DAILY TRAINING

EXTRA! DAGLIG TRÄNING BÅDE PÅ PLATS OCH STREAMAT v.13

DAILY TRAINING BOTH IN STUDIO AND ONLINE 23-27 OF MARCH

The daily training will open again next week AND we will also organise live streaming, so that both alternatives are possible.

AT DANSCENTRUM SYD: Jonas Svensson will give modern ballet class Monday-Friday at 09.30 in the studio.

ONLINE: On Tuesday 24th and Thursday 26th of March we will stream the barre part of Laura Cheesman's ballet class for professional dancers. The streaming will start at 11.15, on Danscentrum Syd's facebook page.

The dancer Jossette Reilly will be assisting Laura Cheesman by taking the class so that all of you can follow. So please make some space in your living room, grab a table for barre and follow us!

SCHEDULE

OPEN STUDIO

In addition to daily training: Monday, Wednesday, Friday 09.30-10.30 we offer an open studio for members that do not want to take the daily training. The small or middle studio will be reserved for this time.

ABOUT CLASSES & PEDAGOGUES

Laura Cheesman

"I give a well structured ballet class with a high focus on strength and musicality. My class is aimed to suite professional dancers from different genres."


Laura Cheesman received her dance training in New York at Eglevesy Sclool of Ballet and The School of American Ballet. She danced professionally with American Ballet Theater, Metropolitan Opera Ballet, Universal Ballet, Malmö Baletten and Skånes Dansteater.

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Heidi Vierthaler

STREAM-FLOW MOVEMENT METHOD

A unique and constantly evolving tool for dancers 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.

Heidi’s 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 dans practices amongst dance institutions throughout Europe. Practicing Dance, A Somatic orientation.

Her 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.

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.


"During the morning training we will wake up the body section by section, bringing in a playful approach with diverse tasks and dynamics from Stream-Flow method. The remainder of the class will be spent connecting the warmup to a movement phrase. Stream-Flow movement method, developed by Heidi Vierthaler, is a constantly evolving method using visual imagery and tactile exercises to help soften the body and heighten awareness on many different levels. Stream-Flow begins with an awakening of the senses and a scanning of the body.

It then continues to explore ones inner and outer body section by section in relationship to the space as well as other bodies in space. Next step leads to delicate touch exercises. This causes an array of dynamics, from extremely fragile to surprisingly powerful.

Ideal for braking habitual movement patterns and opening up new movement pathways. The interest in this movement method lies in discovering a deeper knowledge of the body’s possibilities and the continuous development of a distinctive movement language. Stream-Flow is an effective and creative approach to bridging different dance forms which can stimulate new ideas for your own personal movement research."


Heidi Vierthaler började sin karriär hos Pacific NW Ballet i Seattle. I mitten av 90-talet började hon undervisa och påbörjade sin europeiska danskarriär, med bland annat arbete med Ballet Frankfurt, The Forsythe Company och Göteborgs Danskompani. Hon skapar även egna koreografier och har undervisat på kompanier och festivaler runt om i Europa. Heidi Vierthaler on Vimeo


Photo credits: Kim Doeleman. Rehearsal photo while creating for the Netherlands Dans Theater Summer Intensive, Sacha Grootjan

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Kajsa Ingemansson

Alexandertekniken

”The Alexander Technique is “the technique under all techniques,” because it is a process of embodied thinking, sensing, and acting. Through studying the Alexander Technique, dancers can move with greater ease, poise, and accomplishment, regardless of the movement style.”

Alexandertekniken (AT) är en konstruktiv psykofysisk utbildningsprocess som ser till din underliggande koordination och hur den påverkar hela din mänskliga design. Den levererar en skräddarsydd kompass för all aktivitet i såväl ordinära som extraordinära situationer så du kan göra det du gör med större val- och rörelsefrihet. Till skillnad från att agera på autopilot, mer eller mindre omedvetet, kan du över tid och i stunden medvetet byta ut de icke önskvärda rörelse-, beteende- och prestationsmönster som står i din väg till de som är i linje med hur du vill ha det, både i den professionella och personliga arenan.

AT används av skådespelare, dansare, musiker, sångare och idrottare över hela världen för att optimera framträdande och prestation i röst och rörelse. Artister söker sig ofta till tekniken, antingen för att de upplever smärta eller obehag i sitt konstutövande, eller känner sig låsta tekniskt, eller kreativt i sitt hantverk på något sätt. AT är ett utmärkt verktyg för att ta hand om denna sortens problem.

Denna workshop ger en praktisk introduktion till Alexandertekniken som integreras i det dagliga arbetet omedelbart. Möjlighet för var individ att adressera specifika frågor, utmaningar eller problem kommer att ges upprepade gånger.

I förlängningen bidrar arbetet till en dynamisk och kreativ relation till ditt konstutövande som breddar och fördjupar uttrycksrepertoaren och är oändligt förnybar i takt med din egen utveckling och det du vill åstadkomma. Ett oumbärligt verktyg i självets och det konstnärliga uttryckets evolution.

Kajsa Ingemansson är skådespelare, scenkonstnär och pedagog/performance coach med rörelsen i fokus. Hon driver KAMI Performance Works och jobbar som rörelselärare på Teaterhögskolan i Malmö. Hon är även regelbunden gästlärare vid South Bank Alexander Technique Center i London och hälso- och performance expert hos Inside Scandinavian Business.

Hon tillbringat många år i USA där hon examinerades 2007 med en MFA i Ensemble Based Physical Theatre på Dell’Arte International i CA, USA och följande sju år arbetade hon med UMO Ensemble på Vashon Island utanför Seattle. Som skådespelare sågs hon bland annat i Final Broadcast, Rubble Women, Red Tiger Tales, El Dorado och Maldoror. Hon startade och drev UMO School of Physical Arts, där hon också undervisade i akrobatik och clown. Under tiden i USA blev hon också lärare i Alexandertekniken.

Som lärare/coach specialiserar hon sig på ProPersonal Training för artister och är skaparen av Empowered Performance Transformations (EPT). EPT betonar nödvändigheten av självets integration och de medvetna val som behövs för att designa hållbara sätt att röra sig mellan alla uppgifter, roller och områden i livet.

Alexandertekniken används som bas i hennes coaching för att garantera en medveten, konkret och helhetsbaserad utveckling mot olika fysiska, mentala, spirituella, emotionella, sociala eller performativa mål.

”The Alexander Technique is “the technique under all techniques,” because it is a process of embodied thinking, sensing, and acting. Through studying the Alexander Technique, dancers can move with greater ease, poise, and accomplishment, regardless of the movement style.”

– Glenna Batson

Read more about the technique and all of Glenna Batsons text about dance & AT here.

Magnus Lundgren

"Jag kör en ganska klassisk och basic grundläggande jazzuppvärmning som innehåller lite av det mesta och för hela kroppen. Lite uppmjukning, lite yoga, lite danselement, och teknik. Sen kör jag diagonaler med fokus på piruetter, grand battements och hopp. Sedan avslutar jag med koreografi. Gillar att kasta ut mycket material på en gång, lite som en auditionworkshop. I mitt koreografimaterial vill jag lägga fokus på de små detaljerna, stilförståelse, teknik och uttryck."

Magnus Lundgren är utbildad musikalartist vid Balettakademien i Göteborg och har medverkat i över 20 musikalproduktioner på Cirkus och Oscarsteatern i Stockholm, GöteborgsOperan, Malmö Opera, Nöjesteatern i Malmö och Det Kongelige Teater i Köpenhamn. Han har även verkat proffessionellt som koreograf och koreografassistent, och undervisar flitigt sedan åtta år tillbaka med uppdrag på bl.a. Balettakademien i Göteborg, Lunds Dans & Musikalgymnasium, Rydbergs Dance Academy och Dansstidion No1 i Malmö. Magnus undervisar i musikaljazz och hämtar influenser och inspiration av erfarenheter, nya som gamla, i yrket.

Jonas Svensson

"Min klass följer i grunden balettens uppbyggnad men är anpassad för moderna dansare. Jag fokuserar mycket på musikalitet och att det ska vara dansant och organiskt. Jag brukar variera musiken mellan olika musikstilar i min klass. Allt från jazz, populärmusik, folkmusik, balettmusik mm. Detta tror jag kan hjälpa dansarna att förhålla sig friare till rörelserna och att göra rörelsen till sin egen och inte falla in i invanda mönster."

Jonas Svensson är ursprungligen från Stockholm men har bott i Malmö i ca 16 år.

Jag är utbildad danspedagog och dansare vid Danshögskolan i Stockholm. Större delen av min karriär har jag jobbat som dansare i Skånes Dansteater. Jag var även med och startade dansgruppen Rytm bà som jobbar med stepp och rytm i kombination med modern dans.

I Skånes Dansteater har jag även jobbat som repetitör i flera omgångar. På senare år har jag även jobbat en del med teater bl. a. på Malmö Stadsteater.

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Philippe Blanchard

"A slow and gentle start for the body after it has been at rest overnight. Sensorial and introspective in its’ approach to thoroughly awakening body, mind and creativity.

Focus and time will be dedicated to discovering and moving through a connection to our skeletal structure, and in turn, to our different bodily systems. As participants, you will be guided continuously throughout your exploration."

Philippe Blanchard has created both independent and commissioned performances at the forefront of Swedish contemporary dance and the European dance companies for nearly twenty years. His works developing into installation-like studies with skilled performers and untrained performers.

Suggesting rather than telling, Blanchard’s finely layered pieces address the creative potential of each viewer by making room for interpretation, uncertainty and wonder while consistently providing subtle details to rely on. An adventurous artist daring to explore unknown subjects and methods, he develops his expression in a continual process of investigation where every project is bound to its own rules while moving consciously forward from the previous one.

After creating works such as “Airbag”, “Noodles”, “Quiproquo”, “One’s company, “How about you?” which toured in more then 14 countries, Philippe decided to relocated himself in U.K where he created two works ” This is that” and ” There are no such thing such as silly things”.

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Philippe -Alexandre Jacques

"A Classical ballet structured class that explores and strengthens both somatic and cerebral understanding of weight change, musicality, and energy circulation with and within the body. We also explore energy dissemination from the body for both performative and functional uses.

Movement is the driving force of this approach rather than shape. Though a classically based class, music is of diverse origins."

Philippe-Alexandre Jacques, originally from Ottawa Ontario, is a graduate of the Royal Winnipeg Ballet School’s Aspirant Program as well as a past participant of international programs such as Springboard Danse Montréal and the Netherlands Dance Theatre Summer.

During his time in the Aspirant Program and after, Philippe had the opportunity to perform in many of the Royal Winnipeg Ballet’s performances, such as Moulin Rouge, Twyla Tharp’s the Princess and the Goblin, and other classics such as The Nutcracker.

In 2015, Philippe started working as a choreographer artistic coordinator, and teacher for the RWB School where he lead projects such as the choreographic competition and incubator, First Steps, as well as the Winnipeg branch of the National community outreach initiative, Sharing Dance.

As a choreographer for the RWB School, Philippe had the chance to create for various events including the end of year performances Spotlight and On The Edge. An independent dance artist who strongly believes in artivism, his latest autonomous projects include choreographing Tejido about cooperative action, for Horizons, the 360 film created in celebration of Canada’s 150th, A Day in the Life of a Young Person with Anxiety, a series of videos on the stigmatization of severe anxiety, in collaboration with Dr Roberta Woodgate of the University of Manitoba, and for Teater Interakt, for their piece “Ingen förstår, så jag låtsas att jag förstår” about living in Malmö, Sweden, after migration, from 1945 to today. Jacques is also a frequent performer in Peter Quanz’ Q Dance, and a teacher in various styles internationally.

Michael Jahoda, Terri Shimpan & Maria Naidu

"Three highly experienced pedagogues in the same week. Michael Jahoda, Terri Shimpan and Maria Naidu will give take turns teaching and guide you to the Muller Polarity technique.This weeks intensive is anchored in Jennifer Muller’s internationally-renowned pedagogy: The Muller Polarity Technique, a highly-developed technique sourced from Eastern philosophy and concepts. Muller is one of the only choreographers of her generation to have developed a personalized technique. Her unique approach is known to increase technical skill, introduce the concept of both freedom and control in movement, transform tension into energy, and prevent injury through the holistic use of the body as a living instrument. TanzPlan Berlin chose Muller Polarity Technique as one of 7 unique contemporary dance techniques for its publication/DVD Tanztechnik 2010.The class is divided into three “parts” and will last for two hours."


Michael Jahoda is a dancer, teacher, choreographer and mentor. He was born in Schenectady, New York in 1966 and is based in Amsterdam, the Netherlands since 1997. As a young dancer Michael received a scholarship to the Alvin Ailey American Dance Center in New York City. He danced with the Alvin Ailey Repertory Ensemble, was a Principal Dancer with Jennifer Muller/the Works (NYC), and a featured dancer with Anouk van Dijk (NL) amongst others. He is an internationally renowned teacher, having taught classes and workshops, and set repertory since 1989 throughout Europe, the USA and in Japan.

In 2001 Michael co-created the Phillip Project, a multi-media artistic collaboration project which has created a unique series of 17 inter-related site-specific multi-media Episodes. As an independent choreographer he has created works for Boston University, the Amsterdamse Hogeschool voor de Kunsten, Conny Janssen Danst, (NL) and Diverse Space Dance Theater in Austin, Texas where he has an annual Artist in Residence position. Michael has collaborated on various performance projects including The Refractive Kinoscope with dance film maker Alla Kovgan and Kinodance Company in Boston, MA, and The Return of the Four Chops with musicians Maarten Ornstein and Tony Overwater. In addition to choreographing he writes his own performance texts and has lent his voice, both live and recorded, to numerous performance projects including Eef van Breen’s Chapman for President.

From 2005-2010 Michael resided in Boston, Massachusetts. While there he was the Guest Artistic Director of the 2008 Gloucester New Arts Festival (MA/USA) and created the White Box Project, a series of experimental, unscripted performance events, which was nominated for Boston’s Best Dance Troupe in 2009. Michael is a founding member of IDOCDE, an EU-wide pilot project aimed at facilitating international teaching exchanges, heightening best teaching practices, and developing new forms of dance teaching documentation. He is currently a core member of BAU, an agency for the sustainment and development of the independent dance and performance makers in Amsterdam. Under the umbrella of BAU he is co- conducting a research project into the development of new selling Agency for the independent dance and performance makers of Amsterdam. From 2010-2016 Michael was Rehearsal Director and Assistant to the Choreographer at Conny Janssen Danst in Rotterdam, the Netherlands and mentored the company’s Young Talent Development Program. Since 2010 he has been Rehearsal Director for LeineRoebana in Amsterdam, where he is currently heading the Didactic and Creative Research Development Project for the company.

Terri Shipman from San Diego California received her BA in dance at San Diego State University and an MFA at UC Irvine. Terri started her performing career in San Diego dancing with “Isaacs- McCaleb and Dancers” as well as many various local choreographers including Patricia Sandback and Dancers. In 1991 she moved to New York and became a member of Ron Brown’s “Evidence” and Jennifer Muller / The Works.” With The Works, Terri toured eastern US, as well as international. She guest taught at the University of Hawaii, BYU Hawaii, SUNY Brockport NY, and the Governors Choreography Workshop, Baltimore. Since returning back to San Diego Terri has been teaching dance and yoga full time in a high school and at San Diego City and Mesa Community College. Terri is an independent choreographer and has produced shows with a group she formed called “Forward to Breath.” Terri has choreographed over 50 dances for the Colleges she teaches at and her dance company. She has danced and choreographed in collaborative projects such as Under the Tongue, Orpheus Ascending, Trolley Dances, Celebrate Dance Festival, Body History, San Diego Dance Theaters “Art Fest”, San Diego’s Fringe Festival, and has been presented by the Sushi advisory board.

Maria Naidu är utbildad på Balettakademien i Göteborg 1983-85 och på Alvin AileyAmerican Dance Center i New York City där hon bodde och verkade i tretton år. Staden New York och det åtta år långa samarbetet där med koreografen Jennifer Muller har utan tvekan påverkat och influerat hennes förhållande till danskonsten. Hon är en av få svenska dansare som varit fast anställd i ett danskompani i New York och den enda i Jennifer Muller/THE WORKS hittills. Maria strävar efter att göra danskonst tillgänglig och åtkomlig för en bred publik utan att göra avkall på konstnärligkvalité. Konstnärsskapet grundas i en djup passion för danskonst, en stark tillit till dess förmåga att kommunicera gränslöst och genomsyras av nyfikenhet och lust. Dans och rörelse alltid är huvudingredient men kompleteras ofta med andra konstarter, gärna i samarbete med andra konstnärer. Utmärkande är en mångfald av texturer, teatrala detaljer och underfundig humor. Frågor som intresserat henne att konstnärligt utforska de senaste åren berör identitet, kulturell/etniskt tillhörighet, kroppsideal och representation. Marias verk har visats i 14 länder på fem kontinenter. Hon har även arbetat som repetitör för NorrDans i Härnösand (2002) och Carte Blanche i Bergen, Norge (2009-11) och koreograferat för teater och operaföreställningar (Norrlandsoperan, Vadstenaakademien, Raseborgsoperaförening, Malmö Opera, Malmö Stadsteater, Teater 23, Teaterhögskolan Malmö, Helsingborgs Stadsteater, Moomsteatern). Maria undervisar dansare över hela världen i den speciella Muller tekniken sedan 1992 och är en av två pedagoger baserade i Europa som gör det. Maria var initiativtagare och en av grundarna till kooperativet Rörelsen- Koreografer i Skåne och var bland annat drivande i arbetet med att få till stånd professionella repetitionslokaler i Malmö. Hon har haft uppdrag som viceordförande i Danscentrum, styrelseledamot i Danscentrum Syd och Rörelsen- Koreografer i Skåne. Hon ingick 2015-18 i Kulturrådets referensgrupp för fria aktörer inom scenkonstområdet, teater, opera, musikteater, cirkus, performance och övriga uttryck. I April 2018 utpekades hon av Kulturdepartementet till styrelseledamot för Kungliga Operan.

Jacob Walleberg

"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!"


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.


Jeanine Durning

What we do when we do the thing we do before we know what we are doing:

Approaches to Practice and Performance

"The idea is not the thing. Each of us is an ever-shifting complex ecology of radically divergent memories, desires, impulses and perceptions. This is a lab for cultivating multiple considerations on multiple levels, put into conscious action and practice. Accepting not-knowing as a generative state, we’ll sharpen our responsiveness to impossible proposals, heighten attention to emergent materials, then fluidly develop strategies and systems for immersion in and reflection of inherent structures of our thinking/being/doing. We’ll generate, reconsider, translate and reinterpret: action, affect, content and context through our practice of performance. At the core of this workshop is the willingness to think/move/imagine/speak in unanticipated directions."


Jeanine Durning is an Alpert Award winning choreographer and performer from New York whose work has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” She’s interested in choreography as a ways and means to mobilize questions about how our basic need for connection and communication aligns, and often misaligns, with how our thinking and feeling come to form and action. Jeanine has an ongoing practice, nonstopping, which has yielded several performance works, including her solo inging (based on nonstop speaking). She has performed inging more than 50 times across the US, in Europe and Canada. In support of her new project Dark Matters, Durning has received residencies at Seoul Dance Center, the Rauschenberg Foundation, MANCC, and at DNK in Sofia, Bulgaria. Jeanine has had the privilege to collaborate with many choreographers, including Deborah Hay since 2005, working as performer, consultant, choreographic assistant and coach. Durning has shared some of her practices all over the world and was recently Guest Lecturer at Smith College in Western, Massachusetts. Upcoming projects include a new work commissioned by Candoco/London, performing Big Dance Theater’s adaptation of Anne Carson’s Antigonik (playing the titular role), and a European tour of Deborah Hay’s new work Animals on the Beach.


portrait by Snorri Sturluson

photos of inging by Ian Douglas

photos of Dark Matters by Chris Cameron


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Tian Rotteveel

Morning class 3, 4 march 9.30-11.00:

“Breath/bones/bass”: Composer/dancemaker Tian Rotteveel will provide an energetic inside to the practice of sound and rhythm, being the body the vehicle of both perceiving and producing of sound and rhythm, Inspired by principles of osho meditation, kundalini yoga and extended vocal techniques.

Workshop 3,4 march 13-15:

“The listening effect” This workshop will be to inquire in activities following the odd-logic of sound in relation to the moving body. Exploring the self-composing effects of listening and that of making sound, wonder between concrete and abstract attractions of sound/music. Exploring music making attitudes for a dancing body.


Tian Rotteveel (D/NL) is a Berlin based composer and performer. Studied music composition in the Netherlands (HKU & Royal Conservatory of the Hague) and dance and choreography in Germany (HZT Berlin). In his work he integrates sound and movement as one joined practice. Sound and movement in his work are both processes which can materialize into meaning but as well can materialize into mere sensation. In 2012 he made his debut in the dancemaking community with his solo SoulSqueezing combining both sound and movement in a singular movement practice using continuous “automatic” soulsinging, which offered a selfcomposing score both in sound as well in his physicality. Coming from a strict music composition background the ethical attitude of dance practices towards composition offered a whole different perspective on what composition could be. Tian has an ongoing collaboration with Claire Vivianne Sobottke, Diego Gil, Jeaning Durning, Igor Dobricic and Herman Heisig and has worked both as perfomer/composer with Tino Seghal, Martin Nachbar, Jeremy Wade, and still composes music for music ensembles.

Janine Harrington

"The workshop will introduce the Screensaver Series score: a graphic, poetic and physical practice. We will work with improvisation, touch and practicing alone and together together. We will play with imagination, the gaze, partnering, poetic images and choreological tools to resource our dancing while practicing our attention to care for the emergent and ever-shifting landscape of the dance. We will work a lot within the restriction of body-half organisation, exploring the expansive limitations of this coordination."

Follow this link and explore more.


Janine Harrington is a choreographer, performer and writer born in Canterbury, UK. She holds an MA (Book Arts) from University of the Arts, London (2011) and a BA (Hons) in Dance Theatre from Laban (2006). Janine is interested in game structures, play, access, neurodiversity and the poetics of movement practices. Her recent work, the kaleidoscopic Screensaver Series (premiered at Dance Umbrella, 2018) foregrounds these interests and is currently touring. Janine’s practice is underpinned by research focused on developing interactive, participative and poetic movement experiences. She has honed her practice alongside performing in gallery and museum contexts across Europe, teaching, writing and advocating around neurodiversity .In 2019 Janine is Align associate artist with South East Dance and Re-Search artist with Dance Umbrella/ Middlesex ResCen Network. She was twice recipient of the DanceWEB scholarship to ImPulsTanz Vienna (2013/16) and received a scholarship to Banff Centre Canada to work with Liz Lerman and Ruth Little exploring dramaturgy for dance.

Her work has been programmed by: Wellcome Collection, Dance Live Aberdeen, Sånafest Norway, Hepworth Wakefield, Dance Umbrella, Encounter Bow, V&A Museums, NottDance, Brighton Festival, Brighton Digital Festival, IDOCDE Vienna, Tanz in Winterhur, Villa Empain Brussels, Stockton International Riverside Festival, Hull Freedom Festival, Warrington Contemporary, Central St. Martin’s, Siobhan Davies Dance, Big Dance, Goldsmiths, Theaterfestival Favoriten Germany, Et20l’été France, South East Dance.

Headshot by Christopher Matthews

Dancers in image: Louise Tanoto & Janine Harrington.

Screensaver Series, image by: Roswitha Chesher.

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Sukitoa O Namau

Artist talk/ Lecture Friday 6 th of march. Time: 11.15-12.45

"During this meeting, Sukitoa o Namau will talk about her journey from contemporary dance to experimental music, explaining how her research on body and movement resonates with her sound practice. She will share some of the concepts connected to her investigation in performing arts and define how they keep feeding her current projects. She will in particular expand on Figures, how they manifest themselves on stage, how they exist or in other words, the nature of their presence, and how in some cases, they linger, defeat the eye, invade bodies and prevail over our perception in spectral, obsessive and challenging forms."


Sukitoa o Namau is a Moroccan experimental sound artist and researcher. Her background is rooted into contemporary dance, performing arts and visual arts. On her academic path in Performing Arts and Theater Studies, she centered her fields of study on the relations existing between Dance and Image in contemporary dance works. In 2012, she created her dance company UCHRONIE and broadened her research to the subject of Choreographical Thresholds and to a possible dance below and beyond the dancing body. She incorporated sound to her practice while directing a dance piece, Des fleurs pour Schrödinger, for which she composed and performed a soundtrack. From then on, she has been using sound as a medium to deepen her reflection about Thresholds through field recordings, processed sounds and electronics. Her live act is built upon a collection of field recordings, textures, processed sounds & rhythms, inspired by the friction of audio snapshots and the way they can assemble, resonate, break down, mutate, confront and resist each other. Sukitoa o Namau calls upon the incorporeal presence of the sounds she captured and lets them reveal or reflect images, experiences and questions at the center of her research. At the core of her work lies the idea of thresholds and how a cluster of fragments can morph into sonic matter, can open up spaces (and meanings) and operate on several levels of perception.

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Lidia Wos

Daily training, Workshop – Action based choreography

”Jag startar dagen med en klass som är baserad på den klassiska balettens grunder men med en modern twist. För mig är det viktigt att det finns ett bra flöde i övningarna och att arbeta organiskt med hela kroppen. Jag fokuserar mycket på kvaliteten i varje enskild rörelse. En viktig aspekt med klassen är att vi ska bli uppvärmda och redo för resten av dagens övningar, oavsett om du ska delta i workshopen eller om du ska vidare till andra uppgifter.

I workshopen kommer vi att arbeta med material från några av mina tidigare koreografier för att du som deltar ska få en känsla för mitt rörelsespråk. Vi arbetar vidare med kreativt skapande där vi provar på olika sätt att skapa ett rörelsematerial. I mitt koreograferande tar jag ofta min utgångspunkt i vardagliga rörelser och situationer. Jag använder en egen metod som är baserad på aktioner eller handlingar. För mig handlar det om att utgå från och plocka fram det naturliga rörelsespråk som alla har och dagligen använder. Allt kan omvandlas till koreografi. För mig är det koreografiska hantverket mycket viktigt och jag lägger stor vikt vid alla små detaljer.

Jag tycker också att det är spännande att testa olika sätt att förhålla sig till rummet, scenografi och olika objekt. Kroppsmedvetenhet och scennärvaro är komponenter som hela tiden är närvarande.

Jag utlovar en inspirerande upplevelse fylld av lust, glädje, och kärlek till dansen och rörelsen som uttrycksmedel.”


Lidia Woś är en frilansande dansare och koreograf med över 25 års erfarenhet från olika danskompanier och institutioner i bland annat Sverige, Polen, Tjeckien, Nederländerna och USA. Under sin karriär har hon mött ett mycket stort antal koreografer, dansare, pedagoger och klasslärare. Hon har arbetat med allt från klassisk balett och dramatisk teater till modern konceptuell dans och samtida dansteater. Baserat på sina erfarenheter har hon utvecklat en egen arbetsmetod och stil som bygger på ett organiskt rörelsespråk, lustfylld uppfinningsrikedom och respekt för sin omgivning. Detta är något som genomsyrar såväl hennes eget skapande som hennes undervisning.

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Marie Sol Sandberg

"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!"


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.

Pietro La Loggia

"The Gyrokinesis method is a movement method that gently works the entire body, opening energy pathways, stimulating the nervous system, creating functional strength through rhythmic, flowing movement sequences.

Each class begins on a chair with a gentle warm up sequence followed by a series of fluid spinal motions which increase range of motion. Class continues on the floor with exercises followed by a rhythmic standing sequence that incorporates balance, and cardiovascular exercises; then ends with a calming, unwinding to prepare the body and mind to reintegrate with the every day world."

Pietro La Loggia is born in Italy. He has been working as a professional dancer since 1995.

He has worked in France, Germany, Holland, Denmark, Italy, and Norway. Pietro is based in Sweden since 2001, worked in Norrdance, Skånes Dansteater, and guest in different small projects and theater companies. Pietro discovered GYROTONIC® in 2008 after his injury.

In 2011, he got his final diploma to teach GYROTONIC® Expansion System.

He also has got an extra diploma, GYROTONIC® for dancers in 2013. He finished the first part of diploma of GYROTONIC® Level 2 in 2016.

In 2014, He got his diploma to teach GYROKINESIS®.

He upgraded his study, ‘GYROKINESIS® Happy Move’, which is combined with music. He teaches GYROKINESIS® classes in Skånes Dansteater and different freelance dance/theater groups.

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Corrado Di Lorenzo

"In my classes I aim to give to the dancers the possibility to improve their own ballet technique, without neglecting the freedom of moving in the space."


Corrado received his bachelor in “Ballet Pedagogy” at AMTII (Academy of Music and Dance Art) in Plovdiv, Bulgaria. As a professional dancer he has been working at Sofia National Opera and ballet, where he danced in all the repertoire of the company as corpus de ballet and demi soloist in some production such as:

“In the Middle Somewhat Elevated”, “Swan Lake”, Sleeping Beauty” and others.

He is now working as a freelance dancer and ballet teacher.


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Rumiko Otsuka

"My contemporary class is influenced by Cunningham and Limón techniques, also utilize release technique to find dynamics in the movement.

The class starts slowly with a simple series of exercises to warm up all the muscles and joints and aim to find articulations of the back as well as an organic way of moving.

Continue with floor exercises, which will strengthen core and right coordination of the body. Through the class I will guide to build up awareness of space and directions.

Class finishes with longer dance sequence to challenge dancers to find musicality, dynamics and individuality."


After Rumiko Otsuka graduated Arnhem Dans Academie in Holland 2001, she started her professional career as a dancer in Norrdans(SE).

She joined Skånes dans teater(SE) in 2005. She also worked different choreographers among, Recoil Dance Group/Tina Tarpgaard(DK), Zappala Danza(IT), Khamlane Halsackda(SE/UK), Somatic Noise(SE/DK), Camilla Stage(DK). She is a member of Nya Rörelsen and produces her own dance productions since 2013.

Kirstine Ilum

“My class is a floorwork based class, bringing in elements from yoga, capoeira and improvisation. We will combine the alignment of the body with the connection to the floor and adding awareness of the breath to accomplish greater strength and explosivity. Simple movement patterns using breath and speed, gradually building up to become more complex and risk taking.”


Kirstine Ilum has slowly moved from the stage to behind the scenes and has worked as a choreographer, teacher, producer, projectmanager, curator, co-founder, rehearsal director, tour manager, editor, driver, administrator, fundraiser, board member and mother. Latest Kirstine has worked with Skånes Dansteater as a Rehearsal Director in 2014 and 15.

Kirstine Ilum is the co-founder and director of the Malmö based dance company Somatic Noise.

Antoinette Helbing

"I give a contemporary class with a strong focus on floor work techniques.

Central questions are how to move the center in space efficiently, how to travel on the floor in order to gain as much space in the room as possible and how to use the limbs, especially hands and arms, in relation to the rest of body to help the center travel. We start by a gentle warm up on the floor.

Some days this might have the form of a guided improvisation through a couple of movement qualities that are useful on the floor, and other days it consists of calm exercises to warm up the synovial liquid in the joints and to slowly get the spine moving. Next is a research on the sequential order of body parts to find a natural flow of movement and to use only the amount of energy that is really needed to execute a movement.

In the middle of the class we have a section of strengthening exercises and phrases for the core and the arms – since they are essential to floor work. With the power just gained we improvise on going into and out of the floor playing with different kinds of movement qualities, movement principles and impulses, as well as elements of contact improvisation. Towards the end of the class we work on movement phrases that gather all the aspects that we’ve been touching throughout the whole class, especially going in and out of the floor and travelling through the whole room."


Antoinette Helbing graduated in 2008 from the ArtEZ Dansacademi Arnhem.

Already during her studies she made her first professional experiences as a guestdancer of the Citytheatre Görlitz, where she became company member from 2008 until 2010.Since 2010 Antoinette works as a freelance dancer and choreographer – dancing amongst others with Kitt Johnson, Aabendans Productions Roskilde (Thomas Eisenhardt/Catherine Poher) and Tina Taarpgard. Besides that she focusses mainly on developing her own approach towards choreography – for example with the creation of the solo-piece, Mir schwant, es wandelt…sich“ that won the first price in the Interface-Festival Görlitz in 2011 and her latest piece “How to be/loved” that toured through Holland, Russia and Denmark.

Anna Grip

“Och sen då?” Klassen består av övningar vid väggen samt av korta fraser ute på golvet.

Klassen tar utgångspunkt i principerna fall, tryck och skruv och handskas genom dessa med viktfördelning, rytm och organisation."

WORKSHOP: And then what, coaching.

" Workshopen erbjuder arbete med givna dansfraser och därefter coaching, enskilt eller i små grupper. Coachingen utgår ifrån deltagarens egna frågor men med utgångspunkt i de principer som presenteras i workshopen."

Workshop i samarbete med Dansalliansen. 4 – 8 maj. Måndag till fredag 12.00-16.00 inkl.paus.

Anna Grip håller även i den dagliga träningen hela veckan 9.30-11.00.

Mer info inom kort.

Anna Grip har under 30 års tid undervisat inom institutioner, utbildningar samt inom det utominstitutionella dansområdet.

Anna Grip har även arbetat som koreografassistent, danscoach, konstnärlig ledare och utbildningsansvarig, och har också varit medlem i flera styrelser inom kultursektorn.

Anna Grip arbetar sedan 1 jan 2014 med organisationen ccap under ledning av Cristina Caprioli samt på Dans och Cirkushögskolan i Stockholm.

In English:

Anna Grip has been teaching for 30 years in institutions and educations as well as in the independent dance field.

She has also worked as a choreographer assistant, dance coach, artistic director and school leader and has also been a member of several boards within the cultural sector.

Apart from teaching at different constellations, Anna Grip is from 1 jan 2014 working at the choreographic platform ccap and the University College of Dance and Circus in Stockholm.

Clara Björck

"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."


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.

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PRICES & ACCESS TO DAILY TRAINING

OM DAGLIG TRÄNING

Daglig träning på Danscentrum Syd håller en hög nivå för professionellt verksamma utövare inom dansfältet, främst dansare, koreografer och pedagoger. Klasser och workshops finns i stilarna balett, modernt/nutida dans, jazz och street.

Vem kan delta? Behöriga till den dagliga träningen är:

  • frilansande dansare
  • koreografer
  • danspedagoger

Gäller yrkesverksamma; genomgått en godkänd yrkesutbildning, inskrivna på AF kultur eller anslutna till Teaterförbundets riksavdelning för dans. Den som inte kan påvisa yrkesverksamhet under de senaste fem åren eller inte kan upprätthålla rätt nivå på klass kan nekas rätt till den dagliga träningen. Dansare och koreografer från institutionsteatrarna kan delta i träningen i mån av plats.

Priser våren 2020:

Enskild klass: 100 kr

Veckokort: 300 kr

Klippkort/10 klasser: 750 kr

Terminskort: 700 kr (medlem), 950 kr (icke-medlem)

Improvisationsklasser: 1 klipp eller 100 kr

Sharing sessions är kostnadsfritt för medlemmar. För icke medlemmar 1 klipp eller 100 kr/session.

Alla träningskort är även giltiga på daglig träning på DC Väst, DC Stockholm och Dansehallerne i Köpenhamn.

Observera att baletten/daglig träning på Balettakademien, Stockholm ej ingår i vårt träningskort.