JAZZ kl.11.15-12.45

Vecka 5, 30/1 Måndag

Vecka 7, 13 + 17/2  Måndag & fredag

Vecka 10, 6 + 10/3  Måndag & fredag

Vecka 12,  24/3 Fredag

"På mina klasser bygger vi teknik och styrka under uppvärmningen och fokus ligger på funktionalitet.

Jag försöker mer och mer inkorporera mitt PT-tänk i klassupplägget vad gäller övningarnas syfte.

När vi väl kommer till koreografier är fokus på musikalitet, dynamik och dansglädje!"

BIO: 

Jacob Walleberg är utbildad dansare på Balettakademiens dansarutbildning i Stockholm samt utbildad PT genom Safe-academy. Jacob har jobbat mest som musikalartist men också bl.a. som showartist på Wallmans i Köpenhamn och två år som modern/jazzdansare i kompaniet Oslo Danse Ensemble.

Han har jobbat på Oscarsteatern, Uppsala Stadsteater, GöteborgsOperan och Malmö Opera i musikalerna La Cage aux Folles, Top Hat, Billy Elliot och Spelman på taket.

Gaga People /open for both actors and dancers.

Week 23, 5, 7, 8, 9 Juni kl.9.30-10.30

Repertoire and Choreographic tasks (obs! Denna klass inkluderar den första också 9.30.) This class includes the Gaga people 9.30  also.

Week 23, 5, 7, 8, 9 Juni kl. 10.45-12.15

About Gaga

Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and artistic director (1990-2018) of Batsheva Dance Company. 

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Gaga provides a framework for discovering and strengthening the body and adding flexibility, stamina, agility, and skills including coordination and efficiency while stimulating the senses and imagination. 

"Gaga/people classes offer a framework for users to connect to their bodies and imaginations, experience physical sensations, improve their flexibility and stamina, exercise their agility and explosive power, and enjoy the pleasure of movement in a welcoming, accepting atmosphere.

Gaga/people classes are open to people ages 16+, regardless of their background in dance or movement. No previous dance experience is needed."

Repertoire and Choreographic tasks

"In these session we will learn material form Lee Brummer’s recent repertoire of work and play with choreographic tasks.

The repertoire material is physical, detailed and story telling where we will work on the shift of dynamics, textures and the use of different engines in the body to create and experience a range of. We will work with range, choices and decision making within the set material. "

BIO:

Lee Brummer is an independent choreographer, international guest teacher and educator based in Sweden who frequently works both across Sweden and internationally. Lee is the Associate Director and co-founder of ilDance, an independent and international contemporary dance company and organisation based in Gothenburg, Sweden. 

Lee studied at the Jerusalem Academy of Music and Dance where she also completed her BA and teaching degree in 2007. 

As a performer she danced with the Bat Dor Dance Company (Israel), The Emanuel Gat Dance Company (Israel) and with various independent choreographers across Europe. She has worked as choreographer’s assistant in a variety of dance productions and musicals in Sweden and abroad. Brummer completed her BA-Dance and teaching degree at The Jerusalem Academy of Music & Dance and has studied psychology, theatre and pilates alongside her career as a dancer and choreographer. In 2019 Lee became a certified Gaga teacher though the Gaga teachers training programme under the artistic direction of Ohad Naharin, Bosmat Nossan, and Saar Harari. 

Over the years Brummer has been teaching and working with companies such as: DV8, Australian Dance Theatre, Sydney Dance Company, National Dance Company Wales, The Israeli Ballet and Norrdans to name a few. Additionally she has been guest teaching open professional classes and at universities and schools worldwide and workings as a mentor for young and emerging artists.

Brummer has been choreographing her own work within different structures since 2010. Today her teaching practise is composed of anatomical and physical exploration which is dedicated to discovering ones individuality, originality and capacity within their own body. She mainly teaches ballet, contemporary and the Gaga Movement language. In her choreographic practise, text and spoken word have become extremely influential both within the process and in the final version of the work on stage. Additionally, Brummer has worked as a producer, project manager and facilitator of various artistic projects and events within Sweden and internationally.

Photo credits

Gaga image: Ascaf

Image of Lee Brummer: Adam Wheeler

Head shot image: Per Elvik

Vecka 24, 13 + 15/6 Tisdag, & torsdag 9.30-11.00 

Vecka 26, 27 + 29/6 Tisdag, & torsdag 9.30-11.00

Vecka 27, 3/7 Måndag 9.30-11.00.

Contemporary

"The class will have a dynamic released based feel, using phrases and choreographic sequences to warmup the body and mind, systemically. Fundamentals including the core, use of weight and breath will be worked on throughout. The class will incorporate floorwork, traveling, jumps and phrases. A sense of flow, connection with ourselves and others and tuning will be the key themes of the week. I hope we can share some good feelings, some fun and some hard work. " 

BIO:

Toby was a member of Scottish Dance Theatre [Janet Smith] for 8 years. Touring the UK, Europe and beyond. Performing works by choreographers including Liv Lorent, Rui Horta, Hofesh Shechter, James Wilton, Ina Christel Johannessen, Kate Weare and Rachel Lopez De La Nieta. Toby danced with Norrdans [Mira Helenius Martinsson] Sweden, for 3 years, touring Sweden and Europe. Performing works by choreographers including Ohad Naharin, Marcos Morau, Thomas Noone, Yossi and Oded, and Fernando Melo. 

Toby has freelanced with Emma Martin Dance [Dublin] and with Yossi Berg and Oded Graf Dance Theatre [Israel]. Toby Joined balletLORENT in summer 2015.

JAZZ

Vecka 24, Måndag - fredag 11.15-12.45

"Med en stark bas i jazzens dynamiska grunder: låg tyngdpunkt, suspension, musikalitet och form har jag byggt upp en klass där du som deltagare ska få möjlighet att arbeta igenom kroppen och få med dig inspiration in i din egen verksamhet, vare sig du undervisar eller är dansare. Klassen innehåller en gedigen uppvärmning med fokus på att bygga upp styrka och flås. Detta följs av förflyttningar över golvet och avslutas med en längre koreografi. Ibland väver jag även in improvisation i klassen med utgångspunkt i ett fysiskt eller musikaliskt utforskande.

Jag är starkt influerad av min samtid och försöker inkorporera flera av jazzens olika stilar och uttryck – utan att för den skull släppa dess tradition."

BIO:

Clara Björck är utbildad Jazzdanspedagog på Dans och Cirkushögskolan i Stockholm och arbetar numera som frilansande pedagog, koreograf och dansare.I sin undervisning har hon mött både barn och vuxna, professionella och nybörjare och har ett stort intresse för hur man kan utveckla jazzdansen både konstnärligt och i undervisningssituationer. 

Improv and sequencing hybrid class 

Week 27 Wednesday and Friday , 5 and 7 July Kl. 9.30-11.00

"Contemporary classes are a blend of improvisation and led-sequencing to a killer

soundtrack and sometimes the odd pop song. The first part of class focuses on exploring

and developing qualities and sensations to reach a full bodied, dynamic flow through

improvisational tasks. These are interspersed with explorations of technical tools and forms

aimed at unlocking their potential to aid our dancing. Classes end with a deep-dive with the

knowledge of the improvisations into longer, complex sequences that also hone memory,

picking-up and performance presence skills."

BIO:

Gwyn has been working as a performer, choreographer, teacher and dramaturg for over 20 years.

Coming from Wales, UK, he has been living in Malmö since early 2020. Gwyn is the Artistic Director

of Jones the Dance, and recently has been freelance rehearsal director at Skånes Dansteater.

He has taught for companies such as National Dance Company of Wales, Russell Maliphant Company, Scottish Dance Theatre and Inbal Pinto in Israel, and at many international schools, for example The Place (London Contemporary Dance School), Suzanne Dellal Centre in Tel Aviv, Hong Kong Contemporary Dance Centre, and Balettakademier in Gothenburg and Stockholm as part of the collaborations with Swedish company ilDance. 

In 2013, Gwyn created his own company which has since toured his mid-scale dance-theatre works across the UK. Through his choreography, he explores how to make socially and culturally conscious work that draws from the mixed heritage, culture and languages of his home country.  His solo work has toured as part of the European dance network Dance Roads and he has choreographed for many cross disciplinary projects in Wales. Since 2014, Gwyn has also been an artist, dramaturg and producer for iCoDaCo (International Contemporary Dance Collective).

Gwyn continues to perform with the collaborative dance collective Light, Ladd and Emberton, creating and co-directing sited and site-responsive work that has a strong participatory edge. Gwyn has danced with choreographers/companies such as Akram Khan, Matthew Bourne, and Scottish Dance Theatre in the UK, and with Inbal Pinto in Tel Aviv, Israel, and worked with Russell Maliphant and a range of early-years choreographers as a rehearsal director and dramaturg.

Vecka 10:  6, 7,8 /3      Tisdag & torsdag 9.30-11.00 Onsdag 11.15-12.45

Vecka 12: 21, 22, 23/3 Tisdag & torsdag 9.30-11.00 Onsdag 11.15-12.45

"The Countertechnique® class is a contemporary dance technique class. It stretches, coordinates and strengthens the body, making the dancer sweat, build stamina and really move.

The class starts with a recurring set of exercises, allowing dancers to investigate the Countertechnique® principles in detail. The second half of the class consists of changing components, working towards luscious movement combinations and jumping at the end.

The Countertechnique® class results in dancers using less energy, losing their fear of taking risks and gaining speed in changing direction. "

BIO:

Born and raised in Sweden, Anette is now based in Malmö and Stockholm. She started taking Countertechnique classes in 2016 and worked in a creation with Anouk van Dijk during the autumn of 2021. Anette took part in the One Body One Career and the Teacher Training in 2022, where she acquired her certification as a teacher.

Anette trained as a dancer at The Royal Ballet School in Stockholm and received acting and pedagogical training at The Stockholm University of the Arts. She started her career as a freelancer before becoming a company member of Skånes Dansteater between 2006-2022, where she has worked with numerous choreographers; Alexander Ekman, Marina Mascarell, Alan Lucien Øyen, Örjan Andersson, Angelin Preljocaj, Jo Strømgren, Ben Wright and Susanna Leinonen to name a few.

Since 2018 Anette has been the Artistic Director of SpaceTimeLab and today she divides her time between creating works for the stage, teaching and working as a dancer and actor.

“I love that double presence; being aware of what’s happening in my own body while being fully present in the room dancing together with the other bodies in the space. After a long dance career, the encounter with Countertechnique has given me a new spark and a strong desire to keep dancing professionally. As a dancer I feel freer in my body and stronger than ever, provided with tools to assist me in all kinds of situations - physical as well as mental.

The Countertechnique system is sensible and well conceived. It sums up a lot of valuable knowledge for the body and mind as well as offering a well thought through and up to date approach to teaching dance. It is a faithful everyday companion, providing each individual with the possibility of making their own choices in their aim to develop and find more freedom and control.

I strive to facilitate an allowing and positive atmosphere in the dance studio, so that dancers can feel comfortable to explore, take risks, fail, evolve and enjoy - or rediscover - the joy of dancing.”

Contemporary Release

Vecka 15, 11 + 13/4 Tisdag & torsdag 9.30-11.00.

Vecka 18, 2 + 4/5 Tisdag & torsdag 9.30-11.00.

"In the class that I offer we work fast pace with release based material and playfulness. The focus is to keep going with the body, to keep fit and challenge changing qualities and perception of space inside and outside of the body. A class that gives a daily introduction to a mix of created material, phrases and improvisation. Leaving the class I wish for the participator to have had the chance to wake up both body and mind, to be cheerful and empowered for the rest of the day."

BIO: 

As a dance artist Matilda works with liquid and flowing moving techniques in combination with playful ways to look at improvisational tasks. Through choreographic processes and offering of workshops the main focus lies within finding a common ground for communication and expression that engender meetings, spontaneity and exploration. She gathers inspiration from living in the UK working with a variety of choreographers at Schottish Dance Theatre as a part of her Master at LCDS, in combination with the time she spent in Netherlands during her studies and experiences she had within the freelance scene. She is now currently based in Malmö, working on choreographic projects, teaching and establishing herself in Sweden again. 

Jazz

Vecka 15, 11-14/4 Tisdag -fredag 11.15-12.45.

"Jag har en uppvärmning som integrerar hela kroppen i de flesta övningar för jag tycker det är viktigt med ett flow för att bli varm och ett helkroppstänk.

Mina klasser anpassas utifrån vad vi gör för koreografi på slutet så att man lotsas in i stilen genom klassen. De ord jag kommer på som kan sammanfatta min jazzklass är teknik, off center, 360 grader, dynamik och passion. Och musikalitet!"

BIO:

Lisa är en dansare, lärare och koreograf som gillar att röra sig fritt mellan olika dansstilar och skapa fusioner av dessa. Efter 10 års studier på Stora Teaterns Balettelevskola och Kungliga Svenska Balettskolan vidareutbildade sig Lisa i Sevilla och på Codarts i Rotterdam. Hon har medverkat i musikaler som t.ex Cabaret, On the Town, Crazy for you, Singin’ in the rain, Guys and Dolls och dansföreställningar med bl.a Oslo Dansensemble, Subjazz, Camilla Ekelöf och olika shower och föreställningar runt om i Norden. Hon undervisar på yrkesutbildningar och ger proffsklasser. 2017 studerade Lisa på Stockholms dramatiska högskola och arbetar nu vid sidan om dansen även inom teater och film.

Jazz  

kl. 11.15-12.45

 V.11 Måndag 13/3 och fredag 17/3 

 V.18  Fredag 5/5 

 V.19 Måndag 8/5 och fredag 12/5 

"Under mina klasser ligger mycket av fokus på musikalitet. Men också isolationer i kombination med fysisk jazzträning. Det kommer vara en omfattande uppvärmning med fokus på fysisk styrka. Jag är influerad av många andra stilar som gör att jag arbetar i en jazzfusion stil. Jag önskar att utmana dansare till att jobba utifrån sin egen ”range of movement” och går ut ifrån att dans ska vara kul!"

BIO:

Liza tog examen i jazzdans på Kunsthøgskolen i Oslo 2018. Samma år fick Liza sitt första professionella jobb som dansare på Wallmans i Cirkusbygningen, där har hon medverkat i föreställningarna Urban Nights (2018-19) och Carnival (2019-20). Hon debuterade på musikalscenen i One and Only Musical Teaters återuppsättande av Dirty Dancing i 2020. Senast har hon medverkat i föreställningar så som En Kväll med Thalia (2021) på Malmö Opera, Den Glade Enke 2.0 (2022) på Bergen Nasjonale Opera i Norge och Pretty Woman the Musical på Tivoli I Köpenhamn.

Vecka 21, 23 - 26/5 Tisdag-torsdag 10.30-11.30. Fredag 11.15-12.45. 

OBS! SE även under Workshops!

"How do we prepare the body? For what? Isn’t dancing already occurring? Rosalind Crisp brings 40 years of dancing research to these questions. She offers processes for attending to the materiality of our bodies - the flesh, weight, breath, edges and contents, and proposes a raft of compositional tools to respond to this materiality. Her method supports dance artists to sustain an independent, embodied inquiry."

BIO:

For over forty years, Australian choreographer and dancer Rosalind Crisp has engaged in a radical physical critique of dance, through dancing. She has produced numerous solo and group works, informed by her rigorous and experimental engagement with the body. From 2004 to 2012, she was based in Paris as the Associate Artist of the Atelier de Paris-Carolyn Carlson. Her dance works are presented throughout Europe and Australia where she is also sought after for her teaching methodology (DOCH Stockholm, HZT Berlin, Laban London, The Place London, Dancehouse Melbourne ...). In 2015 the French Ministry of Culture awarded Rosalind a Chevalier de l’Ordre des Arts et Letters. In 2020 she established the Orbost Studio for Dance Research (Australia), hosting an international artist-in-residence program.

Beyond analogy, Crisp’s movement is astonishing in its sheer otherness, ... the standard syntax of dance is erased. It’s magical... RealTime

www.omeodance.com

Photo: Patrick Berger ( red picture) 

Anna Solé (in movement) 

Vecka 4, 24-26/1 Workshop observera tiden!

Tisdag onsdag & torsdag kl.11.15-14.15.

Shannon Cooney’s Moveable Cinema/Dynamic Expansion: Dance/movement embodiment practice.

"Moveable Cinema is a movement practice created to expand the felt-sense and consciousness of vision while in movement. Shared though a series of mandalas (or practices) it enables one to find a unique path to research consciously how the expanded sense of vision can be an available process; to tune into one’s body acutely to the present. Beyond self-oriented practice, practices with others challenges and enriches subtle and powerful forms of witnessing. This becomes a vital and reliable tool for performance. 

Moveable Cinema exists within the frame of Dynamic Expansion.

Dynamic Expansion is an integrated and somatic approach to orient to the Craniosacral System; tuning into its waves and stillness phenomena grounds the practice. We work with the key element of the system, the Fluid Body. We explore sates of fluid dynamics and how they move the body, and states of stillness, or stillpoints; where fluid rests and at the same time gains potential for movement.

This practice offers many possible applications to one’s personal artistic/creative work or practice including: a vibrant palette/range of movement qualities, joy in movement, fine-tuned visual field perception, enhanced depth of focus, heightened and subtle states of presence, refined self-perception skills, new systems of connecting with self others and, profound and grounded experiences in the sensorial field."

BIO:

Shannon Cooney, Canadian dance artist: choreographer, performer, facilitator and dance educator. She has been presenting her choreography since 1993 in Canada, Europe and the UK, She’s performed in many choreographers’ works, improvisations, and installations and she danced from 1994-2006 with Toronto-based Dancemakers.

She has lived in Berlin since 2006 and since then her focus has been in the research and development of her teaching practice; melding dance with Craniosacral principals called Dynamic Expansion, Moveable Cinema. This teaching practice is the “garden” for her choreographic projects, recent works include: Fluid Resilience (2020) Fielding: solo with Cases (2018), Fielding (2017), every one everyone (2013), acoustic sightlines (2012), Assemblages (2011) and dance-video installation, Spiral Pendulum: dance (2009).

She teaches locally and internationally for dance centres, companies and universities including: Cullberg and Weld Company, SKH University of the Arts, Royal Swedish Ballet, Stockholm, Meg Stuart/Damaged Goods, Universtiy of Art in Berlin, HZT- BA dance program, P.A.R.T.S. (BE) fabrik Potsdam, ImPulsTanz, Tanzquartier Wien, Circuit-Est, Montreal, Dancemakers, Ottawa Dance Directive (ODD), Toronto's Love-In Toronto, Dance House, Dublin (IR), for the independent dance scene in Istanbul, Turkey, and ongoing at Tanzfabrik-Berlin. As a creative facilitator she mentors students at all levels; BA, Masters and PhD candidates as well as artists and collectives some include, Kondition Pluriel-Marie-Claude Poulin, Alison Denham, with Jared Gradiger and Angela Schubot, Francesca Pedulla and Lesandra Dodson.

She has a private practice where she facilitates personal and professional development through expanded consciousness, co-creatively with Nature, craniosacral and movement awareness. 

In Berlin, she and her partner are stewards of an organic a permaculture garden.  

www.shannoncooney.org

Contemporary

Vecka 16, 18 + 20/4 Tisdag & torsdag 9.30-11.00 Onsdag 19/4  11.15-12.45.

"Sharing of physicality and explanation of ideas.

How to connect ideas hidden in daily life to creation. How to extend the idea and physicality. How to seamlessly change situations and physical ideas?

How do you weave relationships in improvisation? Create inevitability in the movement and in the relationship. By doing so, the relationship is made visible and people find a story in it.

We will expand the possibilities of the body from three perspectives: task, situation, and purpose."

BIO:

Takuya Fujisawa (Dancer/Choreographer) has been based in Göteborg, Sweden since 2015. In 2020 he started working as a freelancer. 

Since then he has hosted the research platform CRAFT and developed his own work based in Gothenburg.

Diversity and mutual understanding are increasingly important themes. While language barriers often prevent us from understanding others, I am interested in exploring and creating work that reaches beyond these boundaries. I am interested in the use of movement as a means of consent and disagreement, the effort to listen with one's own voice without resorting to vocabulary, or the use of language as a physical tool.

He incorporates a cultural anthropological perspective into his work, looking at things from a point of view that is different to the norm, rather than criticizing issues.

Previous Company Experience

2015-2020: Göteborgsoperans Danskompani

2014-2015: The Forsythe Company (Guest artist)

2008-2014: Noism

Photo by Mikaela Kelly

 Jazz 

Vecka 6, 6/2 + 10/2 Måndag & fredag 11.15-12.45

Vecka 9, 27/2 + 3/3 Måndag & fredag 11.15-12.45

"My jazz class is strongly influenced by Simonson technique. American dancer and teacher Lynn Simonson developed the technique based on her classical ballet training, her love of jazz music, and her knowledge of anatomy. The class starts with a soft and stretchy warm-up, and continues with thorough   exercises, pliés, tendues, developpés, arches and contractions, strength and mobility exercises on the floor, ending in a short dance combination. "

BIO:

Emelie is a dancer and dance teacher, living and working in Malmö. She trained at Northern School of Contemporary Dance (UK), Musikhögskolan i Piteå (SWE), and Palucca Schule Dresden (DE). After finishing her MEd in dance she went to New York City to do the Simonson Technique Teacher Training Certificate course. Since 2013, Emelie has been one half of the dance duo Waileth & Bardon, working with dance as art and knowledge in a vast variety of ways.

Foto: 

Porträtt - Felicia Korman

Vid havet - Konrad Behr

Modernt 

Vecka 9  28/2 - 3/3 Tisdag-fredag 9.30-11.00 

OBS! WORKSHOP 28/2- 2/3 kl. 11.15-16.00 i samarbete med Dansalliansen.

Anmälan till den kommer inom kort.

"Helena Franzén har utvecklat en samtida dansteknik som hon förfinat under sin trettioåriga verksamhet där medvetenheten om kroppens möjlighet till rörelse står i fokus. Golvövningar och inspiration av yoga är metoder i arbetet med att finna tillgänglighet, centrering, flexibilitet och styrka. Under klassen ges tid att uppmärksamma olika rörelsekvaliteter där precision, känslighet och den egna närvaron är betydelsefull.

Uppvärmningen är en förberedelse för ett längre frasmaterial där dynamiska flöden, rumsuppfattning och musikalitet exponeras och tydliggörs. Klassen inspirerar till att lyssna, dela och uppleva rörelse i ett gemensamt arbete."

BIO:

Helena Franzén är koreograf och dansare med närmare 35 års verksamhet. Hon utbildades på Balettakademien i Stockholm och tog examen 1989 och på Stockholms konstnärliga skola, SKH i koreografprogrammet 1998. 

Helena har skapat över 90 sceniska verk som turnerat nationellt och internationellt både i egen regi och som uppdrag för institutioner som: Skånes Dansteater, Göteborgsoperans danskompani, Norrdans, Regionteater Väst, The Edge, Nytt Dansk Dansteater med flera. 

Helena Franzén är en eftertraktad lärare och mentor och hon undervisar regelbundet på många olika dansutbildningar och för kompanier runtom i världen.

De senaste 10 åren har Helena skapat dansfilm tillsammans med filmaren Håkan Jelk. Flertalet av deras filmer har presenterats på internationella dansfilmfestivaler.

Senast är Helena Franzén aktuell med ett nytt verk för Skånes Dansteater, Once a Whisper som turnerar i Sverige under hösten 2022.

Class description:

"Helena Franzén has developed a contemporary dance technique that she has refined during her thirty years of choreographic work, where the awareness of the body's ability to move is in focus. Floor exercises and inspiration from yoga are methods in the work of finding accessibility, centering, flexibility and strength. During the class, time and attention  is given to different qualities of movements where precision, sensitivity and presence are important.

The warm-up is a preparation for a longer phrase material where dynamic flows, perception of space and musicality are exposed and clarified. The class inspires to listen, share and experience movement together."

BIO:

Helena Franzén- dancer and choreographer BIO

Helena Franzén is a choreographer and dancer with nearly 35 years of experience. She was educated at the Ballet Academy in Stockholm and graduated in 1989 and at the Stockholm School of the Arts, SKH in the choreography program in 1998.

Helena has created over 90 choreographic works and she has toured nationally and internationally and made commissioned works for institutions such as: Skånes Dansteater, Göteborgsoperans danskompani, Norrdans, Regionteater Väst, The Edge, Nytt Dansk Dansteater and others.

Helena Franzén is a sought-after teacher and mentor and teaches regurlarly at different dance educations and dance companies around the world.

The past 10 years, Helena has created dance films together with filmmaker Håkan Jelk. Most of their films have been presented at international dance film festivals.

The Fall of 2022 Helena Franzén has created a new work to Skånes Dansteater, Once a Whisper  which has  been on tour in the south of Sweden.

Foto: Håkan Jelk

Movement Research ILM

Vecka 14, 3-6 april  Måndag- torsdag 9.30-11.00

"This class focuses on clearing and clarifying movement pathways in the body so that we can work with ease while cultivating greater function and quality of motion as we dance. 

Ilan Lev Method is a playful, somatic approach which gives the body a chance to expand its perception of what it can accomplish, physically and energetically.  We unlock the breath, drop the seriousness and cultivate our curiosity, which allows us to become more adaptable, clear and conscious in movement.

We begin with ILM research in which we use resting forces like leaning and falling to send our bodies into motion with the aid of rich imagery.  Gradually increasing the complexity, range and speed of movement we find possibilities to ride what we’ve generated  further into space.  We take these principles into improvisation, transforming our approach to familiar forms and coordinations as we explore the expansive potential of our physical form. 

Playing with the body as a vessel for movement to pass through, we experience more clarity, efficiency and possibility with less effort."

BIO: 

Originally from Houston, Texas, Sarah Stanley is a dance artist and Ilan Lev Method practitioner based in Stockholm, SE.  She received her training from SUNY Purchase (USA) and Taipei National University for the Arts (Taiwan).   Sarah has been based in New York, Berlin and Stockholm where she has worked with Örjan Andersson, Jefta Van Dinther, Punchdrunk’s Immersive production Sleep No More, Kat Válastur, Moritz Majce+Sandra Man, Sigal Zouk, Gloria Höckner, Tiago Manquinho, John Heginbotham and Andrea Miller among others. As a teacher, Sarah has led workshops in Sweden, Germany, The USA and as a cultural ambassador with the US Department of State in Laos, Indonesia and the Philippines.  Sarah has been developing her own work since 2011 including Inscriptions (New York), Folia (Texas) and Wayward Wind (Wyoming).  Sarah is a certified Ilan Lev Method practitioner and movement teacher, completing her studies with Yaniv Mintzer and Ilan Lev through ILM Poland under the mentorship of Tzéela Rinsky.

Balett 

Vecka 22 - 29/5 - 2/6 kl. 9.30-11.00

BIO: 

Tilman O’Donnell (German/U.S.) received his training at the National Ballet School in Toronto,

Canada. He joined The Göteborg Ballet in 2001 Staatstheater Saarbrücken (2002) Cullberg Ballet

(2003-2007) The Forsythe Company (2007-2012, guest artist 2012- 2015). He has been freelancing as a choreographer, dancer and teacher since 2010. Tilman made his debut as a choreographer in 2002 with Del A, receiving first prize in t wo major international choreographic competitions. In2005 he was nominated both ”Dancer To Watch” and “Choreographer To Watch” by the magazine Tanz, and as “Hoffnungsträger” in 2015 by thesame publication. In 2017 he was once againnamed “Dancer to Watch” for his performance of

Whatever Singularity #453: Solo for Tilman / Dancing with Alain.

He has made works for Cullberg, SPIRA Jönköping/Cullberg To Come, Staatstheater Graz, The Göteborgs Operans Danskompani, University of Dance Stockholm, Corpus Copenhagen/ The Royal Danish Opera House, The Danish University of Dance, Weld Theater Stockholm, Skånes Dansteater, Dansens Hus Stockholm as well as producing his own works. Recent works include: This Is (2010), August did not have what is commonly considered good taste as far as furniture is concerned.. (2012) The Disambiguation Project (2013), Whatever Singularity #453: Solo For Maxime / Dancing With Alain (2014), In Life & Love & So On (2015), These & Those &

Upon Us (2016) In Some Sense (2016-2018), Corpus Dogme: On The One Hand (2019) History Was Written ByThe Losers: Hoedown / Showdown (2020) The View From Here (2021) and Et udes I & II (2023). In 2023, the work Etudes I & II will be presented by Dansens Hus, Stockholm, supported by Kulturådet /Swedish Arts Council.

JAZZ 

kl. 11.15-12.45  

Vecka 41 Måndag & fredag  10, 14 oktober

Vecka 42 Måndag & fredag 17, 21 oktober

"Jag ger en väldigt fysisk jazz klass med fokus på hela kroppen, hela tiden.  Jag gillar att leka med musiken och uttrycket och kombinerar många stilarter. Lovar svett, hopp, snurr, spark och kul!"

BIO: 

Marie Sol är utbildad modern- och jazzdansare från IWANSON i München. Sen hon blev klar i 2003 har hon jobbat i Danmark, Tyskland, Barcelona, Norge och Sverige med allt från musikal, show och tv till moderna produktioner. Senast dansade hon tillsammans med Matthew Bade i Jeanette Gostomskis Dansinstallation, Nya Vinklar, koreograferat av Kirstine Ilum. Marie Sol har även varit koreografisk assistent och rehearsal director hos Somatic Noise och Gazart.

Street / House

Torsdagar 11.15-12.45 (lilla studion) 

24/11, 8/12, 15/12.

"På daglig träning klasserna med Viktor jobbar vi rytmiskt och polorytmiskt genom drills, footwork, grooves och freestyle" 

Klasserna är öppna för alla dansare, med eller utan house vana. Alla kommer att utgå ifrån sina kvaliteter och erfarenheter.

BIO:

Viktor Fröjd har varit verksam i streetdancefältet i över 15 år genom att både delta i och arrangera jams och battles, koreografera, dansa och undervisa. 

Utbildad på streetdancelinjen på Åsa Folkhögskola och har en kandidat i danspedagogik från Stockholms konstnärliga högskola. De senaste 10 åren har ett flertal verk skapats och turnérat och den konstnärliga inriktningen har de senaste åren kretsat kring ärlighet, improvisation och den sociala aspekten av dansupplevelsen. Verk i urval Tugg (2014), Ett slags Mellan (2015), Var dag (2017), Tillvaron (2020) Festen (2021). Han har medverkat som dansare i ett flertal verk bland annat Sandbox (2016) av Lucas Carlsson, Iceolo (2018) av Brian Madika och Solitud av Anna Öbergs (2019). Undervisning har följt Viktor som en röd tråd genom det konstnärliga utforskandet och har bland annat undervisat på Stockholm konstnärliga högskola och gett workshops runt om i norden. 

Groove & Rhythm

Vecka 34, 45

Torsdagar kl.11.15-12.45

"With a strong interest in body mechanics, motor skills and rhythms I like to break down movements and challenge my body control. With the help of different styles, exercises and concepts focusing on "groove" - the relation between head, chest and hips, "rhythm" - in footwork and body poly-rhythmics, we will challenge our motor skills and body control to strive for a stronger movement freedom and understanding. Welcome!" - Theresa

BIO:

Theresa is a versatile dancer who has worked in the street dance scene since 2005. Her main focus has been within the streetdance styles; Hiphop, House, Locking & Popping, however her versatility stretches beyond these. She has a strong interest in cultural dances and she has spent a lot of time on research travels learning different African and afro diasporan dances. In addition, she has been teaching at Stockholm University of the Arts, Ballet Academy Sthlm, Danscentrum and giving national and international workshops. Theresa is a active member of the streetdance community, traveling and participating in battles and events around the world, she also works hard for the Swedish scene and has been organizing over 40 events. Since 2019, she has been based in Malmö, you can find here drop-in classes on Mondays at DCS. Besides her classes she is currently working with the Non-profit organization and company AFIA, which will premier and tour with their first production called "YEBO YES!"  with Dansnet Sweden March 2021. 

Contemporary / Mind/body improvisation

Vecka 40  4, 5, 6/10 Tisdag, onsdag & torsdag 11.15-12.45

"Finding the connection between the body and mind is essential for Min's class. In the class he would like to motivate the participants to stay curious, how to use different intentions to open awareness of the body, and keep discovering the possibilities of the physicality and sensation; finding the relationship between discipline and freedom, developing the personal interpretation of the movement, having an open mind to try and feel. Joy and the passion to move are very important, dance should be fun, not the mechanic routine of practice. "

BIO:

Min danced with National Ballet of China, Batsheva Ensemble, Scapino Ballet Rotterdam and other projects. Min has been guest teaching in different companies, Academies, open studios.... including Nederlands Dans Theater, Gothenburg Opera Dance Company, Skånes Dansteater, Akram Khan company, Scapino ballet, National theater Mannheim, Conny Janssen Danst, Codarts, Hjs Amsterdam, and more......  He would like to share his knowledge with other dancers/artists and exchange ideas.

Vecka 48

Tisdag till torsdag 29/11, 30/11, 1/12

Baclet 9.30-11.00

Impro för nya träningsformer 11.15-12.45

Baclet:

"This class will introduce frameworks that shift, bends, and over/under-mine the bodily patterns of the ballet bar.

This is an expansion of it, but also a proposal for critical body-mind’s put in actualization.

instead of talking about a tendu or a plié, the words ”tåfjutt” and ”knä-böj” will comically change the understanding/investigation/expansion for concepts of moving in ballet. The aim for the straight line is eradicated for a more curved, ”improvisational”, other-than-straight-way approach, to moving the surfaces (even limbs) of the body towards it’s destiny, or aka ”tåfjutt”.

Impro för nya träningsformer:

"Att erbjuda koreografiska strukturer som underlättar och stärker dansarens egna morgonträning. Där uppdelningen ”improvisera för att bli varm” eller ”bli varm för att sedan kunna improvisera” sätts under lupp.

Vi kommer träna På improvisation, träna Genom improvisation och träna improviserat. En klass som bejakar nya träningsformer."

BIO:

Sebastian Lingserius attended the master program in choreography at DOCH headed by Mårten

Spångberg between 2008-2010. Sebastian’s latest piece LAST DANCER had premiere in The

House of Dance in Stockholm in the autumn of 2019, a big production with 12 performers.

Retrospectively he has done pieces in important houses in Sweden since 2010 since his MA.

Sebastian produces all of his work through his company KASS Production with continues support

from among others the Swedish Arts Council.

Vecka 35

Jazz

29/8 - 1/9 Måndag till torsdag  Obs! 10.00 -11.30 

SE även under fliken workshop! Detta är ett samarbete med Dansalliansen. 

ANSÖK OM WORKSHOPEN HÄR 

"The BOP Jazz Mission is to share and pass on the artistic and creative aesthetic of the jazz dance art form, bringing a realistic and relevant appreciation and exploration of creative Jazz dance theatre, techniques, skills and individual expression that are at the heart of the Jazz dance genre. 

All this and more within the highly energised and nurturing environment, that is BOP Jazz Theatre Company. 

The Daily Schedule includes​ - Full BOP Jazz technical warm-up and floor exercises. The learning of selected BOP repertoire and creating of jazz dance narratives. 

Every day is a full day of BOP Jazz learning, sharing and being part of a community - You are in for a TREAT Dancers!! "

BIO:

Body of People Jazz Theatre Company aka BOP is a truly unique UK based Jazz Dance, Music and Theatre Company. Founded in 1996 by Jazz Artist and Choreographer - Dollie Henry and Jazz Trumpeter, Composer, Music Producer - Paul Jenkins. 

BOP Company through the guidance of Dollie and Paul, continue to develop and produce works in collaboration with other established artistic and commercial organisations both here in the UK and internationally. Through the many strands of BOP, the company bring their feisty energy, creative flair and business sensibility to lead a diverse company that encompasses all aspects of dance, music and theatre making and media presentations.

BOP have produced, created and staged an array of theatrical jazz including - Touches of Miles, Trumpet Trilogy, A Journey of Jazz, Dizzy Heights, Duke’s Place, Echoes of Ellington, Footprints in Jazz and most recently Miles Ahead and Up Close & Personal.  

The company has performed at The South Bank Centre, The Place, Bloomsbury Theatre, Emma Cons Hall, The Cochrane Theatre, Blackpool’s Opera House, The Point Theatre, Litchfield Theatre, Tyne Theatre-Newcastle, Pavilion Theatre-Exmouth, Wilde Theatre - South Hill Park Arts Centre- Berkshire, Croydon Fairfield Halls, Sadler’s Wells and Lillian Baylis Theatre & Cadogan Hall. 

More recently performances at Battersea Arts and Richmix Theatre in London and the Curve Theatre, Leicester with their BOP Theatre productions – Through The Eyes of Woman and The Spirit of Jazz .

Internationally the company works have been commissioned and performed in Austria, China, Croatia, Germany, Italy, Ireland, Lithuania, Lebanon, Poland, South Africa, Spain, Sweden, The Caribbean and USA. Dollie and Paul also produce and devise commercial productions that include, Musical Theatre, Cabaret, Concert Dance, Film and Video productions.

BOP as a artistic company, is dedicated to the ongoing legacy, artistic development and creative practices of the Jazz Theatre Art Form. Realised through exciting and innovative Jazz theatre performances, educational, mentoring programs and professional development for the UK Jazz Dance, Music and Theatre Community. 

Together, Dollie and Paul are pushing through to provide an essential platform that facilitates the true practice and realisation of the Jazz expression and artistic delivery within a diverse and inclusive Jazz company. BOP are the catalysts for driving the UK Jazz theatre narrative forward into the 21st century. 

The vision and mission of BOP is to Enlighten, Educate and Entertain through the pure essence and expression of the Jazz Art Form.

For further information about BOP follow and connect.

BOP website: www.bop.org.uk

Email: bopjazzuk@gmail.com

BOP Youtube: https://www.youtube.com/c/BOPJAZZTHEATRECOMPANYUK

FB/IG/Twitter: @bopjazzuk |Dollie @dolliehenry

Linkedin: @BOP Jazz Theatre Company

Jazz Theatre Arts UK (Our Member Led Network in Partnership with One Dance UK for UK Jazz Arts & Artists)

www.jazztheatreartsuk.org  | FB/IG: @jazztheatreartsuk

Vecka 39

26-29 september Måndag till torsdag 9.30-11.00

Contemporary

"Daily class would systemathicaly guid you through several movement

excercises, developed from basic principles into the very complex ones

which we will develop smoothly and logically. Step by step we would build

movement qualities, use set principles, work with coordination, dynamics,

musicality and imagination. From the floor to standing. The method „Body

as an puppet" would be a system which would guid us and teaches u show

to work with the body the most economic way."

BIO:

Founder and director of the Lenka Vagnerová & Company dance theatre (2012), for which she has choreographed and directed a number of internationally acclaimed performances. 

Every year, the ensemble creates new progressive authors' productions that carry elements of dance, physical, puppet and dramatic theatre. Through its activity it participates in the systematic development of the genre of dance theatre on domestic and world stages. 

Existential questions, the urgency of human relationships to other beings and surroundings, play with reality and fantasy are characteristic for the production of the ensemble. 

Lenka puts emphasis on the precision of theatre situations, movement qualities, supports the individuality of performers, uses the strength and dynamics of the group, looks for physical possibilities and movement limits of one's own body. Emotions, physical action, passion, risk, conflict, harmony and intuition are and have always been part of Lenka's original dance and theatrical language. 

The company brings together outstanding artists such as: dancers, actors, musicians, visual artists, offers professional educational background, provides residences and internships, gives space to new theatrical forms and connects outstanding artists and creators. 

The ensemble with its performances gathered during its existence a number of significant awards and nominations both in the Czech Republic and abroad, e.g.: Herald Angel Award, Total Theatre Award Nomination / The Edinburgh Fringe Festival, The Best Dance Performance / The Singapore Fringe Festival, The City of Pilsen Award / Skupova Pilsen International Festival, Dance Performance of the Year, Audience Award, Dancer of the Year / Czech Dance Platform Festival, several Thalia Awards, etc. 

Lenka studied pedagogy of modern dance at the Academy of Performing Arts in Prague under the supervision of Doc. Ivanka Kubicová. 

As a choreographer and director, Lenka created a series of author's performances for Lenka Vagnerová & Company: Panoptikum, Amazones,

María de Buenos Aires, The Lešany Crib, Gossip, Sorcerer, La Loba, Riders, Mah Hunt. 

As a guest choreographer and director, she has created performances for companies such as: National Theatre Prague, Staatstheater Kassel, Norrdans, City Theatre Prague, 2 Faced Dance Company UK, Minor Theatre Prague, VERVE NSDC Leeds, Viirus Theater, Accademia Nazional Di Danza Rome, etc. 

Lenka also cooperates in drama, opera, or new circus projects. 

Lenka is actively involved in pedagogical activates. "Her method Talk Through Your Body" simultaneously specifies the movement qualities and principles contained in Lenka's work. Lenka regularly leads workshops and teaches in theatres, schools and dance companies. She teaches for ex.: Göteborgs Operans Danskompani, Skanes Dance Theater, Ballet de Marseille, Norrdans, b12, tanz OFFensive Hannover, Danish Dance Theatre, VERVE Leeds, 2Faced Dance Company, Stopgap Dance Company, Viirus Theatre Helsinki, Accademia Nazional Di Danza Rome, Cirk Cirkör. National Theatre Prague, Academy of Performing Arts, Dance Conservatory Prague, Etc. 

In 2011 and 2014/2015/2016/2017 she worked as a Rehearsal Director in the Swedish Norrdans dance company. 

As a dancer she worked with choreographers and companies: Claude Brumachon-Benjamin Lamarche CCNN in Nantes, Akram Khan Company - London Olympic Games Opening Ceremony 2012, Cirk La Putyka, DOT504, Bratislava Dance Theatre, Torzo Ballet etc. 

As a dancer she was nominated for the Thalia Award (2003, 2005 and 2010) three times, in 2003 she was awarded for the Nokia Dance Award/ Dance Personality Of The Year and in 2005 she was awarded the Dancer of the Year (Czech Dance Platform).

This summer training is a collaboration between Dansalliansen, Danscentrum Syd. and ILDance. Obs! No pre -registration required.  If you want to participate in the repertoire class you also need to take the morning class!

Vecka 33, 15/8-19/8 Måndag till Fredag 

Morgonklass GAGA 9.30-10.45

Repertoire Ohad Naharin 11.00 - 12.30

About Gaga

Gaga is the movement language developed by Ohad Naharin throughout many years, parallel to his work as a choreographer and artistic director (1990-2018) of Batsheva Dance Company. 

Gaga classes are predicated on a deep listening to the body and to physical sensations. The instructions are deployed to increase awareness of and further amplify sensation, information is layered, building into a multisensory, physically challenging experience. While many instructions are imbued with rich imagery, the research of Gaga is fundamentally physical, insisting on a specific process of embodiment. Gaga provides a framework for discovering and strengthening the body and adding flexibility, stamina, agility, and skills including coordination and efficiency while stimulating the senses and imagination. 

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 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.

Ohad Naharin Repertoire

This class gives dancers an opportunity to learn excerpts of Ohad Naharin’s choreographic works and to apply their training in Gaga to the repertory. 

BIO: Matan David

Matan was born in Rishon LeZion, Israel in 1982.  He started dancing as a folk dancer and at the age of 15 was accepted to Thelma Yellin High School of the Arts.  During these years, Matan also studied at Bat Dor Dance School, and at age 17 he attended the Juilliard summer program.

After high school, at age 18, Matan was accepted to the Batsheva Ensemble. He performed there for two years before dancing with the main company for ten more seasons.  In the twelve years Matan danced in Batsheva, he was a part of some of Naharin’s greatest creations such as Three, MAX, The Hole, and many more.

From 2013-2017, Matan was the director of Batsheva – The Young Ensemble, which has become one of the leading young companies in the dance world. The year he became director, he also won the Yair Shapira award, and the ensemble was named the best performing company by Israel’s Ministry of Culture. Matan was later rehearsal director for Batsheva Dance Company between July 2022 - January 2022.

Matan has undertaken a long, meaningful process with Naharin’s movement language and is a senior teacher of Gaga.  He teaches Gaga around the world and is one of the main Gaga teachers for the Batsheva Ensemble and company.

 Photo credits:

Photo of Matan: Guy Nahum Levi

Gaga photos: Ascaf

Jazz  Kl. 11.15-12.45

Sommarträning: Vecka 27, 29 Fredagar 9.30-11.00

Höst: Måndagar och fredagar

Vecka 45 7 november

Vecka 46 14 + 18 november

Vecka 48 28/11 + 2/12

"Vi startar med en klassisk jazzuppvärmning som inkludera grundteknik, styrka och stretch. Jag utgår från att hitta lugn och fokus i kropp och sinne för att effektivare kunna värma och hitta flöden. Vi jobbar med form och linjering för att hitta balans, smidighet och stabilitet.

Under diagonaler är det fokus på jazzteknikens grundsteg, snurrar och hopp. Vi varierar dessa genom rytmik, dynamik och uttryck.

När vi kommer till koreografin ska vi vara så pass uppvärmda och förberedda i kropp och sinne att vi har ett stort spektra att använda oss av vad kommer till rörelse, tempo och rumslighet. Kroppen ska vara öppen för att arbeta med såväl explosiva rörelser som att kunna vara en närvarande kropp i stillhet. Koreografierna är dynamiska i tempo och rörelsekvalité. Målet är att kunna vara mjuk och kraftfull samtidigt. Vara specifik och skarp likväl som att vara flytande och avslappnade i sina rörelser."

BIO:

Elin Hedin arbetar som dansare, koreograf och pedagog. Hon är utbildad vid Balettakademien i Stockholm och har vidareutbildat sig i New York, Tel Aviv, Sydney och på Stockholms Konstnärliga Högskola. Som dansare har hon arbetat med många av Sveriges fria koreografer för en ung publik.  

Hon har medverkat i föreställningar på Kungliga Operan och Konserthuset i Stockholm, varit engagerad vid Estrad Norr i Östersund och medverkat i föreställningar på Dublin Dance Festival och Edinburgh Fringe Festival. Elin grundade och drev Stockholms Dansfilmfestival 2015-2019. 

Hon assisterade koreograf Maria Nilsson Waller i arbetet med Östersunds Fotbollsklubb där de skapade dansföreställning Svansjön / See The Man. Som koreograf har hon skapat flera egna föreställningar och har stor erfarenhet av pedagogiskt arbete. 

2021-22 är Elin Hedin Kommunkoreograf i Helsingborg.

Vecka 38

20/9 - 23/9 Måndag till Fredag    Obs! kl. 11.30-13.00

Stream-Flow 

Stream-Flow Method Classes

"Heidi’s inspiration for Stream Flow came from very different angles. It is the starting point for all of her teaching and choreographic work, and is integrated into both Contemporary and Ballet classes for professional dance companies and dance institutions internationally. These include :

Gothenburg DansKompani, Carte Blanche, Skånes Danstheater, Dansalliansen, The Netherlands Dans Theater summer intensive, Johannes Wieland Dance Company and many more. 

Please check: www.heidivierthaler.com for a full list.

A unique and constantly evolving tool for dancers and non dancers alike, using visual imagery and tactile exercises to help release the body and heighten awareness on many levels. From simple ball imagery exploring inner and outer body, to delicate touch guidance, causing an array of dynamics, from extremely fragile to surprisingly powerful. Ideal for braking habitual movement

patterns. Her Stream-Flow method has been recognized as an effective somatic movement method that focuses on developing the individual. It has been featured in a recent publication for dance practices amongst dance institutions throughout Europe. 

Practicing Dance, A Somatic orientation:

http://www.logos-verlag.de/cgi-bin/engbuchmid?isbn=4213&lng=deu&id= How the pursuit of

Accessing the individual led me to Stream-Flow: Heidi Vierthaler

Heidi’s interest lies in discovering a deeper knowledge of the body’s possibilities for the benefit of others and to continue developing her own distinctive movement language. Stream-Flow is an effective and creative approach to bridging different dance forms. The focus of the classes will be on integrating heightened inner and outer awareness as the foundation of endless initiations and physical organisations. We will work on separating the body into small sections from joint to joint and space to space. We’ll also work on movement phrases that will allow for surprising initiations,

and a richer result with less effort and a rich pallet of dynamics."

Vecka 22 

JAZZ 30/5 - 2/6 Måndag - Onsdag 11.15-12.45 Torsdag 9.30!

"My style has been described as "Athletic" because of the energy and physicality exuded in the performance and required of myself and my dancers within my movement which pulls foundations rooted from African, Jazz, Modern, Hip Hop, Commercial/Pop, House, Latin and basic human emotion. There's a story to be told with a message - my message is to LIVE! Live in the moment, live in the music, live out in life.  Allow yourself to feel.  Allow yourself to dare.  Allow yourself to take risks and stumble or fall, getting right back up and keep on moving. 

Just have FUN and DANCE! "

PHILOSOPHY OF DANCE

Dance without joy and expression just isn't dance. 

It's boring, unappreciative and non-committal - it's not fun to do nor fun watch. We dance  because we like to - we like how music makes us feel, we like how it makes us want to move, we  like how it all speaks to us and we like how the audience relates to us from what are bodies are  doing and what they are saying. 

Dance is a relationship between the music, the choreographer, the dancer and the audience. Within this relationship are three key/core components that allow us to effectively communicate  the story to be told in each moment: 

--MUSICALITY; listening to and understanding rhythmical components within music. --FIGURE; lines, shapes and body language within movement. 

--EXPRESSION; energy, character and dynamics within performance. 

Whether it is class or a production, we explore this communication and relationship by learning how the body works through the individual parts utilizing movement patterns through elongation, isolation, balance, release, power, energy and control; piecing the parts together into sequences, working across the floor done with traveling combinations meant to challenge and stimulate the mind and body in preparation to speak/communicate; then finally communicating/telling a story via the movement - breaking thru the traditional form and technique, dirtying it up and extending it with personal flavor.  

BIO:

How often do you find an instructor/  choreographer that actually teaches  

and focuses on listening to the music and performing with energy instead  of relying on counts and just dosing  

out choreography? It's a rare find, but that's what you get (and more) in class with MIKE GAMBLE every time! 

Originally from Hartford, CT, Mike hails from Philadelphia, PA where he garnered most of his training in West African, Hip Hop, Modern, Jazz, House, Breaking and Capoeira. While in Philadelphia he guest performed with Gwendolyn Bye and Dance Del Bello dance companies, choreographed for the Drexel University Dance Ensemble and Dance Team, and was an original founding member of FLOMotion, an international Hip Hop dance company, while also maintaining a career in Marketing and Special Events. In the summer of 2000, Mike made dance history becoming the first (and only) male to complete the final cuts of the Philadelphia 76ers Dance Team. 

Mike moved to Los Angeles in 2003 and quickly became active in the commercial industry performing (dancing, acting and modeling) in music videos and commercials  including work with artists Leela James, Chris Cornell and India Arie and companies  including Target, Nike, Apple/iPod and Reebok. He has also produced, choreographed  and directed burlesque companies whom have performed in and around Los Angeles,  Reno, Laughlin and Las Vegas and with artists including Panic! At the Disco and R. Kelly,  as well as companies including SPIKE TV and Trashy Lingerie. 

While he continues to enjoy being in front of the camera, Mike is focusing his talents  behind the scenes in production and education through the arts, having  choreographed an Emmy-nominated children’s television program, producing and  choreographing numerous events & shows, while also co-founding and running an  international management agency with his long-time close friend/former agent whom  herself was one of the top agents at the top two dance agencies in New York & Los  Angeles. 

His passion for spreading knowledge and the joy of dance has taken him on  an international journey as he relocated in September 2009 to Gothenburg, Sweden  where he is currently teaching master classes, workshops and daily classes as well as  throughout Scandinavia, Europe and around the world, continuing to share his gift of  inspiration and dance. 

"My purpose in life is to inspire other people and I'm doing it one performance,  one dance and one student at a time." --Mike Gamble

Modern Balett

Vecka 12 Tisdag & torsdag 9.30-11.00

Vecka 17 Tisdag & torsdag 9.30-11.00

Vecka 18 Tisdag & torsdag 9.30-11.00

"My class structure will follow the ballet exercise patterns: barre, center, diagonal, jumps and combinations.

Thanks to my knowledge of Gyrokinesis/Gyrotonic method and contemporary dance, the class brings different positive aspects than a normal classical ballet exercise.

The class in fact will be enriched with different aspects like spirals, curves and arches, awareness of center and balance, organic movement coordinated with breathing patterns and so on.

The aim of my class is simply to give to the participant an improving holistic approach with a better sensation of the capabilities of one’s own body and beyond."

BIO:

Pietro La Loggia worked as a professional modern dancer in different dance company:

Concept dance (Fra); Euregio Dance (ND); Norrdance (S) Skånes Dans Teater (S).

Worked in different dance production as freelance dancer In Germany, Sweden, Danmark, Norway, France...

Became certified instructor on Gyrotonic, Gyrotonic for dancer and Gyrokinesis exercise method.

Vecka 24 

ATypical Ballet onsdag & fredag 9.30-11.00

Technosomatics Tisdag & Torsdag 9.30-11.00

Atypical Ballet

"In this class we will work with ballet and some of its absorptions into modern and post-modern dance, through the filter of somatic practices. Anatomical information and their integration in our bodies as a body-felt-sense will open doors for solving technical questions, bringing ease and specificity in our movement and exploring new possible connections and patterns in our bodies. Basic landmarks in ballet and affiliated techniques will be revisited by inviting a new, different understanding of their workings. The class will fall in and out of the expected structure of a ballet class and will include the exploration of a phrase that activates various of the elements that are approached during the class."

Technosomatics

Technosomatics is a practice developed by Frédéric Gies, which consists of a collective and individual exploration of the endocrine glands and chakras through club dancing to techno music as wells as the opposite: an exploration of club dancing while embodying the endocrine glands and the chackras. The endocrine glands constitute the main chemical system of the body and the chackras are energy centers. The practice connects to both the field of somatics (movement education practices) and to club dance, approached as dance practice as sophisticated as any other dance form. It emphasizes the experienced body rather than the body as an object of study, making use of alternative maps of the body, which both differ and connect to western scientific anatomy. It considers club dance as a medium for developing further one’s bodily awareness and understanding in subtle ways. Through its somatic approach, it also expands the span of our perceptions and gives valuable tools for other forms of dance and techniques. The sessions can as well comprise explorations and exercises, which connects to other dance forms, including ballet. It is suitable for both professional dancers and the general audience.  

BIO:

Frédéric Gies is an artist in the field of experimental dance based in Sweden. His work is anchored in rigorous movement research processes, which are informed by his experience in the field of somatic practices as well as in specific forms of contemporary dance, his former training in ballet and his participation in techno clubs and raves. Recycling and perverting dance history, his pieces collapse in many ways the distinction between erudite and popular dance forms. His work also explores the ways dance can address politics outside of language, semiotics and theatricality. Besides his work, he has also worked as a dancer for choreographers such as Daniel Larrieu, Cristina Caprioli, Isabelle Schad, Olivia Grandville (…). He has also co-signed pieces with other choreographers (DD Dorvillier, Jefta Van Dinther, Alice Chauchat…). Since 2014, he collaborates for all his pieces with the dj Fiedel. Between 2012 and 2018, he has been the head of programme of the MA in choreography at DOCH-SKH. He has been invited as a guest teacher in places such as HZT, SNDO, TEAK, Ponderosa (…).

Improvising through Deep listening, Touch & Imagery

Torsdagar 6, 13, 20  oktober Obs se tid! kl.11.15-13.15

"In this class we will be listening deeply to our bodies’ inner landscape and anatomical structure to practice releasing unnecessary tension, finding efficient strength and resiliency, and trusting our bodies' innate physical intelligence within improvising. Through methods from BodyMind Centering, Alexander Technique, Skinner Releasing Technique and the work of Eva Karczag this class will lead you through hands-on work in duets, guided imagery and experiential anatomy, and improvisation. We will take time to tune our attention, consciousness, senses, physical and energetic body to allow our dancing to embrace the unknown and unpredictable, to create new movement pathways and be in a state of presence and play. This also involves working with breath, deep rest, gravity and moving both with subtle details and momentum. In this class you will be able to take the needs of your body into consideration."

The four classes will be connected, build upon each other and move through specific inner physical structures such as the ribcage, the pelvis, the spine and the skull. However, you are also very welcome to drop-in and only participate in one class!

BIO:

Tuva Hildebrand is a choreographer, performer and pedagogue from Skåne with extensive experience somatic dance modules such as Skinner Releasing Technique, Alexander Technique, BodyMind Centering and the work of Eva Karczag (pioneer within Release technique and somatic dance practice). During 2018-now she has been archiving the pedagogical methods of Eva Karczag through an MFA research, by also examining the work from a socio-political perspective. In 2011-2018 Hildebrand lived in New York and worked with choreographers such as Stacy Grossfield and Heather Kravas, but mostly dedicated her time to improvisational and release based practices through working closely with pioneers in the NY downtown scene such as K.J. Holmes, Stephanie Skura, Eva Karczag and many others through her time at Movement Research 2013-2016. http://tuvahildebrand.com

Modern balett 

Vecka 6 Måndag - fredag 9.30-11.00

Vecka 7 Måndag 9.30-11.00

Contemporary Tisdag och torsdag 11.15-12.45

Modern balett 

"In this contemporary ballet class I like to focus on musicality, dynamic and functional way of using the ballet principles. I believe that ballet class could be approached as a practice of presence, a mindful understanding of your body, movement and space. It’s about finding your own  organic and unique way of moving within the frame of ballet tradition, interpreting familiar exercises, developing spatial awareness and opening the door to creativity within."

Contemporary

"I like to give a dynamic class that is suitable for dancers with different backgrounds. 

I find important taking time for strengthening, and mobilizing exercises but rather blended into the flow of the class.

I emphasize musicality and dynamics as well as widening the qualities vocabulary. 

Choreographic phrase in the end of the class should help the dancers to test new technical and creative ideas."

BIO:

 I was formed as a dancer and later on as a teacher at Vaganova  Ballet Academy, in St-Petersburg. 

I have also studied at Rudra Bejart Ballet and had the honor to work with Maurice Bejart. 

Later  on I've met and performed in works by Jiri Kylian, Ohad Naharin,  Alexander Ekman, Örjan Andersson, Paul Lightfoot and Saul Leon, Tim  Rushton, Itzik Galili, Cathy Marston and other wonderful  choreographers while working at Netherlands Dance Theatre 2, Danish  Dance Theatre and freelancing. As a teacher I am influenced by great  masters like Irina Chistiakova, Laura Bernasconi, Kevin Cregan, Yannick Sempey, Amy Raymond, Allyson Way and many others. I also  

like to apply methods of William Forsythe and principles from Gaga. Keeping the general structure of a ballet class I focus on body  placement: neutral position of the pelvis, active shoulder blades,  

coordination of the arms, freedom in the hip joints ect . 

I also like to pay attention to musicality and dynamics to help achieve better results in the center and in jumps, also to fully enjoy the  flow of the class.

Photo by Lukas Hartvig-Moeller 

Vecka 46 14-18 november 

Måndag till fredag 9.30-11.00

Modern balett

"During daily modern ballet class participants will go through the full range of typical ballet exercises 

but the strong focus will be directed to movement quality, personal interpretation, musicality and fluidity of the movement. 

Allowing greater freedom and flexibility necessary for the preparation of the body for further work."

BIO:

Anton Valdbauer is a contemporary dancer, choreographer and dance teacher. His prolific dancing

career has taken him all over the world.

High points include dancing with the NDT, Cullberg Ballet, and the Royal Swedish Ballet.

He was awarded a fellowship during the first edition of the Pina Bausch Fellowship Program in

2016.

Anton has had the privilege to dance and co-create with names such as Jiri Kylian, Ohad

Naharin, Mats Ek, Crystal Pite, Johan Inger, Marco Goecke, Sharon Eyal, Alexander Ekman,

Wim Vandekeybus, and Sasha Waltz.

As a choreographer, Anton Valdbauer has created more than 40 small and medium size work. And

his choreography were performed in several countries in Europe.

In 2005, his piece “6 Seconds” won a Diploma at the 10th International Ballet Competition in

Moscow. With “Lemniscate” he won Best Performance at the Burgos-New York Contemporary

Dance Competition.

In 2019, his first short film “33 Questions” was chosen for the official programming of the

Stockholm Dance Film Festival. His choreography was presented in Russia, the Netherlands,

Germany, France and Spain.

In 2020 Anton founded Deep Dive Dance, his own non-profit Arts Association. He will create and

develop original projects, guiding them all the way from the initial idea to the stage. Anton’s goal is

to bring dance and movement to wider audiences across Europe, making this art form relatable

and accessible to all kinds of viewers. By organizing workshops, intensives and educational

programs, Deep Dive Dance will be actively engaged in educating the next generation of artists/

dancers. Firmly rooted in dance and movement based art forms (physical theatre, circus,

immersive theatre), the association is open to all kinds of collaborations with other art forms.

Anton has extensive experience teaching Ballet, Contemporary Dance and improvisation.

He has been sharing his physical knowledge with various dance training centres and schools

throughout Europe. He is currently a visiting teacher at Cullberg Ballet (Stockholm), SEAD

(Salzburg) , Iwanson (Munich), DansCentrum and DOCH (Stockholm), Dance Area (Geneva),

Marameo Studio and DOCK 11 (Berlin), Russian Ballet Camp (Alicante)

He teaches a wide range of people including professional dancers and companies, dance

students, and stage actors and performers.

Apart from his regular teaching Anton also works on setting up choreographies by Mats Ek and

Johan Inger.

In 2021 Anton was an assistant choreographer in the new creation for Royal Swedish Ballet by

Hlin Hjalmarsdottir “Riptide” which became international success.

Since 2020 Anton holds position of Co-Director at The Elephant in the Black Box Madrid.