“Let each move evolve from mutual agreement, rather than having an image in our own mind dictate what happens next. Mutual trust is based on uncompromised attention, so let's stay in the present moment.”
Bruce Curtis in “Exposed to gravity”

This workshop is dedicated to people wishing to gain a deeper understanding of their interactions. For that purpose, we will engage in setting and partnering exercises that enable us to explore our needs and clearly signal them while composing with other bodies and souls.
Shall I alter my dance so that I fully enjoy it and my partner’s? Can I be listening to my partners when daring new steps? Am I refraining for fear of hurting others?
Aude and Jo wish to call for more freedom in the movement, share the joy of a mutual composition anchored in the present moment, and not let personal history hinder a continuum of rolling, gliding, jumping, lifting and more.

 

Aude Fondard

lives as a dancer/actor, poet and translator. Her first CI evening took place in London, 2009, it was joyful and empowering, but somehow a bit strange. While she trained in contemporary dance in Sydney and Berlin, CI was always nearby and at some point a whole surprising world of sensations and images opened to her.
She worked in multiple productions before creating her poetic performances, indoor and outdoor, combining text and improvisation. Intrigued by the idea of presence and dancing in nature, she attended the 6-month Jinen Butoh School led by Atsushi Takenouchi in 2016/17.
Based in Marseilles since 2018, she stood in for Natalie Hofmann’s CI class We are all Bambi and started sharing her passion for dance. (Inside/Outside influences, Butoh workshop, Rostock Universität, June 2018; Smell & Dance and The landscape and I, CI in nature, Contact Time Festival #4 and #5.)

http://oddinmotion.info/en/home/

 

Jo Bruhn

is performer, dancer, CI teacher, mover, festival organizer.
More than 15 years ago he met Contact Improvisation. Fascinated by the universe that opened up to him, he felt particularly attracted by the communication between the dancing bodies and the flowing acrobatics in dance.
Among others he completed the "Dance Intensive" at the Tanzfabrik Berlin and worked intensively with Nancy Stark Smith, Mike Vargas, Britta Pudelko and others.
He is co-organizers of the festival “Contact Time @ Steigemühle”.

https://www.jo-bruhn.de/welcome

 

© Nathalie Consolini

Tones Tense, smooth, rigid, mellow… the tonicity of our body changes according to the time of the day, the temperature, our mood, our availability… plenty of parameters I shall not list here.

In this workshop, we will dance freely and sensitively, explore body tones alone and in contact with other dancing people.

I will share tasks inspired by my Butoh practice and friction-release exercises. In short, this workshop is about being relaxed in the dance. Open to every-body-every-soul.

 

Aude Fondard

Aude lives as a dancer, poet and translator. While training as an actress for the stage, she realised her body had something more to say than text. This led her to more and more dance training (Entity Dance Company, Sydney; TanzFabrik, Berlin), and Contact Improvisation classes and festivals (Jules Beckman, Mathilde Monfreux, Anjelika Doniy).

Her approach to movement and improvisation is very much influenced by performers coming from the butoh world (Astushi Takenouchi, Minako Seki) and contemporary dancers putting an emphasis on floorwork and dynamics (Britta Pudelko, Stella Zannou, Rakesh Sukesh).

She is now guiding a monthly Contact Improvisation jam and a regular hybrid butoh class in Marseilles, France. http://oddinmotion.info/en/home/

 

© Jennie Zimmermann,  © Nathalie Consolini

 

Inspired by „Somatic Experiencing“ and „Tension Release Exercises“ we will explore how the human nervous system is handling stress. We will allow especially the autonomic part to release stress and with sensitized body awareness facilitate the unwinding of fascia tissue. In Contact (-Improvisation) we will play with the potential of Self- and Co-Regulation of our nervous system.

Furthermore we will explore and enjoy the interaction of Organs, Fascia and deep abdomial muscles and invite the juicy power of the "center" to support the spine in its mobility and vitality. Playing with developmental movement patterns we help the body to re-connect to deep sources of life energy. Fascial elasticity and smotheness facilitate effortlessness and joy in movement and being.

Daniel's work also contains or is inspiried by:
Somatic Stress Release, Self- & Co-Regulation, (Developmental-)Trauma Research, Developmental Movement, Exploration of Touch & Contact/-improvisation, Interpersonal Neurobiology, Polyvagaltheory, Top down & Bottom up: Knowledge Transfer and Experiental Spaces, Body-Mind Centering®, Attunement / Emergence / Collective Healing, We Space: Culture of Interbeing, Regulation and Evolution – Agency & Change, Spirituality & Inner Voice, Spiral Dynamics & Integrale Theory.

 

Daniel Werner

is a dedicated researcher and teacher for Somatics, Consciousness Development and Dance, and is teaching Contact Improvisation for more than 20 years. He studied Contemporary Dance at the North Karelia College in Finnland. His movement, being and teaching is deeply inspired by Body-Mind Centering, Asian Movement Arts, Fascia Research, Somatic Experiencing & Narm. For 15 years he lived in a community project together with his wife Gabriele and their two children, and now they are homebased in the countryside of central Germany.

Daniel has (co-)initiated many inspirational projects like:

www.body-mind-presence.de  www.sensingthechange.com   www.dancecontact.de  www.loveanddance.zegg.de  www.osterimprofestival.info  www.in-touch.es  www.dancersvillage.org  www.canarian.contactfestival.info  www.contact-meets-contemporary.de  www.summerflow.de  www.christmas-contact-celebration.de  www.pfingst.contactfestival.info 

 

In the morning yoga classes I invite you to take a magical time to wake yourself up in a soft and self - loving way, meeting and honouring the body you live in. We will practice slowly and mindful, allowing ourselves to dive into a meditative inner journey.
We will breathe, meditate and practice Asanas - to sense, feel and experience the effects on the physical body (like skin, bones, organs, fluids...) and the subtle body. We let our body and its cells breathe, embracing the moment – welcoming a new day.

 

Fidelia

Fidelia is a Hatha Yoga teacher, dancer, and occupational therapist. Alternative Healing methods such as holistic body treatments and energy work build an additional focus of her work. She conveys her knowledge through various approaches of somatic exploration, such as movement, bodywork, breath, touch and voice. She currently follows the Somatic Movement Practicioner Program of Body-Mind-Centering®.
Fidelia teaches Yoga, gives holistic body treatments and runs international workshops and retreats to encourage body awareness, creating wholeness and inspiration.
More Information: www.wisdomsoma.com

 

How can I weave a jump or lift into my dance without effort?
How can I use principles without following too strict a form?
How can I lift or be lifted by mutual agreement?
For me lifts and jumps are an essential part of Contact Improvisation.
A question that keeps me busy again and again is how they can happen as effortlessly as possible and without much muscular strength, whether they are done with or without much momentum.
In this workshop we will easily explore some flying facets of Contact Improvisation. About reading the partners and the moment when the lift can happen together. In this way we create forms and play with them in improvisation.
People with little to much CI experience are welcome.

 

Jo Bruhn

is performer, dancer, CI teacher, mover, festival organizer.
More than 15 years ago he met Contact Improvisation. Fascinated by the universe that opened up to him, he felt particularly attracted by the communication between the dancing bodies and the flowing acrobatics in dance.
Among others he completed the "Dance Intensive" at the Tanzfabrik Berlin and worked intensively with Nancy Stark Smith, Mike Vargas, Britta Pudelko and others.

https://www.jo-bruhn.de/welcome

 

© Nathalie Consolini

Every dance exists only in the present. A one-time event, irretrievable and yet it creates a trail. Visible it is only for the moment and in the next second already invisible again. Often, this invisible trace still lingers within us for a long time - we can feel it - perhaps even dancing it again with pleasure in our mind.
In this workshop, we let our dance / movement traces become visible with colorful colors. So that we can then consciously look at them and through this visual level take them deeper into us. Our dance will create a great picture in which we can rediscover the uniqueness of each individual.
After experiencing and watching together, we will go into silence.
To look again at the whole, to see into oneself and to express for oneself the own experienced trace on a separate paper.
It is not about creating a work of art that pleases and appeals to a recipient, but about following one's own inner path, which is completely devoid of value and requires no artistic talent.

 

Linda Maria Tinsobin

has been performing, teaching and researching for more than 15 years in a variety of dance, movement and art forms. Her love for curious, value-free encounters at eye level shows up in her creative projects with people of all ages.
After completing her studies in classical ballet and modern dance, Linda Maria danced in various international projects, including at the Volksoper Wien. Before and ever more intense during her studies, she was concerned with the health-promoting and health-preserving aspect of physical activity, and in particular, any form of dance. Health for her includes the physical as well as the mental and emotional health of the individual and the community. Her research is accompanied by a curiosity for very conscious and alert observation, attentive listening and attentive language.
Her field of activity includes individual accompaniment and group facilitation in Contact Improvisation, WaterDance, Classical Ballet, Modern Dance, Acrobatics, Rope Dance, AwakenBody, BeHold, Aviva-Method, Paintinggame, Conscious Parents - Conscious Children, Musicgame, Facial Harmony, LOMI LOMI Massage, Meridian Massage and more.

Linda Maria is the founder of the International Dance Festival on the Traunsee, the LiTiEnsembles, the Gaga-Austria Community and the EmBodyment Festival.

 

Foto: Patrick Beelaert

How can I roll even smoother, softer and with more ease?
How can I integrate this softness and flexibility into my dance?
We'll discover the process of rolling with small, soft movements. In a Feldenkrais lesson we increase our awareness of ourselves and how we move. The nervous system gets new information through playfull movement experiments and learns about functional connections. Afterwards the same movement is easier and more comfortable.

We'll explore how we can roll with the same ease together with a partner and take our new earned smoothness into dancing.

 

Lui

teaches the Feldenkrais Method, Contact Improvisation and movement improvisation. She is the organizer of Wiener Winterjam and part of the hosting team of the weekly Viennese WUK jam. As a former competition rower Lui engaged with optimizing movement from her teens on. She is passionate about the question: How does a movement get even more comfortabel, smooth and efficient? The variety of movement options and the possibilities to learn through movement and dance are fascinating her.
www.freibewegt.at

 

 

A fundamental principle of Contact Improvisation is the Rolling point of Contact. I signifies the dimension of the area of touch - point and the specific manner of its relocation - rolling. As many aspects of CI this enables us to do many curious things, partly also through its limitations.
The Rolling point happens anyway in CI, but with additional awareness we can see the complexity of it and integrate new aspects. This workshop will explore the movements, connections, freedoms or joys, that this principle enables and how one accesses them. Therefore we dive into softness, relaxation, perception and grounding. We'll have a look at no-weight, leaning and full-weight situations and also on non-rolling movement situations.
This workshop especially invites beginners, but is open for all who want to have a closer look at rolling and flow.

 

Manuel

teaches Contact Improvisation, Circling and other movement- and meditation practices. After practicing different dance styles and fighting sports, (acro)yoga, therapeutic practices and bodywork, Contact Improvisation, for him, is the one art that can bring the most varied aspects together. Manuel's biggest intrest lays in the individual and collective depths that can be experienced and transformed also in CI. With consciousnes partices and with (environmental) activism he aspires to facilitate inner and outer change in the world. Both directions of change are inseparably connected and contact is a key term for each of them.
Manuel's contact is inspired by Jörg Hassmann's and Daniel Werner's systematic approach to CI, Body Mind Centering and Frey Faust's Axis Syllabus. He teaches CI since five years in Regensburg and transregional. He studied Psychology and Peace Studies and embeds his work in theories of Gestalt and Cirtical Psychology, Peace Philosophy, Shamanism and 5 Rhythms.

 

Contact Improvisation involves a lot of communication on various levels and it achieves its richness through co-creating, co-enabling and co-perceiving movements. So Contact Improvisation is about encountering each other anyway. But in what way, what-for and to what extent?
What about eye contact, axial-parallelism and verbal sharing of everything that is there?
The workshop invites to play with the limits and normalities(norms) of CI through adding some exercises and elements to increase presence and loosening - (?!)taboos. This can make us aware of our habits and ways of connecting, but even more than that it can enlarge the spectrum of relating and of experience. This might allow some interesting reflections and some more beauty in our dances.

 

Manuel

teaches Contact Improvisation, Circling and other movement- and meditation practices. After practicing different dance styles and fighting sports, (acro)yoga, therapeutic practices and bodywork, Contact Improvisation, for him, is the one art that can bring the most varied aspects together. Manuel's biggest intrest lays in the individual and collective depths that can be experienced and transformed also in CI. With consciousnes partices and with (environmental) activism he aspires to facilitate inner and outer change in the world. Both directions of change are inseparably connected and contact is a key term for each of them.
Manuel's contact is inspired by Jörg Hassmann's and Daniel Werner's systematic approach to CI, Body Mind Centering and Frey Faust's Axis Syllabus. He teaches CI since five years in Regensburg and transregional. He studied Psychology and Peace Studies and embeds his work in theories of Gestalt and Cirtical Psychology, Peace Philosophy, Shamanism and 5 Rhythms.

 

In this class we explore our movement options – alone and together – as well as Contact Improvisation in water.
We take time to arrive in the water, to hang out in there, to breathe, to sound, to fall and float, to sink to the bottom of the pool, to let us being carried by the water. In partner work we explore moving in the water with the least necessary effort, spiralling, turning, transitioning from vertical to horizontal and vice versa, expanding and condensing. We explore using our skin and the layers underneath for orientation, communication and contact. We investigate building structures with support value, using and resolving them again.
We allow our Contact Improvisation practice to inform our explorations in the water. We allow the water explorations to change our Contact Improvisation practice on land.

Bring swim wear, wet suit (if you have), noseclip, goggles, towls. You can buy or borrow a noseclip from me for 5 €.
If you want to get an idea of what my take on WATERCONTACT is, I recommend watching this video as a tuning in for the class:
https://vimeo.com/358272246

 

Marielle Gerke

Marielle is born in Berlin, living in Witzenhausen between Kassel and Göttingen since 2010. There, she discovered her passion for dancing – especially for Contact Improvisation in 2012. Since then she is continuously fascinated by this unique and exciting dance form. She loves the playfulness that lays in it and the diversity of movement options that become available when moving together with shared weight. For her is remarkable how clear nonverbal communication can become if both dance partners allow their bodies to truly fall into each other while listening to the proposed directions of movement under the skin. In her practice as a dancer and teacher the exploration of developmental movement patterns, principles of leading and following over the soft tissues of the body and water work are very useful and exciting. She is interested in exploring anatomical structures in hands on work and while dancing.
Teachers that she feels inspired and influenced by are mainly Jörg Hassmann, Daniel Werner, Kira Kirsch, Antoine Ragot, Nina Wehnert, Friederike Tröscher, Jens Johannsen und Otto Ramstad. She has been studying with Jörg Hassmann and Daniel Werner in their Basic Training Programme in Tanzfabrik in Berlin for three years – one as participant and two as assistant. Since 2012 she organises the weekly Contact Impro Jam in Witzenhausen together with Katja-Bahini Mangold. Marielle teaches Contact Improvisation since 2015 in regular evening classes, different workshop-formats and on various international Contact Impro festivals in Germany, Austria, Portugal and India. Since 2016 she is also teaching in the school for contemporary dance Sozo visions in motion in Kassel, is involved in a couple of different performance projects and is giving private lessons. She studies Body-Mind-Centering, the Axis Syllabus and is training to become a psychotherapist.
https://mariellegerke.de/en/


 

Authentic Movement offers a save and supportive environment, where a mover moves with eyes closed in the presence of a witness.
The mover is invited to come into her body and feel the sensations. She can listen to the impulses of her body and move from there, or be still, or whatever is needed. Following her inner impulses, invite her to get deeper in the unknowing places of the body. Move and be moved.
When she moves in the presence of an outer witness, her mover`s inner witness awakens, inviting her to develop her mover consciousness. She creates a relationship between her moving self and her inner witness, trying to develop a non-judging internal witness.
Authentic Movement is a way to grow into a fuller and more integrated human being.

 

Patricia Baquero

She is a dancer and dance teacher. She dances Contemporary and Flamenco and started dancing CI in 2009. Since 2017 she studies Dance Movement Therapy with main focus on Authentic Movement.
She works as a freelance dance teacher in Freiburg and around with children and adults, and is the host for the Authentic Movement group in Freiburg.
She also leads women groups and support women with their menstruation cycle and femininity through dance and movement.
www.patriciabaquero.com

 

When we think of touch, we look at our hands, as it is the most common resource our body in term of touching.
But touching goes further on. We can touch from many more internal levels, from the skin, body structure, and even we can touch/be touched with the voice. We can touch even without physical contact.
In this Workshop we will explore the different ways of touch, and being touched, the different qualities of touch, the sensations and emotions that are generated as well as the intention to touch another body. How the different ways of touching and being touched affects our dance. What are my touch patterns, and how can I be surprised by unexpected touch forms. Exploring who touches who.

 

Patricia Baquero

She is a dancer and dance teacher. She dances Contemporary and Flamenco and started dancing CI in 2009. Since 2017 she studies Dance Movement Therapy with main focus on Authentic Movement.
She works as a freelance dance teacher in Freiburg and around with children and adults, and is the host for the Authentic Movement group in Freiburg.
She also leads women groups and support women with their menstruation cycle and femininity through dance and movement.
www.patriciabaquero.com

 

We warm up our perception for space, the floor beneath us and the people around us. From there we focus on physical touch and its functions in dancing – how does the point of touch serve us?
Orientation and support are the most important aspects that we have a closer look at. We practice some easy tools of sharing weight, which help enjoying a jam situation. We enter the beautiful world of playing with shared weight!
Open for beginners and anyone else who wants to focus on the basics of CI.

 

Roland Nordeck

I have been practicing CI for about twenty years and for three years fulltime I studied contemporary dance in Outokumpu, Finnland. Now I live, dance and teach in Göttingen.
I see both movement and touch as valuable forms of human communication, as they can reach beyond the field of verbal expression.

 

Breathe, sense, listen, move, play, get dirty, be alive!
We start by focussing on sensation and with a playful and explorative mind we get in touch with all sorts of natural surfaces: bark of trees, soil, deadwood, twigs, brown leaves, green leaves, human beings, stone, ...
We partly work with closed eyes and explore different qualities and dephts of touch - meeting a surface softer or harder, deeper or more superficially. Based on this we have a look at dynamic dance principles in relation to surfaces - like direction, friction, support, impact and supsension. How can we playfully use different Surfaces of support at the same time? Can we dance up in the space between a tree and a person? ...
We dance and play with, on, under and between, different natural structures.

 

Roland Nordeck

I have been practicing CI for about twenty years and for three years fulltime I studied contemporary dance in Outokumpu, Finnland. Now I live, dance and teach in Göttingen.
I see both movement and touch as valuable forms of human communication, as they can reach beyond the field of verbal expression.

 

Through somatic bodywork and movement improvisation we will investigate an inner space, known in our embryological past as the notochord. This remains an energetic channel that lies along our bodies central axis, between our head and tail, our mouth and our anus. I call it my soft spine because I find it to be visceral, vulnerable even and yet strong in its guttural ability to intuit and express feeling.
Working with touch we will first find the structural support and alignment of our boney vertebrae, releasing the joints and freeing articulation between the vertebrae. We will then investigate the softer matter, breathing through our orifices, sensing and sounding from our organs, to finally interweave in movement all that lies in between, and along our central axis.

 

Rosalind Holgate Smith

Rosalind(UK) is a Dance Artist and Somatic Movement Practitioner. She has an MA in Dance Creative Practice, a BA in Fine Art & Choreography and currently Lectures in Dance at Lincoln University. She has been practicing CI for over 10 years since encountering it as a student at Dartington. She has applied CI in teaching diverse groups ages & abilities.
Further inspired by Contact Improvisation, Authentic Movement and Experiential Anatomy she also creates performances and installations and has developed a vocabulary for moving outdoors. Rosalind is also a Yoga Instructor and following her love of water teaches the Shaw Method for swimming, integrating the Alexander technique.

 

With the introduction of the Cranio Sacral System we get in contact with the movement and flow of the spinal fluid and the "puls of life".

After creating an open and receptive presence within us, we give space to the system of our partner. By diving into the fluid realm of the body and the divine potency we are connected to the body intelligence and the force of self healing and self regulation.
Through listening and staying present with an loving attitude we support each other  to more lightness and connectedness with oneself and others.

 

Sus Palm

is a dancer in the field of contemporary dance, dance-improvisation, contact-improvisation, butoh and capoeira. She also studied movement-therapie, Cranio Sacral Balancing, Body-Mind Centering and Hawaiian Bodywork.
After creating dance-pieces and performances with various dancers and artist for 10 years she is teaching at the academie of fine arts in Ulm Germany and other places. Her main interest is in movement-research, body-systems, the individual expression of body-intelligence and its performance in the moment.

 

Let's explore how much music the dance contact improvisation needs or does not need ...
Suitable for dancers and people who want to play with sounds, dance and improvise.
Bring an instrument with you....or come to dance
Which sounds, noises produced the dance?
Is it possible to accompany the movement improvisation tonally?
What supports the dance?
What inner attitude do I take, to serve the dance with sounds?
How does the music react to the dance and the dancers and vice versa?
These may be possible topics that we explore in this play shop.

with improvised anticipation :)
Aloha Taro

 

Taro Tikitiki

Hello & Grüß Gott
From the yearning for spontaneous liveliness, it has attracted me to the music & dance improvisation.
Over the years I danced on many CI Jams and improv festivals & accompany them tonally.
I play on many instruments, such as Flutes, Guitar, Percussion, Frame Drum, Djembe, Digeridoo,
Jew's harp, mouthbow, monochord ... and sometimes I build myself an instrument. Vocal improvisation and the use of effects and loop device serve me as a toy.
Accompanying a CI Jam is for something other than performing a concert, as it is important to me to feel the dance field (dance for myself) and to listen, to let the "autopoetry" happen, how much is needed and when it is consistent with the sounds of the dancers to leave room or to accompany them.