Class DESCRIPTIONS

 
Aladino R. Blanca
SASHA WALTZ & GUESTS


Moving Air

Moving Air is created with the need to recover ourselves in the most pure way of the intuitive body we have ! As dancers we need to understand and discover the many different kinds of energies and speeds we can use to transform our dance.

As performers we take risks and give life to the visible and invisible connections that exist everywhere around us; Wind is the possibility to be caressing or transgressing an entire landscape, it is to understand the power of the mind as the highest tool to transform the body with a full capacity of infinite movement. Moving Air indispensably explores the space around us to develop the movement; find endless possibilities in all physical levels involving martial arts (kung fu & capoeira) to find harmony and balance between the imaginary thought and everything that inhabits us.

Moving Air is aimed at performing artists seeking to exercise the creativity of the body and mind in space through intuition. All exercises continuously build mental images that transport the body to the limit to develop more questions than answer while we move. Then the body emerges into space free and dynamic, to find itself as natural and intuitive.

The purpose of the workshop is to seek continuous training and so the receiver can transform the body INTO WIND to flow swiftly into the space and build paths to all currents that force detonates

 
Attila Rónai
HOFESH SHECHTER COMPANY


Contemporary Underground

The class will focus on connecting to our senses and finding different energies, dynamic qualities, and total flow through improvisation. Because music is very important to me I like to use it as a tool to inspire students to let go and find themselves in a different physicality connecting to groove. Class will consist of improvisation, set exercises, and a phrase.

 
Bui Ngoc Quan
LES BALLETS C DE LA B


Contemporary

Quan’s classes are generally a combination of improvisation and challenging technical phrases. Mostly we will start with easy improvisation exercises in which we play with different parameters such as state, space, speed and rhythm to physically warm up the body. Each day we will work further on a phrase that combines floor-work, speed and acrobatics. We end the class by combining some improvisation exercises with the material in order to develop more performative ways of bringing the phrases.

Photo by Fotograczia
Péter Juhász
EMANUEL GAT DANCE


Silent Speed

The first part of the class focuses on floorwork through a short series of improvisation tasks and various exercises, aiming to reach moments when we can use our own SOFTNESS and SILENCE. Applying these principles a floor sequence will be taught as a closure of the first part.
In the second part of the class we put emphasis on SPEED and DYNAMIC CHANGES, awakening and facilitating awareness of the power and skills related to them. Class ends with learning a longer dance phrase combining the principles mentioned above.

 
Natalia Iwaniec
GAGA / Dancers


GAGA / Dancers

Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of available movement options, enhances their ability to modulate their energy and engage their explosive power, and enriches their movement quality with a wide range of textures. The classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar skills with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well, unlocking the endlessness of possibilities. Dancers are guided to connect their effort to pleasure and to discover the virtue of silliness.

Photo by Daniel Dömölky
Csaba Varga
CIE COMPAGNIE LINGA


Fleshboost

I've encountered many different moving forms. I aim to apply those principles of these movement languages which I find the most significant. I’m interested in movements which are dynamically diverse, specific in coordination or rhythmically unique. For dancers it is essential to be in excellent physical condition to be able to execute whatever their imagination asks from their body, so the goal of my training is to give a physical and technical base to be able to perform the things we work on later.
First we start with a warm up: a leaded improvisation in which we gradually increase the size, speed and difficulty of the movements, using the floor, the air, the space, the tension of the body. We continue with a physically challenging training which strengthens and prepares our body for the following technical (floor and aerial) part. Finally we take time learning a complex phrase and work on the subtle details.

Photo by Daniel Dömölky
Jenna Jalonen
COLLECTIVE DOPE


Triplewave

Exploration of continuous and infinite moving. How to travel through different movement qualities from standing upper level all the way gradually to the floor within one trip. Waving, bouncing and floating into a very concentrated and relaxed state of mind. Without stopping after each exercise and re-entering for a next one, we try to continuously stay in physical exploring mode with our body and understand how this affects the movement itself. We will work on set movement patterns inspired by house dance, footwork, acrobatic elements and floor technique combining them with improvisational qualities of isolation, liquidity, release and your own personal style and flow.

Photo by Judit Herbaly
Máté Mészáros
ONEMANCROWD


Partnering

Our body is the same in every movement and in any style but the possibility to change is essential. We focus on the principle of adaptation during the workshop.
Through several exercises we establish a strong and united body. We focus on the timing and the sharp reactions towards our partner while we practice together.
The material is based on several different ways of partnering that I learned throughout my practices and on material I developed during creations and research.
Dynamic and powerful dance where we only deal with physicality that defines the essential movements.
In the workshop we go through various combinations to experience power, support, speed, acrobatic movements and the unique feeling of connection.

Photo by Judit Herbaly
Eszter Gál
KONTAKT BUDAPEST


Get awake and be ready to dance

The daily warm ups are preparing the whole self for experiencing and learning movement with awareness. It is about getting ready for the day and becoming available for exploring movement on a wide spectrum. The 60-minute class contains a delicate arrival into the body, partner work, attention games, and playful scores, that are all serving the purpose of letting go of unnecessary tension, finding personal movement vocabulary and preparing for receiving information both from outside and from within. The practice of simple moves directed into diverse dances is aiming on generating heat and coming to alertness!

Photo by Daniel Dömölky
Gyula Cserepes
CIE PHILIPPE SAIRE


Rhythm as a creative tool

The dance practice and the choreographic work of Gyula Cserepes comes from a focus on rhythm. For the last few years he has been researching the essence of dancing and how dance could be perceived better when performed. During this one week of research, he would propose various tools and ideas to play with. Keeping an open mind and curiosity, Gyula would like to invite the participants to think together about the ways in which dance could be embodied instead of being made. About various ways of observing and listening to the movements of another person. The basic aim of this workshop is to create new practices of connecting and communicating better, using the language of our bodies.

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