Andrea Spaziani is a 2016-2019 Artist in Residence at the Dancemakers in Toronto, CA. She generates choreographic scores by moving and talking at the same time in a stream of improvisation. Movement and words are parsed together, transforming the familiar and challenging perception.
Andrea collaborates with artists across disciplines, recently at the HEIMA artist residency in Seyðisfjörður, Iceland. In 2016 she curated SPACEBODIES II for the Transart Triennale in Berlin, GE, and in 2017 co-founded the artist lecture series Archaeology of the Frivolous in Marfa, Texas.
She recently performed Manifest DENSITY at Movement Research at the Judson Church in New York City, and is collaborating with visual artist Morgan O’Hara on COAL. At Dancemakers she is making Silver Venus with Nicole Rose Bond, Irvin Chow, Alicia Grant, Julia Male, Claire Turner Reid, and Matt Smith for its premiere in April 2018. She is also working in a new solo The West that links Western film tropes with political blind spots. In 2018 she will engage in a three-month choreographic mentorship with Maria Jerez in Madrid, Spain.
She holds an MFA from Plymouth University. www.andreaspaziani.com
Butt Stuff Combines Pilates principles, anatomy, and dance in a fun and dynamic method that builds power, poise, fluidity, and function in the lumbo-pelvic region. It prepares the body for endurance and mindful dancing that supports joint health and longevity. Areas of focus include gluteal release, hip extension, hip abduction, external rotation, thrusting, jiggling, balance, firing patterns and force distribution.
Rhythm Nation Is an improvisation class that investigates time-scores in dance. Using short improvisation directives, we will observe pro-rhythm and anti-rhythm, rhythms of expectation, and attunement to incompatible rhythms. We will then discuss and test the following categories of rhythm: regular and repeating; irregular and repeating; regular and non-repeating; irregular and non-repeating. We will work individually, and then carry these principles into group composition.
Elon “WanderingSpirit” Höglund an autodidact dancer, choreographer, artist and bboy. Elon first discovered his love for dance through Breaking and Hip Hop at the age of 7. A big fan of martial arts, with over 10 years of experience, Elon later went on to explore other street dance styles, theatre and contemporary dance.
Since 2001, Elon has performed and choreographed works for Theatre, Dance and Contemporary Circus productions. In 2005, he joined Cirque Du Soleil for the creation of The Beatles LOVE Show. Since then Elon has performed all over North America, Europe and Asia with companies such as, Cirque du Soleil, Cirque Eloize, Bboyizm Dance Company, Rubberbandance Group. He has worked with choreographers such as Dave St-Pierre, Daniel Ezralow, Mourad Merzouki, Victor Quijada and Koen Agustinien.
In 2012 he co-founded Tentacle Tribe with choreographer Emmanuelle Lê Phan creating magnetic pieces such as Nobody Likes a Pixelated Squid, Fractals of you and THREESIXNINE, which have been presented in over 40 international cities. He has also been featured in dance films: Elon & Emmanuelle Vanishing Points and Crack the Cypher.
Elon is also a teacher, and has taught countless workshops all over the world, and been a guest teacher at Arizona state university, York University, DOC (university for dance and circus in stockholm). Elon is a member of Montreal’s Fresh Format B-boy crew and Stockholm’s Concrete Kingz.
TENTACLE TRIBE TECHNIQUE The goal of this workshop is to give detailed introduction to the Tentacle Tribe movement approach, introducing the dance artists to various tools that can applied to their own practice. From a contemporary viewpoint, we will draw concepts from various street dance styles, such as Popping and Breaking, to expand our vocabulary with an increased level of body awareness & movement consciousness. Through geometrical shapes, we will explore the capacity for the human body to inhabit multiple planes of space. We will practice moving and creating with or with out a partner.
Toyin Sogunro is an internationally established dancer dedicated to preserving and cultivating the urban dance culture and community. Born and raised in the Washington D.C. area, she’s had the privilege to study and trained from a very young age, in numerous styles of dance. Later she began to focus more on House Dance and other urban dance forms under the guidance and mentorship of her teacher and company.
In 2007 she became one of the artistic directors of ‘Urban Artistry Inc’, which is an international urban arts culture and education project and is a part of ‘Assassins D.C’ – an internationally renowned dance collective in the dance battle community. Toyin build her reputation as one of the best House Dancers of this generation (in her own community and also internationally) and is perhaps most well-known for earning the distinction, of winning and judging some of the top dance competitions in the world. TENTACLE TRIBE TECHNIQUE: The goal of this workshop is to give detailed introduction to the Tentacle Tribe movement approach, introducing the dance artists to various tools that can applied to their own practice. From a contemporary viewpoint, we will draw concepts from various street dance styles, such as Popping and Breaking, to expand our vocabulary with an increased level of body awareness & movement consciousness. Through geometrical shapes, we will explore the capacity for the human body to inhabit multiple planes of space. We will practice moving and creating with or with out a partner.
HOUSE This class will build on the foundations of jacking, footwork and floorwork, and explore the applications, theories and dynamics of style, character, movement systems and polyrhythms that make house dance the soulful expression it is. Toyin will be bringing to this workshop her own interpretation of what House Dance and House Music culture means to her. Students will acquire an in-depth understanding of how to diversify movement, hone in on musicality, and self-discovery.
This international creator started his training at the Institut del Teatre in Barcelona and P.A.R.T.S. in Brussels. The Belgian capital was the key point in the strengthening of his artistic career. He took his first steps as a professional dancer at Rosas dance company, directed by Anne Teresa De Keersmaeker. He also performed under the direction of renowned directors such as Robert Wilson, Tom Jansen and Josse de Pauw.
Currently, Roberto is the director of the dance company R.O.P.A. – Roberto Olivan Performing Arts. The company was created in Brussels in 2001. He also is the artistic director and founder of the Festival Deltebre Dansa, an international event that has taken place annually since 2004.
Olivan creates commissioned works for dance companies, universities, dance institutions and schools all over the world. His career has been very versatile. In recent years, he has been teaching at workshops around the world and has worked as a choreographer and performer in the film industry.
He has been the artistic director of important cultural events and on the jury at dance competitions. Olivan has also participated in dance sectoral meetings held by the Ministry of Culture of the Government of Catalonia and he is a member of the Advisory Council for Culture in Terres de l’Ebre region, also overseen by the Ministry of Culture of the Government of Catalonia.
His career has been recognized all over the world. He has received the following awards: Premi Nacional de Cultura 2014 (Catalonia, Spain), Ciutat de Barcelona 2013 (Catalonia, Spain), Sebastià Gasch FAD Awards Of Paratheatrical Arts 2012 (Catalonia, Spain), Prix SACD de la Création Chorégraphique 2001 from the Société des Auteurs et Compositeurs Dramatiques (Belgium) as well as several other prize nominations. https://robertoolivan.com/roberto-olivan/
INSTINCT OF SOURCE OF MOVEMENT Roberto Olivan forges dance from physicality, body power and technique, taking the body to extreme situations. His goal is to encourage loosing fear of moving in a specific context. The workshop is especially focused on generating dance material from our animal instincts and our own creativity. Moreover, it strengthens group confidence by building safe conclusions from difficult situations.<BR><BR>Moving efficiently becomes an important issue, but there are other important purposes too: working with gravity, the consciousness of inner sensations, such as breathing, and the visualization of energy released by movement. This consciousness of the body unites our minds and physical structures, relating it to spatial energies, to others and to oneself. In this sense, the body becomes a tool of projection for the physical and emotional flow. The force of mental images, such as lines and structures around and in the body, are used to define and help us better understand the body’s functionality.<BR><BR>After learning and using many kinds of dance techniques, Olivan discovered their limitations for artistic expression. Whilst accepting the necessity for these conventional techniques, he knows that using them exclusively curtails freedom in dance and in the performers. This is why Olivan has embarked on a constant quest for the freedom that creates singular forms, refining his technique in order to develop a unique language that can be recognized as his own style, a language focused on speed and precision.
Peter Jasko was born in 1982 in Liptovsky Mikulas, Slovakia. He took his first dance classes with the folk dance company Dumbier Slovakia, where he remained for eleven years. From 1996 to 2001, Peter studied at the J.L. Bella Conservatory of Dance in Banska Bystrica, Slovakia. He continued his training at the Academy of Music and Dramatic Arts in Bratislava before entering the P.A.R.T.S. School for Contemporary Dance in Brussels (2002), directed by Anna Teresa de Keersmaeker. His professional experience includes dancing with international artists and companies such as Opera Banska Bystrica, ASpO, Company Roberto Olivan, OXOXOX– Juri Konjar, G.Barberio Corsetti & Fatou Traore, and Sidi Larbi Cherkaoui. Since 2001, he has also collaborated with David Zambrano as both a performer and as assistant in his classes and workshops. Peter Jasko is the co-founder of Les SlovaKs Dance Collective, whose productions include Opening Night (2007), Journey Home (2009), The Koncert (2010) and Fragments (2012). In 2014, he directed the Svalbard Company’s All Genius All Idiot. The following year, Peter Jasko created Untied Tales (The Vanished Power of the Usual Reign) in collaboration with Clara Furey, which premiered at La Chapelle in Montreal. The same year Peter Jasko created performance for 300 seniors as a part of cultural city of Europe, Plzen 2015. For the past twelve years, he has taught in some forty-six countries around the world
DEEP MOVEMENT CONCISENESS The workshop is more of a creativity class than a dance class. Because of its nature, it is an open level class for professional dancers and movers alike. Rather than teaching form, the class focuses on expanding one’s artistic self-awareness. The class begins with exploring qualities such as rebound, flow, fractions, and shaking to reach a state beyond self-judgment and self-limitations. Here we will work within the gap between power and fragility. After waking up the body and mind, we will focus on isolations and polyrhythmic exercises to root back our focus. We move with the intention of never going back, developing one’s fearlessness and ability to trust each instant’s potential to lead somewhere. We give ourselves the necessary time to tune into our body’s intuitive intelligence to solve movement paradoxes that emerge during the research process. We will facilitate each other’s exploration by working in pairs and in groups, as well as individually.
These simple open structures are simultaneously technical tools and tools for composition. We encourage the dancer to playfully explore their inner workings and personal language that result both from everyday lived experience and learned movement patterns. By opening up creative curiosity, we enhance our movement fluency. In turn, we will develop strategies to explore the space between continuity and disruption of movement ideas by naming patterns for those interested in building choreography.
Máté Mészáros after finishing the Hungarian Dance Academy, he spent a few years at the Szeged Contemporary Balett working with Tamás Juronics. Leaving the country he later worked with the most reputed choreographers in Europe: Ohad Naharin, Wim Vandekeybus, Sharon Eyal, Amanda Miller, Roberto Galvan, Myriam Naisy, Robin Orlin. He has been the member of Ultima Vez for 6 years and assistant of Wim Vandekeybus. In 2010 He started to creat his own works. Mate has been choreographing for several hungarian companies( PR-Evolution, Eva Duda dance company,Central Europian Dance Theater) and for Bremen Dance Theater.(Germany).Currently Máté Mészáros is touring his works HINOKI 2.0 and NEXTtoME and gives workshops internationally as well as being part of new creations as a performer in several international production. In 2018 January Mate is presenting his new work United Space of Ambivalence , in collaboration with Trafo(Budapest) and SIN Arts center.
OneManCrowd Our body is the same in every movement and in any style, but the possibility to change is essential. We focus on these principals through different exercises and approaches. We explore floorwork and partnering based on the material of creations from my performances. Dynamic and powerful, this material deals with physicality that defines the essential movements.
Laura Aris is a performer, choreographer and recognised international pedagogue. Her performing experience includes a decade as a formal member of the renowned Belgium dance Company Wim Vandekeybus / Ultima Vez and Lanònima Imperial in Barcelona. Over the past seven years she has been working as a freelance artist, developing her own creative practices. She maintains a steadfast focus on collaborations with other artists.
She is a regular guest teacher at festivals and art universities such as: Impulstanz in Vienna; PARTS; Deltebre Dansa; SEAD Salzburg Experimental Academy of Dance; ROSAS/Anne Teresa de Keersmaeker; Institut del Teatre in Barcelona; HKAPA Hong Kong Academy for Performing Arts; Charleroi Danses in Belgium; Kalamata Dance Festival in Greece, Atelier Transformation in Montreal; Delfos in Mexico; Chinese Culture University of Taiwan; CID in Rovereto, among others.
Power Sources As a teacher, I want to share tips, thoughts, and accumulated experience in order to inspire and encourage others to move forward along their own paths. During my workshop, I will give technical exercises and lead improvisations to offer participants tools that improve their awareness and expedite their access to intuition or instinct in playful bodies. However, attention to specifics of technique and subtle, detailed work are important in my approach, as well. We are all vulnerable: We all have strength and fragility, and living with both these qualities is imperative to being genuine and living in a balanced way. Starting from this premise and from our physicality as well as contact work, we will look for creative impulses that, when released, offer us new possibilities. We will observe how, sometimes, extreme qualities maintain a balanced tension, that the tension attracts attention, and that many times, silence speaks. Slowly, with some theatrical input, we will craft specific energies and clear images to give meaning to movement and embody the tasks and ideas proposed.
Laida Aldaz Arrieta started studying dance at a young age, and graduated from the Official Dance school in Navarra in 2000. That same year she received a scholarship from the European Community to study at PARTS (Brussels).
She has worked for several artists & companies such as: David Zambrano, Ali & Hedi Thabet, Julyen Hamilton, Mat Voorter, Irma Firma, Enclave Dance Company, Cacao Bleu, Zoo dance company and others. She was invited by Mark Tompkins and Meg Stuart to be part of LAB ABC.
Although her education has been as a dancer, her professional career has brought her into contact with artists from various disciplines, inspiring her to explore her interests in other medias outside of dance, such as visual arts and the use of plastics, as well as film. In recent years she has developed her own work, as well as collaborated in works with other artists, which have been shown internationally (Japan, USA, Belgium, Spain, Portugal, Germany, U.K.) receiving several awards.
She is the founder and artistic director of Zinetika Videodance Festival. She has been an invited guest teacher at Summer Intensive Portugal, Danzad Danzad Malditos Festival, Sign6, Kalamata Dance Festival, RITS, Festival Escena, Nimiku, Pulso, Oficial School of Navarra, Thor Company, Compañía Jose Vidal, Compañía Balmaceda, Mikelats, Grand Studio, DCJ and others.
Floorwork The goal of the class is to learn how to use the floor, transforming the entire space through our dancing. The dancers will learn to connect to the floor, interacting with gravity, shifting the weight, sliding, rolling, and dissolving into it. They will improve their awareness through action, learning to make instantaneous decisions.
Partnering With a listening body we will explore finding each other’s balance points, power, momentum and moments of weightlessness. We will play with our ability to connect to another body in a real, human way, while finding new risks and possibilities for flight through basic mechanics.
Handy “MonstaPop” Yacinthe is recognized as one of the leading forces in building the current-day Montréal popping community, inspiring the national community of Canada and influencing the culture internationally. An innovative dance creator and technical experimenter in his own right. Montréal-born of Haitian parents, he has travelled throughout Canada, Europe and Asia performing on different stages, teaching, competing in dance competitions, judging dance contests and exchanging with other specialists. His expertise and creative movement approaches have led him to coach contemporary companies like Les Ballets Jazz de Montréal, to co-choreograph for the television show America’s Best Dance Crew, to work with Franco Dragone, to direct several short films and travel the world as an educator of street dance. He has also conceived and organizes the innovative Jack of All Trades multidisciplinary urban art festival, which now also holds events in Singapore, Taiwan, India and Vancouver. In recent years, he has collaborated as creator and performer with the Cirque du Soleil, Rubberband Dance, Just for Laughs Festival, Moment Factory and more. His choreography was presented on different stages such as La Cinquième Salle de Place Des Arts in Montreal, Phoenix Stadium in Arizona (USA), Stade de Bercy in Paris (France), Stadsschouwburg Theater in Amsterdam (Holland) and more. At the core of his vision is the idea of a metropolis in constant movement, constantly moving in a direction of creativity.
ORGANIC MECHANICS The workshops will be based on the exploration of complex techniques related to popping and its derived styles: waving, robotics, animation, etc. Handy "MonstaPop" Yacinthe will explore the mechanical aspect of movement, the kinesthetic mind set and aptitudes needed to move in such ways. The courses will visit ideas of movement such as the dissociation of the body/limb, micro muscular and joint control , micropulses and geometric ideas in space. He draws on the principles of popping (the contraction and relaxation of muscles in rhythm, isolating each part of the body to be able to activate it independently) to allow to develop a greater control but most importantly from the Boogaloo culture umbrella. Stemming from a culture which migrated from the south to California, more precisely the Bay Area.