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BARIS MIHCI
Baris graduated with degrees in social pedagogy, German language and as a teacher in special education in sports for physically disabled children at the University of Cologne, Germany. Although always fascinated with movement, Baris did not start dancing until after finishing his degree. Once introduced to the Axis Syllabus in 2002 he immediately immersed himself in the study and acquired a teacher's certificate after 4 years. Since then Baris has taught throughout Europe and is presently located in Brussels where he offeres regular AS classes.
Baris Mihci - At Gravity´s Service: Tools for falling management (Phase two)
Tipping off balance and using the fall to generate momentum offers ways to divide your muscular activity into receptive and propulsive phases. We will examine how to moderate your mass through alternating supportive elements in order to change spheres of activity.
Baris Mihci - Arms as Allies (Phase four)
In this workshop we will focus on the mechanical composition of the shoulder girdle as the communicator between the torso and the arms. Exploring the use of the arms as supportive as well as peripheric elements which provide kinetic energy for jumping, turning and going upside-down.
NICOLA BOLZAU has devoted a great deal of her time to different dance and therapy methods, movement analysis systems and bodywork. After her education in massage therapy, she studied sports and dance at the Johannes-Gutenberg University. Nicola holds a certification to teach the AS and has been studying it for over 6 years. She teaches Axis Syllabus Anatomy for the cie. Neuer Tanz, TAMED, off Theater Neuss, Fontys Akademie Tilburg as well as regular workshops in Düsseldorf, Germany and abroad.
Nicola Bolzau - Falling into space (Phase two)
The workshop focus on the conscious deployment of momentum for efficient movement patterns. The goal is to relieve stress on joints, muscles and bones. We will examine the sequential use of support elements and discover strategies for maintaining skeletal alignment integrity, especially in the ball-and-socket joints such as the hip and shoulder. Observing these structures and supporting their functions while exploring ways to channel weight into the floor can help us to move in an anatomically friendly manner, cultivating the confidence to fall into space.
FRANCESCA PEDULLA, choreographer and dancer, received her Masters in Theatrical Arts from the University of Genova, Italy, and dedicated herself to the study and teaching of African dance since 1990. Her first most influential artistic mentor was master Koffi Koko, who was the presiding teacher at the Centre Artistique 6-éme Parallele-F.E.I.D.A.a Bordeaux (C.E.A), where she received her diploma in 1999. Since 2001 she has studied the Axis Syllabus, for which she now holds an instructor's certification. Deeply inspired by the encounter with the culture of Benin, Africa, her artistic trajectory focuses on the re-elaboration of these traditional dances, with the intention to create a contemporary language to articulate the cultural dialogue.
Francesca Pedullà - African Dance Expressionism (Phase One)
Music: Lorenzo Gasperoni and Marco Esposito
In Africa, music and dance mark every event of both spiritual and social life. Both constantly evolving languages represent an enormous cultural patrimony that, even when extrapolated from their original context, maintain their expressive power. This workshop’s objective is to deepen the culture and the traditional dances of occidental Africa through (a respectful) investigation and re-elaboration (of it’s underlying principles and historical context). The study of various modes of movement analysis, spacial deployment and gestural qualities will make it possible to percieve and transmit the essentials on which the dances are constructed. This accumulation of essential technical and esthetic principles will permit the re-elaboration of an expressive gestural language, at once personal and universal.
Particular attention will be given to the role of the music, not accessory in this context, but an indispensable element. Traditionally, the relationship between dance and music is crucial; every rhythm is created for a particular dance and is vehicle to a specific message. In the creative phase of the workshop, this connection can be confirmed and be reformulated: the music can suggest and support the dance and vice-versa, or each can develop separately in order to meet again anew.
Lorenzo Gasparoni - Marco Esposito - Percussion Basics
The objective of this workshop is the development of rhythmical, musical capacities through the practice
of traditional african and afro-cuban rhythms and songs. Our approach proposes an integrated ensemble
work that is more oriented towards cultivating the musical sensitivity of the student to rhythm, and is not
limited to a musician's preparation.
- the basic notions of the use of various percussion instruments
- the analysis and practice of the individual parts of a polyrythm
- the relationship of percussive song and language
- the study of simple rhythmic codes
- sing sacred songs and make music together
Our workshop represents the ideal integrative tool for Afro-Expressionism, as led by Francesca Pedulla
at the NC Finnland, where we will be your accompanists.
We would like to encourage all our students to participate in the last-day showing of what you have learned.
Marco Lorenzo
MIRVA MAKINEN
I am a 35-year old dancer. I graduated (MA) from the Dance Department of the Theatre Academy of Finland in 2000, before that I completed my masters in Physical Education at the University of Jyväskylä. I have worked widely in Finland as a dancer, dance teacher and choreographer. My true passion is in movement. I am interested in the feeling of flow and soft movement. I love to investigate movement, rhythm and different ways of inhabiting the body. I believe that the feeling of dancing is created by being able to switch the body from total relaxation to extreme intensity and tension. I think that this is the body’s ability to breathe and create movement. My ideal is total presence, which makes every moment true and meaningful. From 2000 onwards I have acted as dance teacher and lecturer for dance at the Kallio Upper Secondary School of Performing Arts in Finland. I have also taught at different international dance and contact improvisation festivals. As a dancer I have worked in several different dance companies, at the moment I am working with Karttunen Kollektiv, Circo Aero and with Joona Halonen.
Mirva Mäkinen - Details in Dance
What if, in each moment, we have many possibilities to guide or allow the dance to go its own way? How well can we recognize when we are leading or following the dance? During this workshop I would like to experiment with tools that help to us to dance in Contact improvisation. I would like to facilitate a living, dancing dialogue by using touch, movement, weight and balance,and examine the details we can find by paying attention to the situation at hand.
From light contact and softness we will move towards more weight and intensity, working with skin, muscle and bones and using this knowledge as a structure to build the dance, but also to build connection to the other person. We will try to find safe and effective strategies of moving into and out of the floor; flying low and flying high.
KELLY KEENAN is a dancer/teacher/choreographer based in Montreal, Canada. She is a graduate of Les Ateliers de Danse Moderne de Montreal and a certified Axis Syllabus teacher. In Montreal Kelly has taught for Festival Transformation Danse, Studio 303, Le Regroupement Quebecoise de la Danse, Compagnie Flak, Concordia University, Universite de Montreal. Abroad Kelly has taught at the Nomadic College (4yrs), Compagnie Lanonima (Bareclona), Yildiz University (Istanbul) among others.
Kelly Keenan - Sole Explosion (Phase 2)
An introspective look at foot anatomy, architecture, rigging and mechanics through theory and experience of the moment our soles negotiate the ground beneath. Heightened sensitivity to this encounter between foot and floor can manifest expressive explosions of the soul. (all levels)
Kira Kirsch - (Phase 2)
Politics of the Spine
My departure point is a peek into the history of the spine from various evolutionary, cultural, linguistic and political perspectives. Moving from the intellectual into the physical body, bio-mechanical indications will suggest a physiological context or viewpoint for a neutral mobile zone or alignment of the spine. Being off-balance, multiple states of tension and the propagation of waves through the spine takes us into a moving thesis on the quest for kinetic efficiency, sustainability and liberated expression. I am curious to fuel and combine an intellectual and physical discourse with an awareness of the use of the spine, and encourage an 'un-doing' or 'un-winding' in training and performing with the body.
Kira Kirsch - (Phase 3)
MAKE WAVES …. - a disturbance that propagates through space, time and bodies
a composition and repertory classMake Waves is the continuation of 'Politics of the Spine'. We will take, create and improvise material on the concepts of waves, shaking and disturbance as information transmitters and instability factors. We will use the wave as a compositional tool for a dynamic dialogue with space.
ARNIKA LUDWIG
studied "music- and dance education for all ages" in the Orff-Institut. Her main instruments are oboe and piano. Since 2005 she teaches music and dance at a primary school for the project "ReSonanz&AkzepTanz", where bodypercussion is included. She is also studying mathematics and is a candidate for certification as an AS teacher.
Arnika Ludwig - Bodypercussion / Bodysounds
In this workshop, the body is our instrument, on which we can clap, beat and drum. Together we create a full sound.
Bodypercussion challenges coordination, rhythmical skills and stimulates our ears get to hear in a more differentiated manner. In collective play we can swing at the same wave – the important and interconnecting power of music.
HILLARY ANA FLECHA
Ana Flecha has been teaching classes based in the Axis Syllabus since 2006, offering regular training in Santa Cruz, as well as workshops throughout California, in Brazil, Canada, Hungary, and Thailand. Ana's work has been supported by Dancer's Group, Theatre Bay Area, The Cultural Council of Santa Cruz County, CounterPULSE and The Four Eighteen Project. She most recently presented a collaborative work with Ana Claudia Pedone in Porto Alegre, Brazil, and will be presenting at the Imagining Bodies symposium in Tallinn, Estonia, in May 2010.
Hillary Ana Flecha - Laterally Speaking ( Phase 1)
An in-depth study of side-bending principles and their application to movement through space. This class will also delve into partnering, and particularly what side bending can help us communicate to each other as we dance together.
DANIEL BEAR DAVIS -
Daniel Bear Davis has been teaching and dancing CI for 10 years. He utilizes the form in his dance theatre company, Shah and Blah Productions (youtube.com/shahandblahproductions) as well as in acrobatic stilt theatre work with The Carpetbag Brigade (carpetbagbrigade.com). His teaching has been greatly influenced by his study of The Axis Syllabus with Frey Faust and by his body work practice. His approach to CI is a one of constant research and expansion of choice and range of choices. He has also been influenced by the countless bizarre apparatuses and architectures he’s performed on including construction scaffolding, boulders in the desert, the walls of a boat, a submarine, a suspended welded sphere, and many more. Recently he has been involved in a number of performances in unconventional venues performing for intimate audiences of one to five people.
Dan Bear Davis - Contact Improvisation / Tri-Axial Körper-Juggling (Phase 4)
This class will include everything from principles for anatomical efficiency, to accessing different mental and physical states in the dance, to unusual and unexpected interactions and textures. We will learn from the various gifts of structure and chaos within the body, dip into the subtle joys of composition, engage the range between will and surrender, and play in the poetry of this incredibly diverse form: Double-Helix Counterbalance, Chaotic Responsivity, Fascial Support for Centrifugal Flight, Coin Flipping, Distal Levers for Proximal Propulsion, Chicken Wings, Axial-Plane Shifts, Push-Me Pull-Yous (Short Circuits), Architectural Resiliency, Spontaneous Jungle Gym Emergence, Resistance Potential, Advanced Footsie, Digital Specificity, State Shifts and other fancy sounding names for fascinating concepts and fun corporeal experiences.
 photo: Doug Speidel
FREY FAUST
Frey Faust – Fascia-nation (phase 1)
Locate the through-lines of facial support and experiment with the principles of “stretch-reflex” and “tensegrity” to find and affirm the balanced use of bones and muscles.
Frey Faust - Airborne Support (phase 3)
Work with Centrifugal Force to de-stress managing muscles and carrying joints, as well as break free of the gravitational field, allowing easier level changes, natural extension and mid-air repose.
Frey Faust – CHOREOGRAPHIC LABORATORY "Solo-Duo a Trois" (phase 4)
In this LAB we will develop material arising from structured or improvised duet interaction. We will also examine the role of the outside eye, discuss techniques for constructive feedback, and work with video documentation as a memory source and choreographic device.
Full attendence is mandatory.
Please bring your own video camera.
There will be an informal performance at the end of the week, time to be announced.
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