WORKSHOPS

Denna workshop är ett samarbete mellan Danscentrum Syd och Dansalliansen.

This is a collaboration between Dansalliansen and Danscentrum Syd. 

Sign up here!    Deadline/Sista ansökningsdag: 2 april

Week 16, 17-21 April Monday - Friday 11.15-16.15

Malin Elgán ger en workshop i samtida dans och särskilt det obestämda i dans.

Med såväl enkla som mer komplexa steg, från diverse sammanhang, kommer deltagarna att navigera genom en bredare konstnärlig diskurs om former, format och media. Det resulterar i en diskussion om estetik – vad estetiken innefattar och utesluter – och samtidigt i samtal om det vi specifikt ser, hör och på annat sätt erfar genom den dans som uppstår i situationen. Meningen är att genom en serie rörelser, i godtycklig ordning, ge plats för den delade upplevelsen. Parallellt med det är avsikten att utveckla en problematik om det obestämda.

Eng:

Malin Elgán gives a workshop in contemporary dance and especially the undetermined in dance. With both simple and more complex steps, from diverse contexts, participants will navigate through a broader artistic discourse on forms, formats and media. This results in a discussion about aesthetics - what aesthetics includes and excludes - and at the same time in conversations about what we specifically see, hear and otherwise experience through the dance that arises in the situation. The idea is to make room for the shared experience through a series of movements in arbitrary order. Parallel to this, the aim is to develop a complex of problems about the undetermined.

Fotograf: Ulf Lundin

BIO:

Malin Elgán är koreograf och konstnär, baserad i Stockholm och internationellt verksam. Elgán intresserar sig för konsten bortom det genre-specifika och opererar genom en expanderad koreografisk praktik – via diverse uttryck, format och media. Hon låter inte dansen begränsas till vissa rörelser och platser utan tar den ur sina gängse sammanhang för att möjliggöra nya betydelser. Hennes verk har spelat på scener såsom MDT, Dansens Hus och Kulturhuset i Stockholm. Likaså har hennes verk visats i konstsammanhang bland annat på Moderna Museet, Nationalmuseum och Bonniers Konsthall i Stockholm samt på Göteborgs konsthall, Nasjonalmuseet och Kunstnernes Hus i Oslo, Poppositions i Bryssel, Ausland i Berlin liksom på Museum of Contemporary Art i Zagreb.

Nu senast var hon aktuell med verket Läst till hälften, i samarbete med MDT, i Picassoparken intill Moderna Museet, i Stockholm juni 2022. I januari 2023 visades hennes Barnformen på Moderna Museet Malmö.

Eng:

Malin Elgán is a choreographer and artist, based in Stockholm and internationally active. Elgán takes an interest in art beyond the genre-specific and operates through an expanded choreographic practice – through various expressions, formats and media. She does not let dance be limited to certain movements and places. Rather she takes dance out of its usual contexts to enable new meanings. Her work has been performed on stages such as MDT, Dansens Hus and Kulturhuset in Stockholm. Her work has also been shown in artistic contexts, in places such as at Moderna Museet, Nationalmuseum and Bonniers Konsthall in Stockholm as well as at Göteborgs konsthall, Nasjonalmuseet and Kunstnernes Hus in Oslo, Poppositions in Brussels, Ausland in Berlin and at the Museum of Contemporary Art in Zagreb.

Malin Elgáns most recent work Läst till hälften, in collaboration with MDT, premiered in Picasso Park next to Moderna Museet, in Stockholm in June 2022. In January 2023 her Barnformen was shown at Moderna Museet Malmö.

Denna workshop är ett samarbete mellan Danscentrum Syd och Dansalliansen.

This is a collaboration between Dansalliansen and Danscentrum Syd. 

Link for signing up:  SIGN UP HERE!   Deadline 7 Maj

Week 21, 23-26 may. Tuesday-friday.

Morning class 10-11.30 Obligatory for participants. Friday 11.15-12.45  Workshop  11.30-16.00 incl.lunch. 

Friday 13.00-16.00

How to stay interested? 

A creative laboratory with Rosalind Crisp, facilitating dance artists to develop their own movement-making tools. Drawing on principles and practical tools from her own dance-making methodology, with ways to navigate between sensation, composition and imagination, Rosalind proposes frameworks to ‘do it yourself’, and strengthen solo practice.

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

Photocredits:

Red: Patrick Berger

Blue: Anna Solé

Violet: Edita Sentić

Black & White: Frank Post/Instant Act Stuttgart

Denna workshop är ett samarbete mellan Danscentrum Syd och Dansalliansen.

This is a collaboration between Dansalliansen and Danscentrum Syd. 

Sign up here!    Deadline/Sista ansökningsdag: 20230514

Week 22, 28 maj - 2 juni Monday - Friday 11.15-16.15

Daily training /Ballet with Tilman O'Donnell 9.30-11.00

WORKSHOP:

On Stillness & Action: The Still Act(ing)

Our physical, psychological, and cultural habits are deeply intertwined. History is

encoded in the present. Aesthetic acts pass through the internalized concepts we

begin to call home, and shape our present future.

Using meditation practices and teachings for the mind, as well as contemporary

dance technique and theory, we'll explore how awakening and creativity can be

expressed in and through the body. We will look more deeply at the roots of our

collective aesthetic preferences, how they shape perception and pre-choreograph

action. In stillness, we will consider how meditation techniques might offer insight into

contemporary movement processes and, more broadly, procedures of making art.

In movement, we will translate these teachings into contemporary sense-based

exercises, koans to be unfolded somatically.

Each class will include sitting/walking meditation, discussion, and movement

practices.

“The ‘still-act’ is a concept proposed by anthropologist Nadia Seremetakis to describe moments when a subject interrupts historical flow and practices historical interrogation. Thus, while the still- act does not entail rigidity or morbidity it requires a performance of suspension, acorporeally based interruption of modes of imposing flow. The still acts because it interrogates economies of time, because it reveals the possibility of one’s agency within controlling regimes of

capital, subjectively, labor, and mobility. Stillness is the moment when the buried, the discarded and the forgotten escape to the social surface of awareness like life supporting oxygen. It is the moment of exit from historical dust.”

- Nadia Seremetakis, from the essay The Political Ontology of Movement by Andre Lepecki

Objectives

1. To integrate stillness and a dynamic movement practice

2. To cultivate a sensory awareness below a particular technique or style to which

we are hinged

3. An introduction to meditation & theory, as well as contemporary performance

theory & technique

4. To unpack the physical and psychodynamic anatomies underlying immediate

action

5. To discuss the broader ethical implications surrounding the social ritual of

making performances in groups

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 two major international choreographic competitions. In 2005 he was nominated both ”Dancer To Watch” and “Choreographer To Watch” by the magazine

Tanz, and as “Hoffnungsträger” in 2015 by the same publication. In 2017 he was once again named “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 By The Losers: Hoedown / Showdown (2020) The View From Here (2021) and Etudes I & II (2023).

Denna workshop är ett samarbete mellan Danscentrum Syd och Dansalliansen.

This is a collaboration between Dansalliansen and Danscentrum Syd. 

Sign up here!  Sista ansökningsdag 22/2.

Week 9, 28/2, 1/3, 2/3 Tuesday, wednesday & thursday. 

Morning class 9.30-11.00  Workshop 11.30-16.00 incl. lunch.  

Embodied awareness -a workshop with the choreographer 

Helena Franzén 

"How can we embrace and get to know our sensory bodies? 

In the workshop we are focusing on different methods how to identify new layers of understanding-how to embody a movement within a dancer…

With a guidance of both improvised and set movement material, we discover the imaginative, spacious and energy- filled body 

In the practice we embrace details in qualities, how to trace the sensory intelligence provided by the body as a whole.

The workshop invites to bring  curiosity and delight in the sharing of dancing  together!"

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.

(swe)

"Hur kan vi omfamna och lära känna våra sinneskroppar? 

I workshopen fokuserar vi på olika metoder hur man identifierar nya lager av förståelse - hur en rörelse förkroppsligas hos en dansare… 

Med vägledning av både improviserat och koreograferat rörelsematerial upptäcker vi den fantasifulla, rumsliga och energifyllda kroppen.

I denna praktik omfamnar vi detaljer i rörelse kvaliteter, hur man spårar den sensoriska intelligens som kroppen som helhet tillhandahåller.

Workshopen inbjuder till nyfikenhet och glädje att dela dansandet tillsammans!"

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.

Photo: Håkan Jelk

www.helenafranzen.se

www.dansfilm.helenafranzen.se

Denna workshop är ett samarbete mellan Danscentrum Syd och Dansalliansen.

This is a collaboration between Dansalliansen and Danscentrum Syd. 

Anmäl dig här!    Deadline: 20230109

Week 3, 18, 19, 20/1 Wednesday, Thursday & Friday 13.00-17.00.

Technical Instincts:

These classes will focus on the pathways that trained dancers have been cultivating for years and shift the way we use set movement into opportunity. Each class will begin by honoring foundational elements we share through dance practices – stretched legs, deep breaths, timing, and coordination – and then challenge those same pieces by using them to connect not just to time and space, but to partners as well. Professional technical training spends time tuning our courage so that we are confident in the repeated material we execute. Now, we are ready to tune curiosity. Both ways of working are in service of getting dancers to an honest place. And nothing is more honest than sweating in a room with others that have the same intentions.

We will start each session with Bartenieff fundamentals to warm-up. Then partner up quickly to put those strength training pathways into action by connecting weighted pelvis and soft joints low to the ground. We’ll then work our way to mid-level through quadruped actions, bracing, falling, and catching. Then we’ll move through space while standing with action items that run throughout the room. After all these activations, we begin again by layering in the human work: eye contact, pausing, listening, and tension. We will pass through productive arguments, dismantling hierarchy, and motivated empathy, all to map a new framework of discipline through improvisation. 

BIO:

Paul Singh (he/him) is a dance artist, choreographer, and educator living in New York City. He earned his BFA in Dance from the University of Illinois, USA. He has danced for Gerald Casel, Risa Jaroslow, Will Rawls, Phantom Limb Company, Stephanie Batten Bland, Douglas Dunn, Christopher Williams, Kathy Westwater, Faye Driscoll, and was featured in the inaugural cast of Punchdrunk’s NYC debut of Sleep No More. While abroad, he was a dancer in Peter Sellars’ opera The Indian Queen (Madrid), as well as Peter Pleyer’s large-scale improvisation work Visible Undercurrent (Berlin). Paul has had his own work shown at multiple venues in NYC, Berlin, and in 2004 his solo piece Stutter was presented at the Kennedy Center. Paul has taught contact improvisation (CI) around the world, and currently teaches varied technique classes (floorwork, CI, contemporary partnering) for Movement Research, Sarah Lawrence College, and The Juilliard School. In 2021, he began his role as Artistic Associate at Baryshnikov Arts Center.

Photo credits:

Headshot by Andrew Jordan. Solo dance photo by Hope Youngblood. Duet photo by David Gonsier, with Jack Blackmon as other dancer.

Week 4, 24, 25, 26/1 Tuesday, Wednesday & Thursday 11.15-14.15.

To secure your spot email: maria@danscentrumsyd.se

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

Photo credits: 

Alexa Vachon /Portrait

Workshop at far* Nyon group shot Arya Dil

Fielding -performance Maria Swecz