workshops
workshops ........
2010
PARIS / FRANCE
"VOICE" - 2 week course
April 19 - 30 2010
Organized by Patricia Brouilly - CanalDanse
APPLICATIONS for these courses to:-
canaldanse@yahoo.fr
www.canaldanse.com
also ........open workshop
on April 16 - 17 weekend
..... see details at www.canaldanse.com
at .................... Micadanses's studios.
studio MayB at Micadanses 15 rue Geoffroy l'Asnier 75004 Paris
GENEVRE / SWITZERLAND
'TIME and making dances'
March 29 - April 3 2010
Organized by Jean-Luc Grandin
tel : 00 41 22 731 13 13
for more information click here.
jlg.mambo@bluewin.ch
MILANO / ITALY
" MAKING DANCES "
Marzo 18 - 22 2010
ORARI: 18,19, 20 marzo h. 10>15 21 e 22 h. 11> 16
COSTO: 175 euro + 5 euro iscrizione associazione Takla 2009 - soci Takla sconto 10%LUOGO: Milano - Spazio Usi - viale Bligny 22 MM3 Porta Romana
Organized by Takla Improvising Group
tel : +39 02-55 19 22 67 / 335-83 80 533
info@takla.it
www.takla.it
PARIS / FRANCE
week end / 2 day course
February 27 - 28 2010
Feb 27 : saturday 14.00 - 18.00 - workshop
Feb 28 : sunday 14.00 - 18.00 - workshop
at Canaldanse Studio
102 bd de la Villette at Paris 19th
- metro Colonel Fabien
Organised at the invitation and initiative of Patricia Brouilly / Canaldanse with the support of Micadanses at Micadanses's studios.
(studio MayB at Micadanses 15 rue Geoffroy l'Asnier 75004)
canaldanse@yahoo.fr
AMSTERDAM / HOLLAND
20th YEAR
" EVOLVING TECHNIQUE
and MAKING DANCES "
January 4 - 15 2010
Organized by Weijke Koopmans
Talmastraat 6c/1073 JW Amsterdam/NL
wkoopmans@wanadoo.nl
2009
ARLEQUI / SPAIN
September 2 - 12 2009
Organized by Anna Borreda
www.arlequi.de
anna@arlequi.de
ISTANBUL / TURKEY
DATES July 1 - 8 2009
taught by BARRE PHILLIPS and Julyen Hamilton
this course is specifically for dancers and musicians
and looks at the ways in which the two forms
can and do play together
Organized by Compagnie Coulisse
contact
yanael@compagniecoulisse.com
for more information
www.transit-istanbul.org
BRUXELLES / BELGIUM
'SPACE AND SILENCE'
June 22 - 26 2009
Organized by DCJ - danscentrumjette
E. Van Cauwenberghstraat 55
1080 Brussel
Belgium
0032 (0)2 427 36 56
www.danscentrumjette.be
danscentrumjette@skynet.be
ZURICK / SWITZERLAND
'MAKING DANCES THROUGH IMPROVISATION'
May 4-8 2009
Organized by Fabian Baechli
for more information click here.
sunshine.fabian@gmail.com
My work is to make performance
- solo and company pieces - with dancers, musicians and other performers - and my process,
amongst others, is to create instantly on stage...
to compose instantly..to improvise.
This work demands -and has demanded- a thorough
and constant research into 2 areas:
one of COMPOSITION - how things are made
how they might go togetherand
one of TECHNIQUE - abilities needed to have
a close relationship between the creative self
and the mind/body
For many years I've been discovering and developing
ways to impart this knowledge, this awareness.Naturally influenced by all various physical experiences
-sport, dance training, philosophy-,
I can say that the studies of T'ai Chi, Alexander Technique and
Ki-Aikido have been radical in the clarifying and inspiring of the
development of the technical area.As for the Compositional area, I have been much stimulated
by musicians and writers as much as, if not more than,
choreographers; inspired specifically by the ways
many of the improvising musicians work together
in terms of the 'company' formation.
In the TECHNICAL area we study
how the body/mind works, how its energies are manifested,
the anatomy and its associated mythology and philosophy,
and how to direct the body to give and receive on
a kinesthetic wavelength.Spine / hips / and skin are some of the central interests
in this area at present.....along with the need
to be able to handle the weight
the perceptions and the ordination/co-ordination.
In brief, the technical work centers on kinesthetics
rather than aesthetics.
and uses often a process of 'reverse engineering'
to re-discover how we move, are moved.
In the COMPOSITION classes I deal with the subjects of
space / time / theatre / voice /
entrance-exit / music / object /
protagonist-antagonist-support.
These areas are required for at least 2 reasons:
1. to be able to have an awareness and a refinement of intention
when deciding spontaneously in the act of improvising.
2. to have some references as tools of simple analysis
to look in depth at what is made,
both by ourselves and the others when
working in a group configuration.
Without this ability -and the tools for it-
we are often at the mercy of our subjectivity and
seldom have the complementary power of our objectivity,
a state which can reduce the nature of our 'compositions' to the
merely personal and lacking in the 'universal' power.
The 2 areas of teaching -technique and composition-
naturally pose questions from one to the other,
interacting as a figure of 8 spiraling
through the passage of the lessons.A main interest now is also a detailed research into
the area of the moving body speaking and producing sounds;
this, integrating with the observation that the mind taps into
a certain layer of intelligence when moving.
JH august '99