The programme is designed for professional dancers, or dancers in professional training i.e. a full-time programme (Bachelor or Master level) in an international school/institution of higher dance education.
The advanced programme offers a package, including a yoga class, a technique class (ballet or contemporary) and Rosas repertory or workshop.
Yoga class description
Hugo Mega – Hatha yoga & Vinyasa yoga
Hatha yoga (in Week 4) is seen as one of the most traditional styles of yoga. This ancient practice focuses on balance, bringing the Yin and Yang, the Sun (Ha) and the Moon (Tha) together into the body. This slower passed, static practice focuses on building a strong foundation and understanding each posture. In this class you will explore the benefits of Pranayama, breathing exercises as a new relation to abdominal and lumbar support. When teaching this style Hugo emphasizes breath awareness while developing your alignment and building a safe practice. Vinyasa (Week 5) is the connection between movement and breath, a flow of energy. This dynamic style of yoga brings together the body, mind, and breath through postures and sequences. Each class is unique and each flow offers a completely new journey. When flowing you will focus on muscles responsible for stability and explore new relations to balance. You will challenge your reflexes and coordination while connecting deeply to your body. With this flow you will improve your practice with detailed alignment, building up your endurance and strength.
Laia Escandell – Unfold and Unlock your personal potential
During this time we will be introduced to Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana), although we will mainly work on the first 2-3 points. This first class in the morning will be our moment to prepare for the day in a different way. To unfold and to unblock, first physiologically/anatomically and then into deeper levels of awareness. Identifying our unnecessary patterns and habits, letting go of them, balancing the body, increasing concentration and learning to listen. So that each individual student can be in tune with a deeper intelligence, expanding themselves as artists and humans, sharing it with the community as well as the world. I hope you all enjoy the process of unfolding yourselves. Om Namah Sivaya.
Maria Clara Villa Lobos
Being trained as a teacher in Iyengar yoga but practicing mostly Ashtanga yoga since four to five years, the class will bring together those experiences, the precision and accuracy of alignment of Iyengar yoga with the connection to breath and dynamic flow from Ashtanga yoga, going back and forth, placing the basics in the first days, to go towards a shortened form of the primary series of Ashtanga yoga.
Ori Flomin invites you to join him to this Vinyasa Yoga workshop to discover your own unique path and take this beautiful journey to help soften self-limiting mindsets and welcome joy into our hearts.Over the years, Ori has been consistently amazed to feel how the mind opens in the practice of attention to physical and mental awareness that Yoga provides, and how this creates space for healing and a stronger self.Through the class, practitioners are encouraged to intuitively follow their hearts and deepen their understanding and knowledge of their body and its connection with the mind, breath and spirit.Strong emphasis will be put into our continued awareness of alignment and breath through the various postures, which will enable us to find new possibilities while maintaining a calm center that does not add stress to our body and mind.
Stéphane Bourhis – Iyenghar Yoga
In our Yoga practice following the Iyengar® methodology, we will focus and explore precision, alignments, external and internal geometry of the body in several groups of yoga postures. The body is the starting point, the consciousness is the terminal point and the process between those two points is the reading of the body.
Ballet class description
The ballet class evaluates and re-evaluates the dancer’s body and is built on the classical structure of a ballet class with the objective to focus on strengthening the dancer’s awareness of his or her own natural alignment and experience. The class is divided into two parts: the barre and the center practice. Exercises at the barre emphasize isolating and releasing the joints in order to strengthen the dancer's core awareness and to find where the movement begins in the body. By supporting the functional body placement, it becomes more natural and fluid, rather than stiff and held, allowing the movement to be less stressful. The second half of the ballet class, conducted in the center, continually challenges the dancer to use the newfound placement when having to shift weight and carry the body through space. Motivation, flow of movement, and momentum are key points to help the dancer to move from the core and inner muscles supporting a greater freedom of dynamic and expression. The dancer gains a stronger sense of confidence to take space and go beyond technique.
Contemporary class descriptions
The objective of this class is in developing a strong basis for physical interpretation through exercises designed to strengthen contemporary technique. Through floor work, partner- and contact work, participants will explore and confront their own dynamic performance vocabulary. The tasks proposed in each class will deal with various levels of physical, psychological, and emotional risk. These tasks will challenge our individual limitations and invite us to go beyond them, thereby enhancing our ability to communicate through movement. The overriding emphasis is on committing oneself to what can be called the ‘total act’; a state wherein the performer completely embodies the action.
Roberto Olivan forges dance from physicality, body power and technique, taking the body to extreme situations. His goal is to encourage loosing fear of moving in a specific context. The workshop is especially focused on generating dance material from our animal instincts and our own creativity. Moreover, it strengthens group confidence by building safe conclusions from difficult situations.Moving efficiently becomes an important issue, but there are other important purposes too. Working with gravity, the consciousness of inner sensations, such as breathing, and the visualisation of energy released by movement. This consciousness of body unites mind and physical structure relating it to spatial energies, to others and to oneself.In this sense, the body becomes a tool of projection for the physical and emotional flow. The force of mental images, such as lines and structures around and in the body, are used to define and help us better understand the body’s functionality.
David Hernandez - Out of the Pocket
During this workshop we will explore spontaneous composition, or improvisation as a performance form. Our work will be centred around how to compose in the moment with others and make it readable and enjoyable for the viewer. It is not about jamming but rather about addressing how to propose and develop ideas in a performative improvisational format. In this interest we will explore both, scored and wide open improvisations with an emphasis on consequence and readability, and work to develop the tools and imagination necessary to accomplish this.
Dominique Duszynski – Acting Body, Dancing Body
During this workshop, we will look at different ways of proposing: with the body and with dance, in solo composition and group work. Just like taking a breath, the consciousness moves in waves, swings, gets lost, follows different ideas, be they joyful or intense, in a fluid dance, invisible, making you forget your restless body. Small round trips and short circuits are taking place. The limit between the 'acting body' and the 'dancing body' will be explored within different contexts, from in-depth to essential, from subtleties to concrete details, from casual to superficial. We will combine gestures and dance to instigate new ways of questioning our being. While investigating a range of possible presences, we will use musical supports to create contrasts and oppositions. During this workshop, we will develop material for a new creation.
Laura Aris – Power Sources & Tools for partnering
Technical exercises and improvisations with clear framework will be the starting point for group work or in couples. Participants might learn some given material but most of the time they will be invited to experiment and play within a defined context to practice concrete body mechanisms. We will look for creative impulses that, when released, offer us new possibilities for achievement. We will observe how, sometimes, extreme qualities maintain a balanced tension, that the tension attracts attention, and that many times, silence speaks. Slowly, with some theatrical input, we will craft specific energies and clear images to give meaning to movement and embody the tasks and borrowed ideas.
Rosas repertory descriptions
Amor Constante, mas alla de la Muerte (1994)
We will work on the section ‘Percussion/Unknowness’, which was re-worked by Anne Teresa De Keersmaeker into the 1997 piece Just Before.Using two short phrases of material the choreography plays with stretching, reversing and fragmenting time and is danced to a musical score by longtime collaborator (as both composer and film-maker), Thierry De Mey, composed for, and to, the choreography as it was being created.Mark proposes for this workshop to teach the short main phrase of material and then create a new choreographic score to create the ‘stacking’ system exactly as we did in the creation. This is an essentially randomised system for each ‘voice’ (between one and three people) that determines entrances and exits and precisely which material to dance, building up from fragments to the full phrase. Time permitting, we can also splice this material together with the simpler floor phrase that serves as a choreographic counterpoint.This workshop would appeal to participants who enjoy a full physicality combined with an interest in structure and problem-solving.
Week 2: by Mark Lorimer
Elena’s aria (1984)
This choreography is a very feminine piece danced with high heel shoes in a setting with nothing but some thirty or so chairs. The choreography is as fine and intricate as lacework, rich in contrasting dynamics (quick and light, slow and grounded), lyrical but with sharp punctuations, round and angular in its form. Dancing with chairs is a fantastic prop for developing movement and dynamics. The high heels will challenge your centre of gravity – great fun! Participants will be able to improvise on one section of the repertoire, using the same concept that was used during the creation. Although it is a piece created by women, men are welcome. They don't have to wear high heels, they also can if they want to. (Please bring medium height heels, pumps, tango/ flamenco shoes)
Week 1: by Nadine Ganase
Accompanied by the pulsating tones of Steve Reich’s music, for an hour and ten minutes ten dancers occupy the stage, delineated by a curtain of fine strings, displaying an impressive succession of virtuoso dance phrases. The mathematical figures, the sustained repetition, the geometric occupation of the space, the art of continuous variation – everything that had gradually become the choreographer’s signature was pushed to the extreme in Rain. In Rain, De Keersmaeker approaches the company of dancers as a close-knit group of pronounced individuals who, one by one, play a vital role in the whole. Seven women and three men allow themselves to be propelled by an unstoppable joined energy that binds them together. It's a bustling network in which breath and speed is shared as well as that special comradery that forms when you are beyond fatigue.
Week 4: by Clinton Stringer