warm up Klassen: 10.15-11.15


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/

Angela Mara Florant





Conversations with the floor

In Contact Improvisation we spend a lot of time close to the floor. What possibilities open up when we carefully listen to what the floor has to say to us? If we get really gentle and cozy with the floor it will open up to us its warm, soft and supporting self. Can we experience the floor as a partner moving us? When we get in touch with a human partner, how can we retain our awareness of the floor? The floor: our reliable partner!


Gespräch mit dem Boden


Dem Boden sind wir oft sehr nahe in der Contact Improvisation. Was passiert, wenn wir auf den Boden hören? Wenn wir uns richtig weich und liebevoll an den Boden schmiegen, wir dieser dich uns gegenüber öffnen, seine warme, weiche und unterstützende Seite zeigen. Kann der Boden uns bewegen? Kann der Boden unserer Aufmerksamkeit bekommen, auch wenn wir mit einem anderen Tanzpartner tanzen? Der Boden ein zuferlässiger Patner!



Angela-Mara Florant 

Angela-Mara Florant had her first experience with CI during her performence arts studies in Besançon, France. In 2005 she moved to Hamburg, where she has played an important role in bringing new life into the contact community there. 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.


Diana Thielen

We gonna roll, crawl, run and jump-preparing the body and mind for the intensive encounters a contact-festival is providing.

With rolling and crawling the body gets prepared for suphisticated situations as transitions from standing to the floor (and vice versa) as well as carrying our own and someone elses body weight. Due to the latest fascia training methods, running and jumping can increase the elasticity of the permeating, connecting and enveloping network. With  perceiving the complex body orchestration and the stimulation of the proprioceptors, we support the body awareness in space and in contact to our environment. Isn’t that an ambitious warming up?



Diana is a dancer, certified Axis Syllabus teacher, dedicated feminist and student of education -/gender studies. She usually works in diverse functions within the sphere of movement. Her projects moving in and around dance/yoga/pedagogy, artistic exchange and collaborations, as well as organizing and administrating gatherings (focusing on body politics in contact improvisation, as the “Radical Contact Spring Gathering” in Sweden 2016). Diana created the blog movementactivism.com to share the intersectional inquiry of body politics, axis syllabus and yoga.

Barbara Pfundt

Heike Pourian

und andere....

Extraklassen: 15-17 Uhr

27.12. Class 1: Barbara Pfundt

vom ich zum wir – zentrum und multidimensionalität

Wir bewegen uns als Tänzer/Mensch immer einem Umfeld von Raum und Anderen, d.h. es gibt zum einen die Konzentration auf uns selbst, unsere Bewegung, unseren eigenen inneren Kosmos sowie die mehr oder minder große Bezugnahme auf das Aussen und Gegenüber. 

Speziell beim contact sind wir manchmal ganz auf einen Mittänzer fokussiert und verlieren darüber vielleicht den Kontakt zum Raum und anderen Impulsen um uns herum. Ein Paardialog findet statt, der den Rest der Welt ausschliesst. 

Ist es möglich beides, alles miteinander zu vereinbaren? Kann ich gleichzeitig in mir, dem Partner, der Welt präsent sein? Und wenn ja wie?

Kann uns die Konzentration auf uns selbst helfen, das Außen wahrzunehmen oder ist es vielleicht umgekehrt, dass ich in der Beschäftigung mit dem Außen mich entdecke oder...? Wo sind Schnittstellen, Übergänge und wie bzw. können wir multiples Wahrnehmen in uns schulen?

Eine Klasse im Spannungsfeld von Reiz und Ruhe.


From I to we – centre and multidimensionality

As a dancer and human being we always move in an enviroment, there is the concentration on ourselves, our movement, our own internal universe and as well we are in reference with the space and others, more or less. Especially in contact we focus sometimes so much in our codancer that we lose the awareness for the space and other impulses around. A pair dialogue takes place which excludes the rest of the world.

Is it possible to integrate both and everything? Can I be present in myself, with the partner, the world at the same time? And if, how?

Can the concentration on ourselves help to perceive outsides or is it the other way round that being absorbed with someone/thing outside of me helps to discover myself...or?

A class full of tension and rest.

Barbara Pfundt studied physical education and education. Since 1992 she has been on her journey of dancing contact and contemporary dance. She is teaching professional dancers as well as beginners and is also choreografing and performing.

She is convinced by the mathematic hyperbel curve as the principle of movement and likes integrating elements of Tai Chi, Release Technique, Feldenkrais, Performance Skills and much more in her teaching.

I dance CI because I have been fallen in love with this hugh universe of moving very physical, 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.

27.12. Class 2: Marielle Gerke

„Are you with me?“


This class is about the communication through touch in a CI-duet. We explore the principle of leading and following by giving directions into the soft tissues of our partner´s body. We spend some time on sensitizing our skin, the layers under the skin and their connections within the body to make them available for touch and impulses of a partner.


How much or how little pressure is needed to make this fine way of communicating work? How can the point of contact stay alive when we share more weight?


We will practice honest listening and working slowly. There will be solo explorations, partner exercises and time for dancing. 

All levels welcome.

Marielle Gerke

In my practice as a dancer and teacher the exploration of developmental movement patterns, the principle of leading and following over the soft tissues of the body and water work are very useful and exciting. I am interested in exploring anatomical structures in hands on work and while dancing. Recently I have started to investigate the Axis Syllabus more closely, which I enjoy and want to continue.


Teachers that I feel inspired by are Jörg Hassmann, Daniel Werner, Kira Kirsch and my colleague Katja-Bahini Mangold. I have been studying with Jörg Hassmann and Daniel Werner in their „Basic Training Programme“ in Berlin for three years – one as participant and two as assistant. I teach CI in regular evening classes, different workshop-formats and on festivals in Germany and Austria. I facilitate the weekly Jam in the town where I live and also perform CI on stage. 

28.12. Class 3: Enrique v Doezelaar/Annette Kahleyss

"Easy Lifts, using gravity to dance light and easy"
"To go up you have to go down. To become light you have to know where your weight is".
We are very happy to teach together a workshop based on an investigation we did in a couple of classes in Nijmegen, Lübeck and France. In this class we will work with using the weight of our bodies to find the support of the floor and of each others. Our next step is to bring our dance to higher levels by using the support of the floor and of our partners. The goal of this class is to find easy pathways to lift each other and an ongoing flow in our dance.

Enrique van Doezelaar

Enrique is based in Nijmegen, the Netherlands where he teaches contactimprovisation and Tango since 5 years in his own dancestudio. His focusis to lett the body move in a natural and flowing way. His goal is to use the body's wisdom to find it's own dance.
Annette Kahleyss
Annette dances contact since 1999 and followed a contactintensive in SanFransisco with Keriac. She ist based in Lübeck where she weekly teaches contact. She focusses on an easy and effortless way of dancing.


28.12. Class 4:

29.12. Class 5:

29.12. Class 6: Matthias Früh



clear connection-easy lifting

klare Verbindung, leichtes Heben


we start with travellling through the early development of movement (Bewegungsevolution ® ) as a warm up to widen our vocabulary towards complex movement pattern. In simple contact games we use these possibilities to create a strong connection to our partners that leads us to easy and less forced lifts.


Wir beginnen mit einer Reise durch die frühe Bewegungsentwickung (Bewegungsevolution ® ) als warm up um unser Vokablar zu erweitern hin zu komplexeren Bewegungsmustern. In einfachen Contact-Spielen benutzen wir diese Möglichkeiten, um eine gute Verbindung zu unseren Duettparter*inne*n aufzubauen, die uns in leichte und weniger forcierte Hebungen führt.



Matthias ist ausgebildet in der Theatertechnik "Stimme und Bewegung" (V./ C. Rodzianko) studierte er seit 1984 Contactimprovisation, Neuen Tanz, seit 1989 Aikido sowie Körperwahrnehmung mit diversen Techniken. Er tanzte mit vielen Freien Gruppen und zeigte seine eigenen Experimente und abendfüllenden Stücke.


Matthias was trained in the theatrical technique „Stimme und Bewegung“ (voice an movement, V./C. Rodszianko) an studied since 1984 Contact Improvisation, New Dance and since 1989 Aikido and range of diffenrent body techniques. He performed with a lot of free lance dance groups and showed his own experiments and dance pieces.



30.12. Class 7:

30.12. Class 8: