Modern III (Varone Company)
Each week will be taught by a different Varone Company member, ensuring a rich overview of styles and perspectives. Investigating the line of human movement and how it can affect the broader strokes of our dancing is at the center of this highly technical, movement based class. Through the expansive use of the back and limbs, Varone’s style will be explored through an emphasis on breath, strength, dynamic lyricism and musicality.
Modern IV (Henderson)
This class opens with full-bodied moving that warms us up from the spine out to the tips of our fingers and toes. As we find ease within our skeletal alignment, we focus on specificity--exactly what and how we are moving. We explore increasingly complex movement phrases and play with texture, rhythmic structures, breathe and weight. We learn to accept not knowing in order to open to newness. We dance large loopy phrases, losing our center and finding joy.
Modern IV (Taketa)
This class focuses on the direction of kinetic energy through the exploration of spatial and textural properties. Movement phrases that are both physically and spatially challenging will be built on a foundation of breath and lyricism. This is a high-energy class attentive to the projection of weight, transitional flow and the spatial sculpting of material.
Modern IV (Lavista)
In this class, dancers will be introduced to the movement styles used by Delfos Danza Contemporánea. We will explore body dynamics and the flow/control of energy via the use of the following principles: suspension and release, 3-dimensional space, the floor as tool/collaborator, breath as the impulse for movement, articulation, circularity, and finally, the imagination as both a neuromuscular and emotional force. The main focus will be on the development of a more organic, free-flowing style of movement. Delfos’s movement approach fosters a deeper understanding of the individual body, thereby facilitating the use of instinct, sensory perception, emotions and the imagination in dance.
Modern V (Carrum)
This class is about pursuing one’s artistic impulses and risking the loss of control in order to grow. We will explore the infinite possibilities of movement and different ways of using our core as well as other body parts, both as a source of energy and a force for maintaining stability. We will develop a new understanding of the floor through the principles of physics: inertia, centrifugal energy, expansion, suspension, strength and resistance. Throughout the class, we will aim for a rare level of focus, one incorporating both the inner and outer worlds, the self and others, via the use of specific movement maps as well as the larger freedoms found within multi-dimensional, random and asymmetrical spaces.
Modern V (Foley)
This class provides professional dancers with the physical, technical and kinesthetic tools to further enhance their ability to stay focused and healthy in the dance world. A combination of core-strengthening exercises along with complex physical phrase work augments the training of the advanced dancer. Through the use of release-based techniques and more traditional concepts of breath and movement, students develop a clearer understanding of how working with the body on a skeletal and muscular level facilitates locomotor movement while enhancing individual creative expression. Dancers are challenged to discover new possibilities in their dancing through the use of inversions, floor work, center adagio and Foley’s eclectic repertory.
Modern V (Desch)
Investigating movement as a means of effective communication is at the core of this kinetically driven class. Dancers will progress from simple, universal movement vocabularies to more voluminous and dynamic dance, focusing on the back as an initiative force. Healthful alignment, technical proficiency, musicality and spatial exploration will be emphasized. Also, the refinement and subtlety of transitions from one idea or quality to the next will be explored.
Contemporary (Oliver)
This class is strongly influenced by Afro-Caribbean and Africanist aesthetics. With a moving introduction designed to energize the group, build community and rhythmic acuity, the class then moves through an integration of breath connected flow, stretching, isolations, release work and stamina building accumulations. Utilizing flow, rhythmic and polyrhythmic complexities, the above elements are integrated into extended phrase material. Oliver was a long time dancer with Ronald K. Brown and her classes have been significantly influenced by his movement qualities, her own physical vocabulary as well as alternative postmodern and black aesthetic traditions. This class engages these combined approaches to modern dance in a postmodern conceptual frame.
Ballet III (List)
The focus in this class is on correct alignment, ease of movement and dancing fully with musicality. Rhythm, momentum and spatial clarity are emphasized. Explanations of exercises and theory help students to use the ballet vocabulary in a simple, practical way, practicing skills that may be applied to other dance techniques. Exercises at the barre prepare for more complicated rhythms and combinations in the center. Areas of unnecessary tension are identified so that dancers may let go of excess effort and increase technical skills as well as expressivity.
Ballet IV (Mirk-Robles)
This class deepens the dancer’s understanding of body placement, the use of the skeleton, the influence of gravity through the body in a turned out position, and the use of energy from the floor throughout the body. The barre work builds strength and coordination. The center work reinforces an organic relationship to direction and movement, along with an understanding of different movement qualities, such as fluidity in adage, suspension and sharpness in turns, and balon in small and big jumps.
Ballet V (List)
This advanced class is designed for dancers who have a thorough understanding of ballet technique. We move fairly quickly through barre exercises (focusing on placement, ease of movement and rhythm) in order to spend more time honing skills in the center. Musicality, momentum and use of the upper body are emphasized and refined. Advanced work such as jumps with beats and consecutive turns are explored and practiced. By developing core strength and releasing excess tension, we are able to make technically challenging work appear more fluid and effortless.
Spiraldynamik (Mirk-Robles)
Spiraldynamik® is a combination of the art and science of anatomically correct movement. Like a “user’s manual” for the body, it enhances our understanding of body function by explaining the physics of human movement, given the laws of nature (gravity) and the human anatomical structure. The integration of Spiraldynamik® into the daily lives of dancers helps prevent injury, improve technique and lengthen one’s dance career. In this class, we will study in depth the principles of Spiraldynamik® and how we apply them to our bodies. We will analyse our movement patterns to identify meaningful change and improvement. We will study the anatomy of movement and develop an understanding of the muscular chain reactions that occur throughout the body.
Jazz IV (Young)
This class celebrates jazz dance as a dynamic, expressive, complex and continuously evolving form. Because jazz dance is inspired by vernacular dance and music, the class explores movement that has its roots in African-American dances such as the Cakewalk, the Charleston, the Lindy Hop and Hip Hop as well as the Mambo and salsa of Latin America. These social dances provide the source for movement that is expressive and physically challenging. Throughout the class we will focus on the relationship between music and movement, approaching the complexity of jazz dance from a somatically sophisticated base, integrating elements from current and classical movement techniques with a deep understanding of the body. The goal of this training is to move with clarity and ease, to be musically and stylistically sophisticated, and to develop passionate performance. The warm-up is organic and “body-friendly”, yet physically rigorous. The movement explores a wide range of jazz styles with a focus on elements such as isolation, swing, pulse and rhythmic variations.
Mid East Electronica Fusion (Mejia)
Commercially referred to as “Tribal” fusion, this is an evolving genre reflecting common denominators between North African, Arab, Persian and Turkish secular dance traditions (rural, urban and classical). These dance traditions reflect the aesthetic of dances dating back more than 7,000 years to practices of matriarchal traditions. The dance is presently transforming through interactions with new technology in world music, cultural dialogue between the East and West, and intense international interest in American Hip Hop and electronic music. The resulting movement values a nominal use of space, remarkable undulations in the torso, percussive hip work, lyrical arm and torso work, and emphasizes musical interpretation and precision over movement bravado. Athletic attire and bare feet will work best. Although women may dominate the performance arena for this genre, men are absolutely welcomed in class.
Contact Improvisation (Aiken)
In this class students will explore the dynamics of partnering through the practice of contact improvisation. How do you lead or follow? How do you sense and adapt to what is happening in the moment, while retaining a playful engagement with your partner? Classes will focus on the refinement of touch, balance, support, release, flight, falling, initiation, imagination and disorientation. In addition to developing physical skills emphasis will be placed upon emotional clarity, safety, joy, imagination and depth of experience. All are welcome.
Pilates (James)
This class is suited to people with different levels of Pilates experience. The focus is on alignment, building core strength and mobilizing the spine and limbs to prepare for a full day of dancing. We build up to the dynamic and challenging Pilates vocabulary with a full warm up that includes breathing, abdominal strengthening and individual postural placement.
Yoga (James)
This class incorporates asana, pranayama, relaxation and meditation. The emphasis is on the restorative rather than the physically demanding. This is a calming and rejuvenating experience, giving the students an opportunity to calm their minds and connect to their bodies at the end of the day.
Modern Repertory (Lavista & Carrum)
Claudia Lavista and Omar Carrum will recreate Lleno y vacío (Full and empty), made for their company, Delfos Danza Contemporanea. The piece is based on an essay by the Mexican writer, Mauricio Ortíz, which talks about the hollow spaces of the body as containers. Starting with a defined structure and utilizing improvisation, we will restage the piece in collaboration with the dancers. We will generate the material through an exploration of metaphor, poetry, theatricality, and a broad range of individual, duet and group movement invention. The work will be performed in the Festival Finale. All participants must be enrolled in the Carrum’s Modern V class.
Modern Repertory (Foley)
The process of making a group piece is a collaborative one. This repertory class is an opportunity for students to hone their partnering as well as their performance skills. We will experiment with complex partnering work (duets, trios, quartets) as well as work on creating a highly physical dance piece that will challenge you to explore the boundary of your technical capabilities. Although some phrases will be drawn from Foley’s technique class, the partnering phrases will be unique to the rep class. This final work will be performed in the Festival Finale. All participants must be enrolled in the Foley’s Modern V class.
Modern Repertory (Varone)
In this class, students will collaborate to make or remake a dance. The principles of composition, as well as excerpts from the company’s repertory will be investigated and employed. This is a fast class for fast thinkers. The work will be performed in the Festival Finale. All participants must be enrolled in the Desch’s Modern V class.
Jazz Repertory (Young)
This class explores jazz dance as a choreographic language of integrity, emotional power and innovation. Students will have an intensive experience of movement experimentation and development, music exploration, and participation in the creation of choreographic design and form. Young will teach choreography that integrates the swing, pulse, syncopation and rhythmic complexity of classic jazz dance with her own deep interest in exploring the boundaries of the form. The work will be performed in the Festival Finale. All participants must be enrolled in Young’s Jazz technique class.
Mid East Electronica Repertory (Mejia)
In partnership with Donna Mejia, dancers will construct a new work reflecting signature movements from Middle Eastern classical, rural and urban traditions in dynamic dialogue with American Hip hop and Electronica subculture. Dancers should possess a love of chunky percussion, enthusiasm for community collaboration, and receptivity to global electronic music. Both men and women are encouraged to participate. The work will be performed in the Festival Finale. All participants must be enrolled in Mejia’s technique class.
Advanced Improvisation (Aiken)
This class is for those who wish to explore the art of dance improvisation both as a performing art and as a vehicle to develop new avenues for sensing, feeling, imagining and choreographing dance. We will take an interdisciplinary approach to composition in order to re-examine our perception of place and time, the body, human relationships, and aesthetic design. Ultimately, our goal will be to access our most powerful dancing bodies while drawing upon our personal experience and our capacity to engage deeply with others. The class is about the integration of technique, performance and the poetic imagination. Documented prior improvisation study is required.
Making Dances I (Marks)
Movement is a powerful medium for the expression of ideas, theories, feelings, images and experience. In this class, we will work to discover some of choreography's rich possibilities. This course will emphasize creative problem solving as we hone our ability to verbalize process and make choices. Class time will be spent exploring physical ideas, developing dance compositions and discussing the work we have made. We will work in small groups (solos, duets and trios) to make several dances during the Festival. Open to those beginning their dance making explorations.
Making Dances II (Varone)
This composition class begins with an emphasis on compositional structure. Using these ideas as a springboard, new devices for expanding and inventing material will be explored, highlighting how spatial relationships create choreographic design and intent. A large body of work will be created, varied and manipulated both in and out of the studio. Documented prior composition study required.
Text & Movement (Oliver)
This course is designed to engage the student in the development and performance of text with dancing. To establish a practice of creating and integrating text with movement, we will work in three stages, attaining a comfort level with the delivery and development of text, playing with language in the ways we compose and play with movement phraseology, then deepening those concepts to choreographies. The class will employ breath work, vocal exercises, text delivery, movement and sounding, movement and language, then more complex layering of text and movement in solo and group dynamic settings.
Computer Mediated Composition (Stoppiello)
This class focuses on the use of the video camera and computer to generate choreographic material and then to create video imagery to be used in performance. We will use these tools first to redirect and refresh our creative impulse to develop movement material by using simple video recording and editing tools. We will create video ‘scores’ from which to create live dance works. We will, then, focus on how to successfully compose projected imagery - both live and pre-recorded - to use in conjunction with the movement material. Students will learn to conceptualize, shoot, capture, edit and compress imagery for playback in their dance work. The class will, also, explore alternative projection surfaces and locations and use the Isadora® software to resize, reshape and recall these images in live performance. Issues of amplification and diminution, repetition and theme, magic and reality will be explored. Bring a video camera and Macbook if you can. A few will be available.
Teacher's Toolkit (Marks)
Our role as dance educators is to guide students in a process of individual and shared discovery, in the acquisition of skills, and in the encounter of new ideas. As in an oral tradition, we strive to pass down, body to body, not only (and importantly) an older generation’s discoveries, but also tools for engaging new possibilities and a new world. In week one we will be engaged in movement exploration and observation. Week two will be devoted to training pedagogies with master artists from the Festival as our guests. In week three our own compositional skills will be the subject of study. Bring sample syllabi to analyze and share. Be prepared to do some teaching and receive feedback. This class is geared toward practicing teachers who are within the first five years of their careers or are looking for an opportunity to refine and refresh their skills. (Marks)
The Business of Dance (Konikow)
IIn this seminar, the practical aspects of the profession are examined, from college to professional levels. This includes career options, creating an ‘image’ in print and online, growing dance audiences, financial administration and raising funds creatively, among many other topics. Guests from the Festival faculty will share informative presentations based on personal experience. Resumes will be created or reviewed, and everyone will generate a hands-on plan designed to assist with a personal, future dance project. By the end of the course, participants will be better prepared to perform the business tasks expected of dance professionals and have a more holistic understanding of the field and personal dance community. Photocopying fee of $10 due first day of class.
Beyond the Stage: Dance Today (Cash)
Explore dance that reaches beyond conventional theatricality. Through video, readings and informal talks by special guests, this class introduces dance that reaches into political expression to comment on contemporary issues; that inhabits the natural landscape and urban fabric in site-specific installations and community-based events; and takes advantage of film, video and new digital media to create dances free of the constraints of ordinary space and time. We'll talk, write and share our impressions. Bring an open mind.
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