This summer bring us the 11th edition of “DanceWorks” performances midway through our workshop festival in the Studiotheater (23th July 2022 at 8pm). With the emphasis of the course being equally on process and product, the participants experience diverse styles that change radically each summer.
Gaga is a movement language which Ohad Naharin developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members. The language of Gaga originated from the belief in the healing, dynamic, ever-changing power of movement, and it continues to evolve today.
No drum sounds by itself, if there isn't the person who strikes it. Percussion takes place in the body, and that's where we meet the rhythm. In this class we use the body as a rhythm instrument - the body becomes an instrument and a rhythm at the same time. It is exciting to experience which sounds and rhythms we can find and discover: by clapping, snapping, stamping, tapping on the chest, using our voice and much more. Whether it is traditional (Samba, Baião) or modern rhythms (Hip Hop, Funk) - we can let our body become a sounding body in a fascinating way. Both beginners and advanced learners in the field of rhythm and percussion are welcome to join the workshop - people who are interested in and enjoy percussion as well as educators who want to enrich their lessons with rhythmic-physical units.
In this intensive seminar on the subject of “Early dance education/free dance with children and young people”, Ulla Wenzel shows new ideas for free dance work with young people – true to the motto “An adventure every hour”. Ulla will present educational suggestions for the respective age groups, taking into account methodological and didactic information in theory and practice. Previous knowledge in the field of dance work with children is supplemented by current issues and explained in practice in exercises that serve to generate ideas and develop creative skills, as well as being reflected in discussions. The aim is for the participants to be able to use a curriculum developed by Ulla Wenzel for free-creative dance with children and young people.
This summer we have once again additional excitement for our C level students.
Everyone is welcome to join in these classes. This opportunity to cross into inclusion within these different styles will certainly initiate a newfound appreciation of dance for all!
People from all walks of life take Gyrokinesis classes, including accomplished athletes, fitness enthusiasts, senior citizens and people recovering from an injury or dealing with a disability. By the end of a Gyrokinesis session, one's entire system is awakened and brought into greater balance. Focus on the breath stimulates the parasympathetic nervous system resulting in a sense of calm, well-being and mental clarity. This method systematically and gently works the joints and muscles through rhythmic and undulating exercises. Movement stimulates the body’s internal organs and different coresponding breathing patterns are integrated. Fluidity is the key. Postures are not held for long time. Instead, postures are smoothly and harmoniously connected through the use of breath, making exercises appear and feel more like a dance than traditional yoga.
This summer bring us the 11th edition of “DanceWorks” performances midway through our workshop festival in the Studiotheater (23th July 2022 at 8pm). With the emphasis of the course being equally on process and product, the participants experience diverse styles that change radically each summer.
This course will examine various methods of formatting and creation of a jazz dance class. The primary focus will be on pedagogic approaches, music mapping as well as creating technical exercises and movement phrasing geared toward teaching beginning to intermediate level dance students. The seminar will involve a presentation of informative teaching techniques and collaboratively working as a group to explore personal stylistic choices of the jazz dance genre.
My classes are based on the Vaganova Method, but I personally like to give extra focus on the coordination between the upper and lower limbs, starting with the exercises at the barre, which usually concentrate mainly on foot and leg movement. I like to challenge dancers to think actively to what they are doing and why, and to be aware of the work behind the movement.
