Skinner Releasing Technique (SRT) uses image-guided floor work and hands-on tactile studies to facilitate a deeper kinaesthetic experience of movement. Spontaneous movement evoked by imagery enables the student to explore technical principles such as multi directional alignment, suppleness, suspension, economy and autonomy.

Gaby will be teaching SRT Classes 11-15. Some previous experience of the SRT Introductory series will be useful, but not essential.

Skinner Releasing Technique (SRT) uses image-guided floor work and hands-on tactile studies to facilitate a deeper kinaesthetic experience of movement. Spontaneous movement evoked by imagery enables the student to explore technical principles such as multi directional alignment, suppleness, suspension, economy and autonomy.

Gaby will be teaching SRT Classes 11-15. Some previous experience of the SRT Introductory series will be useful, but not essential.

Skinner Releasing Technique (SRT) uses image-guided floor work and hands-on tactile studies to facilitate a deeper kinaesthetic experience of movement. Spontaneous movement evoked by imagery enables the student to explore technical principles such as multi directional alignment, suppleness, suspension, economy and autonomy.

Gaby will be teaching SRT Classes 11-15. Some previous experience of the SRT Introductory series will be useful, but not essential.

Building closed for Bank Holiday

Solo Dancing: Patterns for 3-Dimensional Bodies

Class is based on a strong belief that dancing is a highly physical and highly intelligent art - but most importantly, it is fun. Emphasis is placed on the body as sensory and tactile, giving more depth and individuality to the physical ideas as the class progresses. Movement grows from the ground, supporting organization and clarity through developmental movement patterns. These basic patterns are a means to an end - helping us find useful information with our bodies, not to remember ‘steps’ or co-ordinations, but to find connections that can sustain us as we dance.

End sequences are offered as templates for individual play. Based around the whole of the body as potential surface, they have the potential to be quite dynamic and physical.

Solo Dancing: Patterns for 3-Dimensional Bodies

Class is based on a strong belief that dancing is a highly physical and highly intelligent art - but most importantly, it is fun. Emphasis is placed on the body as sensory and tactile, giving more depth and individuality to the physical ideas as the class progresses. Movement grows from the ground, supporting organization and clarity through developmental movement patterns. These basic patterns are a means to an end - helping us find useful information with our bodies, not to remember ‘steps’ or co-ordinations, but to find connections that can sustain us as we dance.

End sequences are offered as templates for individual play. Based around the whole of the body as potential surface, they have the potential to be quite dynamic and physical.

Solo Dancing: Patterns for 3-Dimensional Bodies

Class is based on a strong belief that dancing is a highly physical and highly intelligent art - but most importantly, it is fun. Emphasis is placed on the body as sensory and tactile, giving more depth and individuality to the physical ideas as the class progresses. Movement grows from the ground, supporting organization and clarity through developmental movement patterns. These basic patterns are a means to an end - helping us find useful information with our bodies, not to remember ‘steps’ or co-ordinations, but to find connections that can sustain us as we dance.

End sequences are offered as templates for individual play. Based around the whole of the body as potential surface, they have the potential to be quite dynamic and physical.

Solo Dancing: Patterns for 3-Dimensional Bodies

Class is based on a strong belief that dancing is a highly physical and highly intelligent art - but most importantly, it is fun. Emphasis is placed on the body as sensory and tactile, giving more depth and individuality to the physical ideas as the class progresses. Movement grows from the ground, supporting organization and clarity through developmental movement patterns. These basic patterns are a means to an end - helping us find useful information with our bodies, not to remember ‘steps’ or co-ordinations, but to find connections that can sustain us as we dance.

End sequences are offered as templates for individual play. Based around the whole of the body as potential surface, they have the potential to be quite dynamic and physical.

Charlie’s classes will explore improvisational approaches to specific movement materials and focuses. We will work with sensation, the application of the senses, anatomical imagery and explicit movement pathways and patterns as a means to expand the potential and hone the detail and content of our dancing.

Elements of partner work will be employed as means of exploring multi-directional movement and awareness as well as to stimulate and cultivate an agile and articulate relationship between our engagement with internal and external focuses.

In the first part of the class we will explore ideas of body's function and structure, in particular in relation to magnetism, sound and electrical energy. This research is led by Adriana's interest in the inspiring work of Liz Koch, Thomas Myers, Emilie Conrad, Mabel Todd, Gerald Cizadlo, Richard Feyman, and Hans Jenny, amongst others. The second part of the class will focus on the tango and contact improvisation fusion. CI

CI indicates that the class focuses on Contact Improvisation. Please note, however, that teachers without the CI initials may lead a class incorporating partner-work or contact at some point.

Charlie’s classes will explore improvisational approaches to specific movement materials and focuses. We will work with sensation, the application of the senses, anatomical imagery and explicit movement pathways and patterns as a means to expand the potential and hone the detail and content of our dancing.

Elements of partner work will be employed as means of exploring multi-directional movement and awareness as well as to stimulate and cultivate an agile and articulate relationship between our engagement with internal and external focuses.

Charlie’s classes will explore improvisational approaches to specific movement materials and focuses. We will work with sensation, the application of the senses, anatomical imagery and explicit movement pathways and patterns as a means to expand the potential and hone the detail and content of our dancing.

Elements of partner work will be employed as means of exploring multi-directional movement and awareness as well as to stimulate and cultivate an agile and articulate relationship between our engagement with internal and external focuses.

Charlie’s classes will explore improvisational approaches to specific movement materials and focuses. We will work with sensation, the application of the senses, anatomical imagery and explicit movement pathways and patterns as a means to expand the potential and hone the detail and content of our dancing.

Elements of partner work will be employed as means of exploring multi-directional movement and awareness as well as to stimulate and cultivate an agile and articulate relationship between our engagement with internal and external focuses.

Charlie’s classes will explore improvisational approaches to specific movement materials and focuses. We will work with sensation, the application of the senses, anatomical imagery and explicit movement pathways and patterns as a means to expand the potential and hone the detail and content of our dancing.

Elements of partner work will be employed as means of exploring multi-directional movement and awareness as well as to stimulate and cultivate an agile and articulate relationship between our engagement with internal and external focuses.

Carolyn will focus on using perception to develop spatial and environmental awareness. Observing our relationship to the external world and our own internal landscape, we will explore the way that information gathered through the senses informs movement and helps us to detect, interpret and navigate the space around us.

Carolyn will focus on using perception to develop spatial and environmental awareness. Observing our relationship to the external world and our own internal landscape, we will explore the way that information gathered through the senses informs movement and helps us to detect, interpret and navigate the space around us.

Carolyn will focus on using perception to develop spatial and environmental awareness. Observing our relationship to the external world and our own internal landscape, we will explore the way that information gathered through the senses informs movement and helps us to detect, interpret and navigate the space around us.

Carolyn will focus on using perception to develop spatial and environmental awareness. Observing our relationship to the external world and our own internal landscape, we will explore the way that information gathered through the senses informs movement and helps us to detect, interpret and navigate the space around us.

The class will be exploring fundamental body patterns focused around energising the core of the body, and connecting to the ground with our weight. We will be using set exercises and sequences to develop our bodily organisation and connectivity. As well as technical challenges, a sense of dynamic versatility, a playful questioning and finding both clarity and spontaneity are encouraged.

Building closed for Bank Holiday

Theo's class begins with simple exercises that develop awareness and connection within the body, steadily building up through various movement patterns for coordination and articulacy, using some improvisational ideas and finishing up with expansive and challenging phrase work.

Theo's class begins with simple exercises that develop awareness and connection within the body, steadily building up through various movement patterns for coordination and articulacy, using some improvisational ideas and finishing up with expansive and challenging phrase work.

Theo's class begins with simple exercises that develop awareness and connection within the body, steadily building up through various movement patterns for coordination and articulacy, using some improvisational ideas and finishing up with expansive and challenging phrase work.

Theo's class begins with simple exercises that develop awareness and connection within the body, steadily building up through various movement patterns for coordination and articulacy, using some improvisational ideas and finishing up with expansive and challenging phrase work.

Feedback Forums are studio-based events where choreographers can show work at any stage of development, in order to receive feedback to support them in the development of their work. The sessions are led by an experienced facilitator who follows Liz Lerman’s Critical Response Process.

The artists showing work this evening are:

Riccardo Buscarini and Runa Kaiser - Friends

Freddie Opoku-Addaie - Show of Hands

Friends is supported using public funding by the National Lottery through Arts Council England, and is a Place Commission with additional support from the Italian Ministry of Culture, the Italian Cultural Institute and with costume sponsorship from LOWIE. With thanks to ROH and The Place for support with studio space. 

Show of Hands is being created with support and funding from: Dance Umbrella, The Place Choreodrome 2013, The Point, South East Dance, Greenwich Dance Agency/Trinity Laban Partnership, The Hat Factory, the Arts at Dartington and Bernie Grant Arts Centre.

There is limited capacity for Feedback Forums. Audiences must RSVP a place with Iris on iris@independentdance.co.uk.