Rahel’s class draws from her own movement research, her experience in Body-Mind Centering and Aikido. She investigates the different movement qualities of the body’s physiological systems focusing on the volume/ support of the organs and the connection of the centre to extremities and space. Rahel works with developmental patterns leading to phrases on the floor as well as standing, using a combination of set material and improvisation.

Rahel’s class draws from her own movement research, her experience in Body-Mind Centering and Aikido. She investigates the different movement qualities of the body’s physiological systems focusing on the volume/ support of the organs and the connection of the centre to extremities and space. Rahel works with developmental patterns leading to phrases on the floor as well as standing, using a combination of set material and improvisation.

Rahel’s class draws from her own movement research, her experience in Body-Mind Centering and Aikido. She investigates the different movement qualities of the body’s physiological systems focusing on the volume/ support of the organs and the connection of the centre to extremities and space. Rahel works with developmental patterns leading to phrases on the floor as well as standing, using a combination of set material and improvisation.

Rahel’s class draws from her own movement research, her experience in Body-Mind Centering and Aikido. She investigates the different movement qualities of the body’s physiological systems focusing on the volume/ support of the organs and the connection of the centre to extremities and space. Rahel works with developmental patterns leading to phrases on the floor as well as standing, using a combination of set material and improvisation.

Mapping sensations

We begin with simple physical explorations as a practice of attention, a means of arriving to the studio, to awaken our senses and be fully present in our body. These explorations share an approach to influences like the ‘understanding practice’ of Rosemary Butcher, Material for the Spine (Steve Paxton), Tuning Scores (Lisa Nelson), Body-Mind Centering (Bonnie B. Cohen), Fasciatherapy (Danis Bois), Zhan Zhuang Chi Kung.

From there, and through another series of guided explorations, we intensify and refine our attention to what I would call a minority — sensations, images, small perceptions, subterraneous movements; which we map continuously through the movement of the body in the space. The mapping is the work: actively sensing, listening, registering, tracking, tracing and returning. The sensing is the dance.

This class develops partnering work into a playful dialogue drawing from Tango Argentino vocabulary and Contact improvisation principles.

The class aim to engage the spine and senses; negotiate resistance, support and weight shifts; harmonize solos with duets and group work. 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.

Mapping sensations

We begin with simple physical explorations as a practice of attention, a means of arriving to the studio, to awaken our senses and be fully present in our body. These explorations share an approach to influences like the ‘understanding practice’ of Rosemary Butcher, Material for the Spine (Steve Paxton), Tuning Scores (Lisa Nelson), Body-Mind Centering (Bonnie B. Cohen), Fasciatherapy (Danis Bois), Zhan Zhuang Chi Kung.

From there, and through another series of guided explorations, we intensify and refine our attention to what I would call a minority — sensations, images, small perceptions, subterraneous movements; which we map continuously through the movement of the body in the space. The mapping is the work: actively sensing, listening, registering, tracking, tracing and returning. The sensing is the dance.

Mapping sensations

We begin with simple physical explorations as a practice of attention, a means of arriving to the studio, to awaken our senses and be fully present in our body. These explorations share an approach to influences like the ‘understanding practice’ of Rosemary Butcher, Material for the Spine (Steve Paxton), Tuning Scores (Lisa Nelson), Body-Mind Centering (Bonnie B. Cohen), Fasciatherapy (Danis Bois), Zhan Zhuang Chi Kung.

From there, and through another series of guided explorations, we intensify and refine our attention to what I would call a minority — sensations, images, small perceptions, subterraneous movements; which we map continuously through the movement of the body in the space. The mapping is the work: actively sensing, listening, registering, tracking, tracing and returning. The sensing is the dance.

Mapping sensations

We begin with simple physical explorations as a practice of attention, a means of arriving to the studio, to awaken our senses and be fully present in our body. These explorations share an approach to influences like the ‘understanding practice’ of Rosemary Butcher, Material for the Spine (Steve Paxton), Tuning Scores (Lisa Nelson), Body-Mind Centering (Bonnie B. Cohen), Fasciatherapy (Danis Bois), Zhan Zhuang Chi Kung.

From there, and through another series of guided explorations, we intensify and refine our attention to what I would call a minority — sensations, images, small perceptions, subterraneous movements; which we map continuously through the movement of the body in the space. The mapping is the work: actively sensing, listening, registering, tracking, tracing and returning. The sensing is the dance.

Mapping sensations

We begin with simple physical explorations as a practice of attention, a means of arriving to the studio, to awaken our senses and be fully present in our body. These explorations share an approach to influences like the ‘understanding practice’ of Rosemary Butcher, Material for the Spine (Steve Paxton), Tuning Scores (Lisa Nelson), Body-Mind Centering (Bonnie B. Cohen), Fasciatherapy (Danis Bois), Zhan Zhuang Chi Kung.

From there, and through another series of guided explorations, we intensify and refine our attention to what I would call a minority — sensations, images, small perceptions, subterraneous movements; which we map continuously through the movement of the body in the space. The mapping is the work: actively sensing, listening, registering, tracking, tracing and returning. The sensing is the dance.

Rosalind Crisp's research practice deals with a group of principles which guide the attention of a dancer to her dancing, through a palette of  'tools'  to notice and source movement from any part of the body, at any speed, level, direction, with any effort or duration...at any time. The work is about dancing, about the body, and about the dancer as creative agent. www.omeodance.com

The Professional Morning classes will deal with the 'preparation' of the body through attention to breath, sensations of weight, awareness of beginnings, the emergent process of movement, and an introduction to some concrete tools for producing movement.

Rosalind Crisp's research practice deals with a group of principles which guide the attention of a dancer to her dancing, through a palette of  'tools'  to notice and source movement from any part of the body, at any speed, level, direction, with any effort or duration...at any time. The work is about dancing, about the body, and about the dancer as creative agent. www.omeodance.com

Class will work with structures of call and response, interrupting movement habits by bringing attention to body part, speed, level, tonality... and with less-analytical, more playful ways of stimulating movement choices through frameworks for watching and responding to another dancer.

Rosalind Crisp's research practice deals with a group of principles which guide the attention of a dancer to her dancing, through a palette of  'tools'  to notice and source movement from any part of the body, at any speed, level, direction, with any effort or duration...at any time. The work is about dancing, about the body, and about the dancer as creative agent. www.omeodance.com

The Professional Morning classes will deal with the 'preparation' of the body through attention to breath, sensations of weight, awareness of beginnings, the emergent process of movement, and an introduction to some concrete tools for producing movement.

Rosalind Crisp's research practice deals with a group of principles which guide the attention of a dancer to her dancing, through a palette of  'tools'  to notice and source movement from any part of the body, at any speed, level, direction, with any effort or duration...at any time. The work is about dancing, about the body, and about the dancer as creative agent. www.omeodance.com

The Professional Morning classes will deal with the 'preparation' of the body through attention to breath, sensations of weight, awareness of beginnings, the emergent process of movement, and an introduction to some concrete tools for producing movement.

Rosalind Crisp's research practice deals with a group of principles which guide the attention of a dancer to her dancing, through a palette of  'tools'  to notice and source movement from any part of the body, at any speed, level, direction, with any effort or duration...at any time. The work is about dancing, about the body, and about the dancer as creative agent. www.omeodance.com

The Professional Morning classes will deal with the 'preparation' of the body through attention to breath, sensations of weight, awareness of beginnings, the emergent process of movement, and an introduction to some concrete tools for producing movement.

Lyndsey’s class focuses on an energised and dynamic use of the body. The Friday sessions at ID will allow participants, following on from a led warm up, the opportunity to work on one lengthy movement sequence that will encompass complex co-ordination together with an emphasis on complete embodiment of dynamic range. Through practice, coaching and dialogue we will cultivate and foster a strong understanding and awareness of one's own moving, acquiring clear articulation and presence in motion.

The Delve Deeper - Choreographic Improvisation workshop will work more deeply with one or more of the tools for noticing and sourcing movement from any part of the body, tools such as: follow only one surface of the body at a time, constantly changing the tone or effort; or... bring two bones towards or away from each other, constantly changing the speed and duration. Each focus is activated by touch from a partner and then further explored in solo. These tools are initially about giving the dancer ways to make movement. With practice, they inform a dancer's decision-making process, leaving their mark on her perception, becoming ways to notice the movement being formed. They are concrete tools to pay attention to the act of dancing, and give a vast palette of ways to be interested. By focussing their attention on how the movements are forming, the dancer is constantly confronted with the present moment - with creating the movement rather than representing it.
As a practice, this work can deflect the dancer from their habitual movement pathways, enlarge their range of movement choices, and place them more solidly in the present.

The Delve Deeper - Choreographic Improvisation workshop will work more deeply with one or more of the tools for noticing and sourcing movement from any part of the body, tools such as: follow only one surface of the body at a time, constantly changing the tone or effort; or... bring two bones towards or away from each other, constantly changing the speed and duration. Each focus is activated by touch from a partner and then further explored in solo. These tools are initially about giving the dancer ways to make movement. With practice, they inform a dancer's decision-making process, leaving their mark on her perception, becoming ways to notice the movement being formed. They are concrete tools to pay attention to the act of dancing, and give a vast palette of ways to be interested. By focussing their attention on how the movements are forming, the dancer is constantly confronted with the present moment - with creating the movement rather than representing it.
As a practice, this work can deflect the dancer from their habitual movement pathways, enlarge their range of movement choices, and place them more solidly in the present.

The Delve Deeper - Choreographic Improvisation workshop will work more deeply with one or more of the tools for noticing and sourcing movement from any part of the body, tools such as: follow only one surface of the body at a time, constantly changing the tone or effort; or... bring two bones towards or away from each other, constantly changing the speed and duration. Each focus is activated by touch from a partner and then further explored in solo. These tools are initially about giving the dancer ways to make movement. With practice, they inform a dancer's decision-making process, leaving their mark on her perception, becoming ways to notice the movement being formed. They are concrete tools to pay attention to the act of dancing, and give a vast palette of ways to be interested. By focussing their attention on how the movements are forming, the dancer is constantly confronted with the present moment - with creating the movement rather than representing it.
As a practice, this work can deflect the dancer from their habitual movement pathways, enlarge their range of movement choices, and place them more solidly in the present.

Matthias’ class follows a progression from quiet visualisation, through release and limon influenced warm-up excercises, to longer movement phrases, often involving improvisation.

He encourages maintaining a sense of one’s individual practice as an artist while participating in a fairly structured group class.

Butoh: the poetics of transformation

Marie-Gabrielle’s classes encourage an expressionist, imaginative and poetic connection to movement, whilst encouraging compositional awareness and an eye for detail and form within improvisation. She explores the power of stillness, poetic imagery and inner focus. Her work with Butoh draws from the lineages of both Tatsumi Hijikata and Kazuo Ohno. Open to all levels and ages.

Matthias’ class follows a progression from quiet visualisation, through release and limon influenced warm-up excercises, to longer movement phrases, often involving improvisation.

He encourages maintaining a sense of one’s individual practice as an artist while participating in a fairly structured group class.

Matthias’ class follows a progression from quiet visualisation, through release and limon influenced warm-up excercises, to longer movement phrases, often involving improvisation.

He encourages maintaining a sense of one’s individual practice as an artist while participating in a fairly structured group class.

Matthias’ class follows a progression from quiet visualisation, through release and limon influenced warm-up excercises, to longer movement phrases, often involving improvisation.

He encourages maintaining a sense of one’s individual practice as an artist while participating in a fairly structured group class.