character of movement.