Hier die Klassen von 2019/20!

warm up Klassen: 10.15-11.15

Bewegungsevolution®

orientiert sich an der frühen Bewegungsentwicklung und den frühen Reflexen. Die Übungen stimulieren prä- und postvertebrale Muster. Sie beginnen mit sehr kleinen, subtilen Impulsen und entwickeln sich hin zu größeren, kraftvolleren Bewegungen. Das Training beginnt am Boden und führt uns in den Raum. Es bietet unserem neuromuskulären System Frische und ein stabiles Getragen-Sein und bereitet uns vor, offen und

präsent zu tanzen, zu spielen und auf Begegnung zu reagieren.

 

Martina Kunstwald
Tanzpädagogin (Zeitgenössischer Tanz) und Lehrerin für Alexandertechnik (ATVD). Gründung und Leitung von Tanzwerk Bremen (94 – 97). In die Entwicklung von Bewegungsevolution® fließen Erfahrungen aus der Alexandertechnik, dem BMC ™ und das eigene, langjährige Forschen mit der frühkindlichen Bewegungsentwicklung ein. Unterrichtserfahrung in Tanz (seit 88), Alexandertechnik (seit 95) und Bewegungsevolution® (seit 05) in Kursen, Einzelarbeit und in der Weiter- und Ausbildung. http://www.martinakunstwald.de/

Tänzerin, Tanz-Pädagogin, Choreografin, Pilates-Trainerin, Yoga-Lehrerin

Solange ich mich erinnern kann, habe ich Bewegung geliebt. Für mich ist Bewegung Ausdruck von Lebendigkeit! Mein Hauptinteresse liegt in der Contact-Improvisation sowohl als Kunstform als auch als Lebensprinzip!

Choreographie & Postmodernen Tanz (Diplom) an der Hogeschool voor de Kunsten Amsterdam, Niederlande (1997-2001)


Seit 2001 freischaffende Tänzerin und Choreografin in den Niederlanden, Schweden, Dänemark,  Frankreich, Mexiko und Deutschland u.a. bei Festivals und an freien Theatern wie „Eigenarten Festival, Hamburg“, „Tanz Bremen“, „Oerol Festival, Niederlande“, „Dansscenen Kopenhagen“, „Danscentrum Väst Göteborg“, „Projekttheater Dresden“, „Muiderpoorttheater Amsterdam“.

Seit 2006 Lehrkraft für besondere Aufgaben an der HMTM Hannover, Schauspielabteilung. Lehrgebiet: Bewegung, moderner und postmoderner Tanz

Pilates-Trainerin (Polestar Pilates, Köln) 2007, Yoga-Lehrerin (Institut für Yoga & Gesundheit Köln) 2013/14, Traditionelle Thaimassage im Holistic Bodywork Konzept 2016.


Extraklassen: 15-17 Uhr

27.12. Class 1: Roland Nordeck

 

Tilting and falling!
This class deals with the theme of tipping over and falling. While moving through space we are going to tune into group awareness and spacial awareness. In the beginning we are going to combine dancing with throwing and catching soft balls in order to enlarge our awareness of what is going on around us. In an relaxed way we are constantly going to work on being ready and available. How can we see a good moment to offer support to a tilting person? How can we make our own process of loosing ballance visible and readable for other dancers? We are going to explore the fascinating area of „half-control“ that we can step into, when we allow ourselves to loose ballance. Half control means, to give up some control and at the same time keep up some alignment and activity. By doing this it is possible to elongate the process of falling. And during that process of almost falling, falling and (almost) winning back ballance, there are still active choices available. We are going to work a lot with counterweight and counterballance (combined with levelchange and rotation on the floor) We are also going to practice finding a rich solid and supportive touch with the floor and with a partner  - believing that the better we know the way back to stability and grounding, the more we can reach out into the interesting realm of instability and surprise.
Level: Intermediate (participants should be at least familiar with small dance, counter weight, counter ballance and falling into walking)

 

Roland Nordeck (Göttingen/Germany) I see both movement and touch as valuable forms of humancommunication, as they can reach beyond the field of verbal expression.I have been practicing CI for about twenty years and for three yearsfulltime I studied contemporary dance in Outokumpu, Finnland.For many years my interest in Shiatsu massage has been affecting mysense of perceptive touch and intuition while dancing.I believe that being seen, being heard and being touched are basic humanneeds that affect the world of dance a lot. Meeting theese needs withprofound listening skills – listening to space, sounds, touch, (...) andrhythm can form the basis of improvisational art.Bodywork and improvisational dance complement my general interest in communication.

27.12. Class 2: Barbara Pfundt

deepen the dance

Contact Improvisation is about the ability to be in the here and now, to wake up for the moment, to following impulses spontaneously, to discover the unknown, to throw patterns overboard, to surprise oneself, to risk balancing acts etc.all this is challenging and often not easy to figger out. This class is looking for ways how we can open up much more, how we deepen our awareness for ourself, sensing our bodies to come into the ability to connect the core, the innerself of the dance..... !?

- What is the essence ?

- What is my layer of being connected?

- And how does this change the dancing and my feeling to be in life?

 

I‘m looking forward to explore and play with you around this questions an opening an attentive field of depth and lightness. let's enjoy!

Barbara Pfundt

Barbara Pfundt studied physical education and education. Since 1992 she has been on her journey of dancing contact and contemporary dance. She founded the company “momentum” and aftter a long period of performing in different companys and projects, she is now mainly teaching.

Barbara is convinced of the theory of the mathematic hyperbel curve and the spiral as two of the main principals of movement and likes to integrate elements of Tai Chi, Release Technique, Feldenkrais, Performance Skills and much more in her teaching.

 

I am dancing CI because I have been fallen in love with this hugh universe of moving very physically, feeling myself, sensing my partner and the surrounding, taking again and again this challenge of opening up and developing an open hearted mind. It’s simply a big gift.

28.12. Class 3: Matthias Früh

Solo skills into duets

 

Um eine große Bandbreite möglicher Bewegungen im Duett zur Verfügung zu haben ist es sinnvoll, zunächst im Solo bestimmte Fertigkeiten sich

anzueignen. Wir werden uns mit verschiedenen herausfordernden Aufgaben und Spielen konfrontieren (wie z.B. diverse Rollen, Vierfüßler, Sprünge, Handstände), um neue Möglichkeiten an Kraft, Beweglichkeit und Kreativität zu etablieren. Diese physischen Möglichkeiten erproben wir

dann in Duetten.

 

Solo Skills

In order to have a wide range of movement possibilities available in a contact duett, it makes sense to develope specific solo movement skills.

We will confront ourselves with various challanging tasks (such as many kinds of roles, four feet, jumps, handstands) to establish new possibilities of strength, mobility and creativity. These physical skills were integrated in duetts.

 

Matthias Früh teaches since 1985 Contact Improvisation and combines influences from different body work techniques (Laban, BMC, Feldenkrais, Bewegungsevolution) with Contact, Contemporary Dance, Martial Arts and the joy of movement. For several years he conected improvisation structures with the intellectual understanding of concepts about dance. Besides this Matthias ist psychotherapist (EMDR, Traumaterapy, Hypnosis) www.matthiasfrueh.de

28.12. Class 4: Angela Mara Florant

Head less – losing control

 

Focussing attention on the roundest body part, the highest point of the body, resting on the spine, which contains all the senses and the brain, is hard but extremely fragile – the head.

Letting go of the head, resting our heads on each other's body and falling head first... trusting our partner, controlling and losing control. How can the head lead us into a dance? How is it when the head serves as hands to navigate surfaces through touch? The class will include bodywork and other exercises to raise awareness of the head and neck.

 

Angela-Mara Florant - Germany

Angela-Mara Florant had her first experience with CI during her performence arts studies in Besançon, France. In 2005 she moved to Hamburg. She teaches several regular contact classes, gives workshops and organizes jams and festivals (NORDTANZ Festival). Since 2015, she is co- director of the dance studio “Triade” in Hamburg. When Angela-Mara is not dancing or teaching contact she is teaching Pilates, directing independent theater productions, choreographing dance pieces (mostly based on CI) and teaching theater and dance to children.

 For me CI is an art form. I love allowing my dance to be inspired by the composition of the room.

 CI opens up space, Space within me and outside of me, Creative space unfolding.

I enjoy looking at movement from an anatomical perspective and at the same time love the playful unfolding of stories that can occur while dancing CI. Over and over again finding and reinventing myself while continuously rediscovering and uncovering new aspects of the form are my favorite subjects of my ongoing research.

www.angelamaraflorant.de

29.12. Class 5: Britta Schönbrunn

Rückblick, der Körper erinnert das Jahr

 

 

Der Workshop ist eine Reise, das ZurückLiegende über den Körper zu erforschen.

 

Die Wirbelsäule verbunden zum Rücken und den damit verbundenen Extensionen Kopf- Arme- Beine steht in der Wahrnehmung im Fokus. Bewegungsprinzipien aus der Release-Technik, aus dynamic anatomy nach Nancy Topf, sowie aus dem Yoga fließen in die Stunden ein.

 

Wir zoomen den Bick ins Detail - von einzelnen Wirbeln und deren direkten Verbindungen, erforschen wir auf unterschiedlichen Ebenen: visuell, imaginär, auditiv und taktil und schärfen die kinästhetische Wahrnehmung. Jeder Wirbel bzw. Wirbelsäulenabschnitt steht in ganz eigener Verbindung zum Körper und generiert eine eigene Dynamik und Qualität in der Bewegung. Diese findet in der Contactimprovisation, im Tanz in der Berührung ihren Ausdruck. Mit dem Fokus auf die RückwärtsBewegung, die RückwärtstBeuge, den RückwärtsLauf appellieren wir einerseits an Vergangenes, andererseits an das Vertrauen, das Spiel der unterschiedlichen Kräfte an- und aufzunehmen - to embody. Es entstehen Augenblicke in der Contact Improvisation, die Begegnungen zwischen Nähe und Distanz, zwischen zarten, innigen  Berührungen oder raumgreifenden Ausbrüchen Gestalt geben und das eigene Potential freisetzen.

 

looking back- the body remembers the year

looking back with focussing on my spine and backspace. Relation between spine and extremety, breath, extension. Looking to different sections of the spine. Creating connection and trust in CI duetts.

 

Britta Schönbrunn ist freischaffende Tänzerin, Choreographin, Diplom Yogalehrerin. 2017 absolvierte sie das Masterstudium in zeitgenössischer Tanzvermittlung an der HfMDK Frankfurt.

Aktuell ist sie künstlerische Mitarbeiterin/ Coach in dem 3 Jahresprojekt „All our Futures“ im Schauspiel Frankfurt und unterrichtete als Dozentin an verschiedenen Kunsthochschulen: Yoga, Achtsamkeits-training und Contact Improvisation. Britta kollaboriert seit vielen Jahren in interdisziplinären Projekten mit internationalen KünstlerInnen aus Tanz, Musik und Bildende Kunst in Europa, USA und Japan.

29.12. Class 6: Heike Kuhlmann

Exploring our pelvic anatomy as starting point for contact

 

Das Becken enthält das körperliche Schwerkraftzentrum und ist Sitz der Geschlechtsorgane. Es ist zentral bei unseren Bewegungen und beim Contact tanzen. Wir wollen etwas Zeit für die Erforschung der Anatomie des Beckens nehmen und mit dieser körperlichen Erfahrung ins Contact tanzen kommen.

 

Exploring pelvis

We will explore the Pelvic area as our mass center and place of sexual organs. The pelvis is a central place to generate movement. We explore the anatomy and take this into CI dancing.

 

Heike Kuhlmann: Tänzerin, -pädagogin, Choreografin, Body-Mind Centering® SME -Integrative Körperarbeit und Bewegungstherapie-SMT, MA Performance Studies/Choreography. Weiterbildung: Discipline of Authentic Movement. Global Water Dances Performance Kollektiv Berlins - ortsspezifische Performances zum Thema Wasser. Heike unterrichtet Contact Improvisation in Berlin und weltweit, dabei unterrichtet sie auch Contact Improvisation für große und Kleine, organisiert mit Markus die Potsdamjam. Sie ist Teil des Ausbildungsteams an der Somatischen Akademie Berlin und leitet dort die Fortbildungen mit anderen Kolleg*innen: Emerge- Somatik in Tanz und Somatische Begleitung und Unterstützung von Kindern

30.12. Class 7: Michele Tarento

Bone awakenning© The Bone awakenning© is a practice which solicites our body’ consciousness by pressures and tapping adressed to the bones, through the bony matter (different tissues and cells) and observes their density, elasticity, rigidity, and contours. All supple fascias (ligaments, tendons, muscles, aponevrosis...) are anchored inside bones, the solid fascia. So that bones, are dynamic speakers to all our fascia systems that we will explore and relaunch during our practices. Bones as physical parts of the body's tensegral architecture, react almost mechanically to any constraint (internal and external) applied and accumulates kinetic energy. Our attention will be particularly devoted to the bony structure in its specific relationship with the skin in its whole and with the pelvic organs. Awareness of all our systems through the bones will gradually take place, giving security to ourself, to our dance and contributing to a deep inside and a playfull attitude. 

 

Michèle Tarento, french Doctor of Medicine, Osteopath, Ears, Nose and Throat Specialist, Phoniatry competenced, Bioenergie (Lowen, Reich) and Modern Danse Graduated has developped in parallel a passion for dance and movement and a scientific teaching and research vocations. Since 1978, she took dance contact classes with Didier Silhol, Suzanne Cotto, Mark Thompkins, Stéphanie Auberville and workshops with Steve Paxton, Lisa Nelson, Nancy Starksmith, Nita Little, Adrian Russi , Daniel Lepkoff, Ralf Jaroschinski. She participated to regular Underscore sessions in Paris with Claire Filmont.Since 1985, she initiated and produced Plastic Art Performances with her partner, Aline Lecler, for alternative events in Paris (France), and in Praque (Czech Republic). Her scientific vocation brought her to teach since 1980 as Senior Lecturer of Histology, Biology and Embryology to medical studients at Paris VII University, and also in osteopathy schools (France, Maidstone (UK), Barcelona, Brussels). She is the conceptor of Ostéo éveil® (Osteo awareness©) for 1999, a somatic health, postural and movement approach. 

30.12. Class 8: Molly Nyland

Curiosity. Courage. Wildness.  

This class will take a starting point from curiosity as a way of engaging with ourselves and other bodies. Our curiosity will help us to get away from assuming that we know and light the way into the unknown. We will unite a strong physicality with a subtle finesse, and at all times stay interested in our own movements when we engage with other bodies. Curiosity. Generosity. Courage. Details. Tuning. Running. Lifting. jumping. Sweating. Wildness.

 

Molly Nyeland

Molly Nyeland is a dance artist and teacher based in Aarhus, Denmark. Her foundation for work is within contemporary dance and centered around improvisation and instant composition. Working with courage, curiosity and the empowerment to say yes and no in her dancing, as well as living is fundamental to her practice. She understands the body as the way to engage with the world and sees dancing as a way of training how to be a great. human. being. 

Inspirational teachers for her practice include Nita Little, Anya Cloud, Charlie Morrissey, Dorte Bjerre Jensen.