Open to the public / not included in the full course program fee for the exception of Tuesday July 24 Alexander workshop
Saturday July 28 and Saturday August 4 13:00-16:00 Manuela Tessi – Music Dance (towards a Freakatoni Event)
This workshop is aimed for dancers and musicians who have an interest in the study and practice of sound and movement in real-time composition with a curiosity to discover an intuitive organization of the body in space with sound. When relating to live sound, we need to take into consideration how it is altering the state of the body and the mind. We need to allow for raw materials to change moment to moment. As dancers, we need to be extremely alert, to listen to each change, shift of our state of mind and quickly create the material in a playful arena with the sound in space. In this workshops we start with exercises that train the awareness of presence and the listening. We address dancers and musicians the same way, being in this work first of all performers. We will then explore different tones of physicality and qualities of sound, refining the readability of intention in sound and movement, to be able to commmunicate with the material being generated. We invite the participants to compose material on the spot by letting it emerge from a sense of urgency, a need and a passion to give form to the ever fleeting moment. We encourage each performer to be engaged in their own personal research of physicality of sound and movement, with curiosity and playfulness. In the workshop we will make several pieces, real time compositions of sound and movement as an ensemble: in composing the pieces we will study how to be aware of time passing, tracking our feelings and responses to each other’s media, imagining the potential of the piece as it is being developed, getting to a fine tuning with each other that is close to mind reading.
CV- Manuela Tessi – I am a dancer, teacher and maker based in Amsterdam and Berlin. I hold a degree in Modern Dance from the Theater school in Amsterdam and have spent the last several years performing and touring my work. Live music, whether composed or improvised, has played an important role in my performance work in the last 13 years. Since 2004 I have studied and worked with Katie Duck, who has been one of my greatest creative influences alongside the many dancers who have inspired her direction in work. I did an apprenticeship with Magpie Music Dance Company in 2007, that lead to several ongoing collaborations, in particular with Makiko Ito, artistic director of Wonderland collective, and Miri Lee. I recently performed two solo works created specifically for me by Vincent Cacialano and Paul Estabrook. I have an interest in movement prior to dance as a formal language, in my movement research I include a scientific study of movement (somatic and kinesiology). I believe that content and functionality provide form: I work with movement principles and qualities and those are the raw materials to compose with. I look for sensuousness and embodiment in dance, often referring to kinesthetic empathy, how is the movement being read by the spectator not solely with the eyes and intellect, but perceived on a visceral level. I collaborated over five years with a dancer and researcher specialized in Southern Italian traditional dance and music. I studied and performed with her, learning some traditional forms of dance ( the Pizzica from Puglia and Tammurriata from Campania) and I did a study on the Tarantism, a complex phenomenon that has its roots in the pre christian pagan traditions, involving a form of mental illness-state of possession and its cure through music (always played live) and frantic dance. This experience changed the way I approach contemporary forms of dance and music, making me understand the cathartic function of the art form, and the importance of the live interaction of the two. I curate two platforms for dance and live music performance: the series Music Dance 301, at the cultural center OT301 in Amsterdam, and Musiktanznulldreissig, its sister project, taking place in various Berlin venues, in collaboration with flutist Friederike Wendorf. I find essential at the time we live in right now to contribute to the production of art creating platforms and gathering crowds to experience the work. Those platforms provide opportunity for my own performances and the work of peers, allowing continuity in the research. I believe that creativity needs to be promoted bottom-up, without waiting for permission from funding bodies and established venues, rather by getting hands dirty, digging into the material.
Sunday July 29 13:00-7:00 Miri Lee Improvisation workshop – Imprography 4 hours studio 1 (Towards a Freakatoni event)
Imprography ‘Imprography’ is the title I am currently using to represent my research in composition. Imprography is the way I wish to describe constant physical writing. I use improvisation to tone an insight of body with an alert intuition. Through my own experiences in improvisation performance, I developed a methodology that supports the performer in how they are able to consider their choices whilst under the pressure of real-time performance. I have exercises that support being active in the context of the moment while maintaining clarity with spatial choices. This needs to happen with an efficacy that is consequential of the sound, light, public and all of the performers in the group. I integrate music, either live or recorded, by musicians whom I have worked with. As makers, we will explore how we can transform our personal role in a performance whilst executing ‘rational’ and clear choices in a potentially hyper-stimulated environment. Through the use of improvisation as a practice, I place an emphasis on the ability to develop for each of the dancer’s way to conduct research and to place that process towards real time performance. I wish for the dancer to explore possibilities from their personal artistic motifs by placing their creative ideas and emotions at the core of their artwork. I wish to encourage the dancer to develop their own unique style and to gain equal confidence as both performer and/or maker. My background, from traditional Korean dance, contains a use of controlled breathing that allows for the dancer to be calm between sculptural pause and dynamic flow. Controlled breathing guides the dancer in a particular way from the core of the body to the spine and limb. The essence of this workshop, is in the visualizing of the invisible; physical drawing in the air, the hidden forms in the space and giving instant shape to a thought generated by the perception of the movement. Imprography include physical training, to filter minimal expression as an implied pattern. These patterns evolve into complex movement variations that resonate spontaneous and fluent expression. The training process I use enhances an ability to explore and expand self-direction, quickness of response and a sharpness of execution for making choices. Dancers will be placed in an architectural collaboration, drawing on one’s voluntary artistic participation, building skills out of one’s own creation in a group composition with an inspiration to react body to body, widening their visual perspective with their eye.
CV – I am a choreographer, contemporary dancer and movement teacher for 15 years and have been working in the field of performance art internationally Since I moved to Netherlands in 2008. I have been performing numerous improvisation and theater performances with Katie Duck and dancers such as; Julyen Hamilton, Jack Gallagher, Kenzo Kusuda, Vincent Cacalano, Lily Kiara and many others in across Europe, US, Brazil and Korea. I collaborate a substantial working relationships with theater maker Juliean Hetzel and visual artist, Jennifer Tee based on performance work with visual installations in gallery, museum, manifesta and created many solo pieces in varied contexts and international locations and ‘Meta body’ in European project which is collaborated with group of ‘Steim’ in Amsterdam and ‘Dablab’ in London. I choreographed ’Poetry’ and performed with Anani Sanouvie in Julidans festival 2011, ‘Lucht’ in ‘Dans in the wereld’ in Muiderpoort theater in 2012 and later ‘Red Room’, ‘Ban of Ritual’, ‘Solid Seeing’ in different venues in Netherlands. Since 2009, I have been working improvisation summer course; directed by Katie Duck as a movement teacher and artistic advisor, and taught a movement research at the school for new dance department (SNDO) as a guest teacher in 2016. Recently, I have researched to develop my own methods, ‘Imprography’ is the title to represent in choreographic methodology to execute for performance in live time performance. detailed CV: http://mirilee.nl/CV
Tuesday July 24 and Tuesday July 31 19:00-21:00 Noortje Kohne Alexander technique 2 hours each workshop Bodlabot studio
The Tuesday July 24 Alexander workshop free of charge (priority attendance) for anyone who is doing the full course program week 1, week 1 and 2 or all three weeks.
Noottje provides Individual alexander lesson through out the summer course by appointment €20
The Alexander lesson consists of observation and simple movement lending clarity and understanding to how you function as a unit. The teacher gives the student tools to undo hindering habits and access natural coordination. Freedom and ease follow. An example of simple activity is the work using a chair – how to sit, get up, stand, and get back into the chair. While the teacher guides the student verbally she applies her skills with a subtle touch allowing the student to experience hands-on direction. In the Alexander workshop we will explore the spines integration with the rest of the body. Special attention will be given at the relationships of the hips and the legs.
CV – I received my Alexander training at the ATON, in Amstelveen, under the direction of Arie Jan Hoorweg. Since 2004 I have been teaching there on a regular basis. I run my own practice in Amsterdam and at the Gimsel Academy in Rotterdam. My practice includes workshops at the conservatory and dance schools. Noortje is STAT certified and is a member of Nevlat. Also a professional musician, I graduated in 1997 as a violist from the Sweelink Conservatorium in Amsterdam. I have performed with various music ensembles, dance and theatre groups, such as Insomnia, ‘t Barre Land, Orkater, Scapino Ballet, The Metropole Orchestra, Lysn, Malte Schillers Red Balloon. I have trained improvisation with Katie Duck and Alfredo Genovesi and have been teaching Alexander technique at the Summer workshop since 2011.
July 28 Saturday 10:00-12:00 Maria Mavridou / Body Unwind / 2 hours / which studio
Moving continuously, through a guided visualization journey and hands-on work with partners in a deeply relaxed state, as well as some more physically intense breathing and moving exercises, the aim of this session is to unfold deeper layers of imagination and physical sensation. Besides being a pleasurable work to start off the day, bringing a sense of expansion in the body and mind, the work can nurture and support further and deeper movement exploration in the improvisation, as well as build trust between the moving bodies. The material and exercises come from my own research in improvisation and choreography. It is the outcome of a slow cooking process of various sources, that goes on being transformed through continuous practice with body and imagination.
CV – Maria Mavridou is a dancer that keeps exploring the multiple dimensions of body and mind, indiscriminately, through any practice that feels relevant. Since she started dancing at the age of 5, her journey through movement has been a transformative adventure. Besides her never ending love affair with dance, she graduated from the State School of Dance in Athens, did post-graduate studies at Dance Space Center and Movement Research in New York (as a recipient of the Onassis Foundation Scholarship) and acquired a BA in choreography from the SNDO in Amsterdam. Further on she trained extensively within the Platform Body Weather Amsterdam (lead by Katerina Bakatsaki and Frank Van de Ven) and kept practicing improvisation with Katie Duck and affiliated artists. She is working internationally as a freelance performer, movement teacher and choreographer. She has been a guest teacher at the Korean National Univesity of Arts (Seoul) and SNDO (Amsterdam) and collaborates with independent artists and teams, a.o. Wonderland Collective – Makiko Ito (Amsterdam), Help Me To Crash Band (PL – NL), White Horse Collective (DE-CH), Netzwerk AKS – Platform for Contemporary Dance + Art (AT) . In Amsterdam, in co-initiative with Pablo Fontdevila and in collaboration with a team of peers, she leads ‘Dangerous Mouses’ – regular sessions for movement practice, training and research.
(Date Time TBA) Vilbjorg Broch Two Voice and sound improvisation workshops 2 hours Bodlapot studio
This workshop will be an introduction to the voice in improvisation and will be especially aimed at dancers, though anyone is welcome. We will touch upon the following topics: The voice in improvisation, Perspectives on developing the voice, Harmony and rhythm, Relation between musical form and technique, Intonation, Voice and language, Voice and movement. And we will end with a performance presentation at the Freakatoni event the following weekend
CV – SNDO Amsterdam, Studied classical music approximately 12 years by coloratura soprano Marianne Blok, studied new voice techniques with various members of the Roy Hart Theatre, especially Enrique Pardo. I worked with theater and music in a wide range of forms during the past 30 years, spanning from improvised electro-acoustic music over object & text theatre to environmental installation events. A few key collaborations and projects are : Noise Maker’s Fifes (BE), Songs Of Maldoror, Henriette v Reesema, Yochem Hartz, Milou Veling, Anti-Delusion Mechanism, Yann Keller (DE), The Genetic Cabaret, Eugenix, Gracehoper and the Sommerfool, Some day the Prince will stay at home – Machiavelli, Apokalypsis, OOO-2012, Katie Duck, Telluric Signals, OKNO (BE), Raoul vd Weide (NL), YoYo (CZ). For some projects I have produced costumes, objects and masks. I am (mostly) autodidact in mathematics, programming and electronics. €10 per day for anyone on the summer course / €15 per day for anyone outside the summer course.
Sunday August 5 13:00-17`:00 Kenzo Kusuda Improvisation workshop Vitalizing the Invisible 4 hours studio 1
The work of Japanese dancer/choreographer Kenzo Kusuda stems from a highly original imagination and aims for a communication with his audience precisely by finding a connection with their imaginative powers. Inevitably linking with breathing, seeing, listening, touching and feeling, we will focus on the power of imagination as an anchor to our dancing. In this workshop” Vitalizing the Invisible “………………….we aim to enhance the elasticity of our physical, actual body and our visionary, imaginary body which are intricately interwoven with each other, generating the magnetic, permeant presence and consequences through the performance.
CV – Holland-based Japanese choreographer / dancer Kenzo Kusuda reveals the poetry of the dancing body. Kusuda takes the audience to a world filled with imagination. His work is possessed of a mystic beauty that lies beyond the perception of our physical senses. Simply with the body’s movement on an almost empty stage, he is able to reveal that which is the invisible. In the days when he was studying economics / business administration and worked part-time at the world biggest fish market in Tokyo, Kusuda became so fascinated by the dance performances he attended, that he decided to further explore this art form. Through his auto-didact learning process he developed a very personal and intense movement language that gained almost immediate recognition.
Thursday August 2 and Tuesday August 7 19:00-21:00 Ellen Knops Light Improvisation 2 hours each workshop Studio 1
Light changes the atmosphere and distorts how time is passing with each shift I make in the theatre space. It is a powerful aspect of how the public perceives tension and how dancers, performers and musicians are defined visually. In real time theatre, I am able to influence, and therefore, interact with the choices the performance artists are making. This is a specific study for performance artists in how they need to feel and read the light states and changes while in the process of executing their work. In in the workshop, I want to to do short improvisation sessions, allowing for the performance artists to be in the piece or out viewing, using different light states and shifts, so that the performance artists have an opportunity to experience the possibilities light can produce in real time. We will engage with feedback and discussion in the breaks and I will share some of the technical reality’s of my work. As the person behind the light board, there is an obvious visual position I have that is located equally to the public view in a playing space. It is from this position I make choices. The aim in this workshop, is to guide the dancers towards recognising from their visual position, how light is affecting the, time, tension and atmosphere in the playing space and to discover an interactive relationship with me behind the board. The question we will address is; how does light influence real time performance?
CV – Started in 1989 in the music lighting but changed quickly to theatre and modern dance. In 1994 Katie Duck asked her to do the lights for her improvisation performance. All she said was “surprise me”, so she did and continued Back to main page Improvisation summer course 2016then they have been working other projects in Magpie Music and Dance Company, where there is an instant interaction between the disciplines dance ,light and music. In the past years Ellen improvised with many performers, such as David Zambrano, Michael Schumacher, Gonny Heggen, Nederlands danstheater 3, Katie Duck en Lily Kiara. In the work with Lily Kiara, in their almost organically growing collaboration, there is a very close interaction between lights and dance. They continue to develop their findings and always look for possibilities to stretch their ideas a little further. Ellen has been teaching workshops at the School for New Dance Development en Amsterdam, to share her vision that light can be played with as an autonomous element; light as movement, rather than a static aspect of the performance. Light can change the sense of space, time and atmosphere