dance-ability = doing math with physical, cognitive and emotional perceptions while dancing + all that which allows you to sustain the flow + placement of the dancing body + body composition + Körperaufbau + dimensionality and multiplicity of the body + sustainability + tactility + tactile sensation + the expression of the body in movement + dorsal anatomy + a pulsating spine + a floating torso + carrying hands + shoulderpalms + duckfeet + the space between the ears + the eyes of the skin + elasticity + diversity + wave + movement caligraphy + resistence + crest + crust + figure + form + gravity + all that which keeps you grounded and connected + visualization + all that which allows you to sustain the flow + interconnectivity + contemplation + movement culture + dance as art form and physical expression + physical utterances
My dance practice is a synthesis of my professional and artistic practices in dance, movement, performance, writing, and choreography. Through out the years of teaching and working with dance professionally I developed a proprioceptive approach in response to my interest and questions about sustainability, tactility, choreography, and diversity.
The practice has few emphasis: developing dance-ability, exercising how to remain in touch with the movement materials, defining the actual practicality of somatic experiences, understanding somatic experience as a resource to sustain the ability to dance, developing form and experience space and time with more clarity and awareness of body-mind connections.
The practice stems in the notion and concept of "dance technique", which places the importance of dancing while exercising technique. It gives equal importance to both, keeping the aliveness of dancing (dynamic and movement culture) while training technique (the somatic experience of movement), and understands the co-depending and reciprocal relationship between them as a resourceful one. The technique benefits from dancing and the dancing benefits from technique. They should challenge each other constructively, and remain in dialogue.
In my master class we aim to develop a proprioceptive gaze, which allows us to have a deeper understanding of movement, while buidling up a sensation and feeling for the dancing body. Through a series of movement exercises the dance class follows the principle of placement of the dancing body (Körperaufbau). The emphasis is on articulation of joints, a simple method that allows the dancer to keep track of the movement patterns, proprioceptively and spatially. The goal is to place the body while exercising movement patterns repetitively, which in return allows the dancer to work proprioceptively and somatically.
The dancer is challenged with making quick connection and associations, and via processes of recognition and definition works to embody them. The gain of this approach is acquiring opportunity and time to focus on tactile relationship with the proposed dance materials, for which my dance practice is the most known for, and develop a sense of a how to work with placement sustainably through out the class, while activating the multiplicity of the body, and create a sense of dimensionality of own body in space and time. To gain better results it is highly advised to exercise how to remain in touch with the materials that frame the dance, and “do the math” while exercising, and warming up to acquire a dancing placement. In my class I emphasise a sensory dialog with the floor, gravity, and the dance material, while I am guiding the dancer to create complex networks of connections in order to acquire new constructive perceptions to balance cognitive, emotional and physical experiences. The gain is an acquired knowledge to enhance and empower the dancing (and) presence with diversity and flexibility.
Introducing the concept of ball-room: “ball” is the dance, but as well an object of play, whereas “room” is meant as the space we dance in. How do we make space for our dance, by dancing with everyone in the room? Ball-room is a dance practice that is inspired by large-dance gatherings, and ballroom dances, and is integrated into the practice of contemporary dance. This workshop-based training is a dance practice that engages awakening the dancing body, moving through space, and exchanging energy. In this workshop we are exercising locomotions in order to awaken the dance and the dancing body inside of us. The participants are led through a series of movement exercises, integrating the group into their dance. The goal of the workshop is to create exuberant dancing experiences for each other.
references and teaching experience
Mozarteum Universität Salzburg / Carl-Orff-Institut (2010 - 2018) ● Falmouth University / Dep. for dance / Penryn, UK (2013, 2014) ● New Mexico University / Dep. for dance and choreography / Albuquerque, USA (2015) ● Seminar Kibbutzim / Dep. for dance theater / Tel Aviv, Israel (2012) ● Academy of Dance / Ljubljana, Slovenia (2012 - 2014) ● SEAD / Salzburg, Austria (2011) ● Tanzlabor_21 / Frankfurt am Main, Germany (2014) ● ArtEZ Dansacademie / Arnhem, The Netherlands ● Tanzimpulse Salzburg / Salzburg, Austria ● K3 Hamburg - Dance Kiosk Festival / Hamburg, Germany (2012) ● Time to Dance Festival / Riga, Latvia ● Guangdong Dance Festival / China ● The South China Normal University / Guangdong, China ● Musisches Gymnasium Salzburg / Salzburg, Austria ● Dansatelier / Rotterdam, The Netherlands / Audition class for Valasia Simeon´s project 'These little nothings' ● EnKnap Group / Ljubljana, Slovenia / Company training ● Fourklor / Ljubljana, Slovenia / Company training ● Fičo Balet / Ljubljana, Slovenia ● Tanzstudio Belacqua / Wasserburg am Inn, Germany ● Oesterreich Tanzt Festival / St. Poelten, Austria ● Plesni kampus Izola / Izola, Slovenia