upcoming workshops ........

'arlequi' workshop 2011
© photo Patrick Beelaert 


                                                                                                          2       0       1       4            
some reflections about teaching
are further down the page
  some reflections about the voice  

DETAILS COMING SOON

january  2015

Amsterdam  -  Holland



"evolving technique and making dances"


Amsterdam course description

organised by

Weijke Koopmans
Middenstraat, 55   1381XB Weesp  NL

wkoopmans@online.
nl
  for workshops in   2015   look above    

november 10 - 14  2014

Carthago Delenda Est

Bruxelles  -  Belgium



contact:
info@secretteachings.net

"THE SPACE ISSUE"

taught by Julyen Hamilton



the  S e c r e T  Teachings  2014 - 2015
will be taught by
Julyen Hamilton
and
Billie Hanne

The four work-weeks run from
November 2014 - June 2015


go to  the  S e c r e T  Teachings

 

COURSE FULL

september 2-12  2014

Arlequi  -  Spain

"Technique and Improvisation"


august 2 - 5  2014

10.30 - 13.30

Berlin  -  Germany

"INVOLVING TIME"

register here

  

organised by
Improvisation Xchange Berlin 2014



www.improxchangeberlin.com/schedule-2014/

may 26 - 30   2014

Carthago Delenda Est

Bruxelles  -  Belgium


contact:
billiehanne@gmail.com

"THE SPACE ISSUE"

taught by Julyen Hamilton



the  S e c r e T  Teachings  of  THE WHEEL
will be taught by
Julyen Hamilton
and
Billie Hanne

The four work-weeks run from
November 11 2013 - July 2014

go to  the  S e c r e T  Teachings

organised by

THE WHEEL
Theatre of the Poetic Imagination


 

feb 17 - 22  2014

Paris  -  France

"INVOLVING TIME"

6 day - workshop

  

Micadanses's studios.
           studio MayB at Micadanses 15 rue Geoffroy l'Asnier 75004 Paris


organised by Patricia Brouilly  
for Canal danse  


applications to

 canaldanse@yahoo.fr
www.canaldanse.com

feb 15 + 16  2014

Paris  -  France

"INVOLVING TIME"

week-end-workshop

  

Micadanses's studios.
           studio MayB at Micadanses 15 rue Geoffroy l'Asnier 75004 Paris


organised by Patricia Brouilly  
for Canal danse  


applications to

 canaldanse@yahoo.fr
www.canaldanse.com

january 13 - 24   2014

Amsterdam  -  Holland



"evolving technique and making dances"


Amsterdam course description

organised by

Weijke Koopmans
Middenstraat, 55   1381XB Weesp  NL

wkoopmans@online.
nl

december 16 - 20  2013

Berlin  -  Germany

"The ONE
rhythm, phrasing and 'the one'
."

november 11 - 15   2013

Carthago Delenda Est

Bruxelles  -  Belgium


contact:
billiehanne@gmail.com

"the space issue"
-  single points and vast arenas  -

taught by Julyen Hamilton

the first of 4 complementary work-weeks
dealing
with movement, text, the word, space
in the theatrical space.

This is our second series and is part of
the  S e c r e T  Teachings  of  THE WHEEL
it will be taught by
Julyen Hamilton
and
Billie Hanne

The four work-weeks run from
November 11 - July 2014

go to  the  S e c r e T  Teachings

organised by

THE WHEEL
Theatre of the Poetic Imagination


 

august 12 - 15  2013

11.30 - 14.30

Berlin  -  Germany



"Rhythm and Placement in Time"

monday - thursday 11.30 - 14.30

details

at DOCK 11 and Eden Studios   BERLIN

www.dock11-berlin.de

july 1 - 5   2013

Carthago Delenda Est

Bruxelles  -  Belgium


contact:
billiehanne@gmail.com

"the space issue"

taught by Julyen Hamilton

the third of 4 complementary work-weeks
dealing
with movement, text, the word, space
in the theatrical space.

The series is part of
the  S e c r e T  Teachings  of  THE WHEEL
and will be taught by
Julyen Hamilton
and
Billie Hanne

The four work-weeks run from
October 2012 - September 2013


go to  the  S e c r e T  Teachings

organised by

THE WHEEL
Theatre of the Poetic Imagination


 

june 17 - 21  2013

10.00 to 13.00
each morning

Bruxelles  -   Belgium

"SPONTANEOUS ARRANGEMENT"

a week-lomg series of morning classes
concerning the different compositional roles within improvised theatre / dance piece.

10.00 - 13.00 each morning


 

may 20 - 24 2013

Potsdam -  Germany

'RHYTHM and this dance
with TIME '

 

april 29 - may 11  2013

Paris  -  France

"VOICE"

2 week-workshop

also ........open workshop on April 27-28  weekend  

Micadanses's studios.
           studio MayB at Micadanses 15 rue Geoffroy l'Asnier 75004 Paris


organised by Patricia Brouilly  
for Canal danse  


applications to

 canaldanse@yahoo.fr
www.canaldanse.com

march 9, 10, 11    2013


Sesto Fiorentino  - Florence, Italy 

"TIME and the MUSIC MIND"

 

january 7 - 18   2013

Amsterdam  -  Holland



"evolving technique and making dances"


course registration details pdf

organised by

Weijke Koopmans
Middenstraat, 55   1381XB Weesp  NL

wkoopmans@online.
nl
          2    0    1    2           ⬇    

december 10 - 14  2012

Berlin  -  Germany



"dealing with music"

practice and considerations
for the ears and the dancing body


at  SCHWELLE7   BERLIN

www.schwelle7.de

november 26 - 30  2012

London  -  UK

"the improviser's
work of handling space"

organised by

INDEPENDENT DANCE
at the Sioban Davies Studios
as part of the WINLAB FESTIVAL

fiona@independentdance.co.uk
www.independentdance.co.uk

 

october 29 - november 2  2012


Bruxelles  -  Belgium


contact:
billiehanne@gmail.com

"the space issue"

taught by Julyen Hamilton

the first of 4 complementary work-weeks
dealing
with movement, text, the word, space
in the theatrical space.

The series is part of
the  S e c r e T  Teachings  of  THE WHEEL
and will be taught by
Julyen Hamilton
and
Billie Hanne

The four work-weeks run from
October 2012 - September 2013


go to  the  S e c r e T  Teachings

organised by

THE WHEEL
Theatre of the Poetic Imagination


 

september 3-13  2012

Arlequi  -  Spain

"technique and improvisation"

 

july 2 - 7  2012

Istanbul  -   Turkey

confirmed - book now

Barre Phillips
and
Julyen Hamilton


"Musicians and dancers
improvisation for performance"

organised by
Yanaël Plumet / the Transit Festival Istanbul


www.transit-istanbul.org/

 

june 24 + 25 2012


Sesto Fiorentino  - Florence, Italy 

"Some Moving Work with the Voice"

 

june 18 - 22  2012

Bruxelles  -   Belgium

"RHYTHM
and this dance with
TIME"

 

may 31 - june 3  2012

Potsdam -  Germany

'exploring the instant making
of dance pieces'

 

may 19 - 23  2012

CDC : Le Pacifique Grenoble   France

'evolving technique
and making dances'

 

april 14 - 27 2012

Paris  -  France

"VOICE"
2 week-workshop

also ........open workshop on April 14 - 15  weekend  

Micadanses's studios.
           studio MayB at Micadanses 15 rue Geoffroy l'Asnier 75004 Paris


organised by Patricia Brouilly  
for Canal danse  


applications to

 canaldanse@yahoo.fr
www.canaldanse.com

april 7 + 8

Lyon  -  France

'evolving technique
and making dances'

 

march 10 + 11 2012


Sesto Fiorentino  - Florence, Italy 

"Some Moving Work with the Voice"




january 9 - 20  2012

Amsterdam  -  Holland

"evolving technique and making dances"
2 week workshop

 


 2       0       1       2
   

december 12 - 16  2011

Berlin  -  Germany

"Musicality and its Space"

dovember 29/Dec1+3  2011

New York  -  USA

"Three Days in Space"

november 3-7  2011

Minneapolis  -  USA

"Making Dances and Evolving Compositional Abilities"

september 2-12  2011

Arlequi  -  Spain

"Technique and Improvisation"


june 13-18  2011

Bruxelles  -   Belgium

"Space and Silence"

 



              ....some thoughts about teaching
                                                  and what my interests and aims are when giving classes ...



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 theyfunction
       how they might go together

and

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 for many years now is
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




SOME NOTES FROM 2007

 

..... work concerning the VOICE
and musicality in and from the dancing body.

Awareness is not necessarily spatial
... thus it can shock the spatial body, demanding it to re-orientate
itself.

Attending to the laws of space in the body, going through them to arrive at the non-spatial powers of consciousness.

Consciousness     leads
Ideas     push


control - concerning the body's movements
non-control - concerning what leaves the body participation in what happens around the body and extends from it

making gerunds out of ideas
rendering ideas gerundive


-

sound is vapour and air, which has another level of intelligence
than the mass and flesh of the body,
so they perceive different levels of life and therefore can touch
different levels of expression.
sound and mass have seldom need to be in parallel.

going below expression as a parameter of permission for our movements

dancing ..... displaces (tears the space from side to side)
voice ...... voyages through the space and travels all over and around

- dance opens up the wound in the space and lets the light travel in or out
voice heals or at least surrounds and touches all and in its touching, accepts and in its accepting, all is relieved, heard ... for the voice hears.


-

sound is so 'solitaire', so alone, thus it loves to mix with any other sound instantly all sounds join and fuse and voyage together

- some sounds - lead you visually and spatially to their source seem to come from elsewhere seem to come from everywhere else lead you to their surrounding silence lead you to their inherent fullness and quality


-


The concept of inversion
the glove turned inside out
the empty full, the full empty
the vacant space populated
the cruel, comforting
the reassuring, threatening.



Every sound is a question, exposing its next second
and breaking it open to inspection
beyond pre-conclusion.

The body speaks through flesh
the voice speaks through sound.

In the body there is an accumulation via experience,
with the voice, the air passes through and is essentially unable to be captured,
each second fading and having to be remembered for us to construct sense.
The flesh that is moved remains while the sound the voice evaporates and disperses fast.

Both body and voice have access to 'here' and 'there' but in vastly different ways.
Voice dies fast and never accumulates ...
but then again maybe it can seem to accumulate
when in or from a body that accepts its history and experience.


Repetition shows us that we can survive that moment or configuration;
thus it reassures us.
A public, watching a repeated piece, knows that the performers have 'survived' it and therefore
they can allow themselves
to pass in and though it and for it to pass through them.

So, in improvised work (work that has never been repeated) the performer must
give the actions and composition a 'history' instantly, even in the moment of execution.

The composing mind (a point of view in which the creator is sensing the activity instantly
adding up to a composition) aids this 'giving a history' as it already engages
an outside or beyond or context in which the actions are immediately housed.


-


Number is without context ................. 309 could be anywhere, anything, any size .....

Rhythm gives context, gives both house and elements therein.
And this allows elements to be together and to instantly have a common ground.
Rhythm allows things to be all in the same time,
even if they happen to be in a sequence.



Rhythm can be seen as - a number of elements or accents in a context
- as an atmosphere or context itself, regardless of the number of elements inside.
eg a waltz has a particular atmosphere however many notes there might be.


-


Articulation opens up space, opens up the spaces between elements, actions sounds, movements
.. ... even a space between meanings.

-

The superficial or surface. That which can be touched,
directly sensed and directly related to.
so the surface is the place to be pragmatic
and profundity is indirect and demands a further step of the imagination
than that used when we handle the tactile and palpable.


-


Association is 2 dimensional - it relates one thing to another thing
Imagination is 3 dimensional - in that it tends to give context
and works easily with a plurality of elements.

-

Humour helps survive consciousness.

-

4 places of listening:
fingers in the ears hands
cupped to mouth
and linked to ears normally in high winds,
where sound is ripped away fast
and can even become inaudible

-

Structure gives space somewhere in which 'other' can be placed.
Without structure, 'other' is always outside or away from, indeed every element is simply on its own

-

Permission - action - appreciation ..................... all at the same time within action.

-

Action is concentric
Appreciation is eccentric.

-

Body is soft      Clarity is sharp

-

Creativity allows freedom, rather than freedom being a prerequisite for creativity.
Freedom has received such high praise but i feel its often oversold and not so important.

-

  



 

                                    jh_paolo_class.jpg

 

JULYEN HAMILTON

contact