1

Britta Pudelko (D), "Tools - finding your way from improvisation into composition"

The main focus of this technique class lies on the anatomically correct work with our instrument, the body.
Not only to look at movement from the outside as a copy of a form or an athletic altercation with the body. But also to find a deeper understanding for the own body and it’s very individual way of moving.
The goals are a free and dynamic way of moving, to become clear where the movement initiates from and to find a way to move with more efficiency.
In the beginning of the class we take our time to arrive in our body, to discover our skeleton, to open up our joints and to find the connections within our body and the space.
We concentrate on our skeletal structure to get to and start working from the deep supporting muscles of our body.
Based on this work we create movement sequences, which start very simple and allow us to apply the information from before.
Afterwards we will try to integrate the experiences from the technical movement work into improvisation and composition. Working with simple tasks and structures.
We will also develop in a creative collaboration small compositions using everybody’s own movement material, which is already existing or which was created in class before. To challenge equally the mind and the body, to be aware of one’s self perception in the space and in relation to the others and to find a deliberate contact to the others to be able to react to their actions without loosing the perception of the whole composition.
Imagination – which elements make a composition interesting?
Intuition – how can I integrate myself into the whole picture of the composition and which tools, movement approaches are appropriate in which moment.

2

Eckhard Müller (D) & Daniela Schwartz (ARG)

"Intuitive Systems for Contact Improvisation"

In the five years of their colaboration, co-teaching CI to beginners as
well as to professional dancers all over Europe and South America,
Daniela and Eckhard have been developing a system of basic tools to
access and deepen into Contact Improvisation.

We will offer a movement training, inspired by Laban/Bartenieff movement foundamentals as well as David Zambrano's flying low technique, as a tool to organize our body in a more efficient and economical way. We will explore the center-periphery connection (starfish) as a key principle to connect and separate the limbs from the center, the right from the left side and/or the diagonals. Through the action of releasing and activating, reaching and folding, spiraling, etc, we will develop different movement patterns, that will help us to let go from old and unefficient ones to find ease and flow in our own pathways along the floor and through the different levels.
Moving with a more clear understanding of our center, we will be ready to connect to our partner's body and fully commit to the dance, while we stay centered and grounded, as we enter our spherical space. We will work with light touch and the idea of keeping the weight on our own feet as well as sharing the full weight to become aware of the wide range of possibilities.
Through respectful listening and body actions like scanning, sensing,
reading, informing, leaning, proposing direction, following the flow,
accepting, resisting, balancing, off-balancing, counter-balancing, etc,
we will engage ourselves in an open physical dialogue.

Understanding and integrating some of the principles, we will find more
trust and freedom in our own body, own movements and in the
communication with our partner.

Daniel Schwartz - Nomad artist, based in Strasbourg, France since 2003.
Tiredless traveller. Graduated in Fine Arts at ESAD, Ecole Supérieure des Arts Décoratifs de Strasbourg with the support of a grant from Fundación Antorchas, Bs As, Argentina.

Dancer, Performer, Improviser and Teacher of Contact Improvisación and Instant Composition since 1998. She has participated in different projects, labs and performances in Cuba, Mexico, USA, Europe and Southamerica. Influenced by Martin Keogh, Danny Lepkoff, Nancy Stark Smith, Mark Tompkins, Julyen Hamilton...

Co teaching with Eckhard Mueller in diverses Companies, Festivals and Institutions in Southamerica, Europe and the US.

As a member of the dance theater Cie Dégadézo she teaches at Teatre Pôle Sud, Centre Choréographique, TNS Teatre National, and CIRA, in Strasbourg. She has co-created «Cabine dessayage», une Lecture dansée in the frame of the residency of the Cie Dégadézo at Atelier du Rhin, Theater Manufacture of Colmar, and co-created « Parlez moi damour » in the frame of the residency at La Friche Laiterie, Strasbourg.

Years of jewellery making, objects, textile and fashion studies, video creation, installations, performances, and the different artistic aspects of «the body» informed her physical practice and her intellectual research.

Collaborated in SKIN, interactive performance concept from Eckhard Mueller, an interdisciplinary project for dancers, musicians and video artists and realized this project with him in Rosario (07), Strasbourg (07), Montevideo (08) and Zurich (08).

In 2006 he developed SKIN, an interactive performance concept and realized (assisted by Daniela Schwartz) the interdisciplinary project for dancers, muscians and videoartists in Freibrug, Moscow, Rosario, Strasbourg, Montevideo and Zurich. The concept offers elements of Contact Improvisation and Instant Composition to interact with the audience.

Eckhards focus lays on the dance form Contact Improvisation, that he teaches since 1994 to professionals of theatres/companies, dance students in academies and non-professionals in dance centers all over the world, since 2005 co teaching with Daniela Schwartz.

For 20 years Eckhard has been tremendously active to build up contact communities in his home city Freiburg as well as in his new home Strasbourg and supporting and networking with other jams, festivals, institutions and ci supporters all over the world.

Co-founder and organizer of the blackforestjam (95-03) and the contactfestival freiburg (since 2000) (www.contactfestival.de), both important events in the CI-Scene creating an annual international exchange about the dance form Contact Improvisation between professional and non professionals.

3

Clover Catskill (UK)

"Aerial Dance with Low-Hanging Trapeze"

Dance with low-hanging trapezes is exciting because it allows us to fly with safety, to liberate our feet from the floor, to experience gravity in new ways, to recreate the childhood pleasure of swinging, and to approach an unusual realm of movement where we are freer of preconceptions and judgments that often inhibit our creativity and joy. Exploring trapeze dance thus encourages the development of improvisational skills as well as physical skills.

This workshop will cover trapeze dance and improvisation skills; ease of moving in all orientations as well as in and out of the ground; solo, duet and group improvisation.We will draw upon other elements, including Body-Mind Centering® and Contact Improvisation, to broaden the work, provide greater physical support, and to facilitate the learning. Classes emphasize exploration and self-awareness in the learning process; and the aim is to develop skill and self-expression, and to have fun.

Clover Catskill - has 31 years experience teaching movement and dance classes, performing, counseling, and doing bodywork in the San Francisco Bay Area, and has taught in Europe for the last 21 years. Among the schools and festivals that she has taught and performed at are the School for New Dance Development in Amsterdam, Antioch College, the Seattle Festival of Alternative Dance and Improvisation, and the West Coast Contact Improvisation Festival. Clover trained with Terry Sendgraff, the originator of Motivity and dance with the low-hanging trapeze.
She has performed solo and collaboratively and was an original member of Fly-By-Night (A Women's Trapeze Troupe), and the Motivity Company. Major influences include Motivity, Action Theatre, Body-Mind Centering, Contact Improvisation, Trager Psychophysical Integration, somatic psychotherapy, and shamanic studies. She is a certified practitioner of Body-Mind Centering, a certified massage technician, and a licensed counselor.
Her special talent is the integration of dance, expressive arts, bodywork and counseling for personal growth. She loves to dance and fly and to share this pleasure with others. She welcomes work with people of all abilities.

4

Aaron Jessup (US), Kabiro Scheller (D), Lior Ophir (Israel)

"Dance of the un-known"

Group-improvisation as performance art
in the studio, in nature, in public places

How do different landscapes affect us? How different is improvising in a studio than in the forest or in the streets of a city?
In this intensive we will explore different group-improvisation tools, with
a look towards performance, both in and outdoors.
We will cultivate awareness of self, others and the group. Feeling the "invisible strings" that connect us all and letting the environment inspire our dance and improvisation.
How can we be inspired by the un-known and say "Yes" to the moment in and around us?

Aaron Jessup - Originally coming from a circus and street performing background, Aaron has been a student of C.I. since 1990. He began teaching Contact in 1997, including a year at the Boulder College of Massage Therapy. His current passion: leading wilderness trips for his company, Institute for the Study of Awareness in Nature (www.isantrips.com).

Kabiro Scheller - My dancing, moving , breathing nature dedicates her presents always into the opening of the moment...in Dance, Bodywork, Yoga and different other HeARTs.
Contact & Dance Improvisation since 1994, over the last 5 yaers. Teaching and learning different combinations of contact and dance improvisation, theatre and Healing Rituell Hawaian Massage .

Lior Ophir - Dancer, Improviser, Shiatsu therapist, Engineer, Student, Teacher. Lives in Tel-Aviv, Israel.
Practices various forms of movement, dance, body/mind and awareness, including: Improvisation, Contact Improvisation, Butoh, Shiatsu Therapy, Yoga, Vipassana Meditation, Tai-Qi.
Lior teaches, studies, and performs in different locations ­ Israel, Europe, US, Japan.
Current interests are:
- Improvisation as performance art ­ how can I fill an empty space? How can I fine-tune myself as performer to get closer to the "human-string" that vibrates in all of us?
- Performance in public spaces
- The search for balance between my profession as an engineer and my passion for dance, body-work, meditation.

5

Floris Fioris (NL)

"The Creative Soul on Stage"

Playing is the greatest gift for learning and developing mankind has.
So let’s play.

Once you unleash your creative soul, you can shine in almost any art. You’ll discover hidden essences and learn to apply them in any form of art or even way of life. This asks daring, receptiveness and trust at the same time. The creative move is always dangerous and beautiful at the same time. It will open doors previously unknown to yourself and your peers. It can lead to (for a few minutes of) death and/or stardom. Only when our role is ready to die on stage our role becomes fully alive.

In this incentive we focus on the creative soul on stage. There you are in front of a audience. Once you allow ‘what is’ to become part of the play any handicap, sweaty hands, fear of failure, limited technical skills, etc, can become the key to a great performance.

We will also research some paradigms, like what happens when you only focus on the role of your fellow players and let them shine? What happens when you allow no insecurity? What happens when you allow yourself to fail utterly? How is your drama that of your role too?

In this intensive we’ll focus on the six cornerstones to great performances by actors: Focus, Expression, Sensitivity (or receptivity), Surrender, Enjoyment and Authenticity. We’ll work with the power of focus to find tension and direction and of focus shifting to create freedom. We’ll search for the balance between techniques, principles, expression and sensitivity. We’ll explore how to surrender to the part and how to discover your inner creativity at the same time.

Key tools: physical acting, music, dance, body work, fool’s work, theatre sports, public interaction, Symphonic Acting, archetypes, focus(shifting), (Butoh) dance, voice work, showmanship.

Floris Fioris - Improviser, fool, trainer, artist and creative concept developer.

Floris studied drama at the Academy for Expression and Communication (AVEK, Netherlands), studied with a.o. Franki Anderson (Fool’s Work), Anton Adasinsky (Derevo), Walter Ybema (Odin Theater). He got paid work in almost any creative job. Currently he works amongst other as actor in business(training), fool and trainer in career development aimed at fulfilling your hearts desire. Created his own angle to free play in the Way of the Fool.
He is co-creator of the alternative Open Up festival in the Netherlands and the KaosPilot school for social and creative entrepreneurs. He offer courses in theatre sports, the way of the fool and storytelling.

“I love to explore with my participants. Together and even by ourselves we already know much more that we are often aware.
I will often prepare in one direction and then discover new roads which lie more strongly in the group. Most often I will focus on enlarging the intuition of the players. I love to search for the alchemistic gold that offers the player the one focus that will enable to oversee everything needed to turn the whole play into gold. While very possible fruitless, this search helps me to ask the very essential questions. How can we focus? How can we make it work? How can we do everything right without getting it all? How can we become fully alive and present before or in interaction with an audience?
While my style is very light hearted and full of humour my workshops can be very confronting. “

e v e r y t h i n g i s p l a y

Everything changes, all the time.
Everything is fluid. Reality knows no fixations.
Reality is the continuant creation of existence. The Hindus call this Lila, the play of the gods.
Often we fear all this change and try to fix our situation.
Fixing things is seen as a very serious business. Mostly this makes matters worse.
To be in touch with reality asks for constant openness to change.
The fastest way to move with change is play. Nothing is faster.

We help organizations to move with the world rather than against it.
We strive to create a playful world with playful organizations.
We help to create flexible and innovative playgrounds that support people, planet and profit.
We are the network that takes the playful approach very serious.
We are Lila.

O u r p r i n c i p l e s
Playfulness is the essence of innovation, learning and change competencies.
Working with natural processes provides positive outcomes for people, planet and profit.
Live the change you want to see in the world.
Everybody carries some great talent, important information and inner wisdom.
Acceptance and awareness are the cheapest and fastest ways to sustainable change.
Loosen what is too fixed, fix what is too loose, scratch where it itches.
Authenticity, leadership, freedom, lightness create powerful organizations that blossom without the need for dominance.

Ben @ Jerry played and eating ice became culture
Richard Branson played and Virgin flourished
Gaudi played and Barcelona attracts millions
Sony became playful and became market leader
Nokia plays
Lego plays

To play is
To challenge convention
To discover your inner rules
To be serious about what you really want
To become a naturally attractive standard