3 Week Professional Training Program

Modern III & IV  (Matteson)

This class investigates expansively off-balanced yet precise multi-focused movement. It begins with a slowly accelerating looping pattern that brings our entire body surface in contact with the floor. We then ease into more complex sequential exercises with daily directional and order reconfigurations. The movement vocabulary is taught by breaking down in detail the body part initiations that propel the action. The timing logic/illogic encourages joints that freely bend and alert muscles that quietly leap and loft. Attention is paid to technical issues that help us to work efficiently and safely within an athletic ensemble-oriented practice.

Modern IV & V (Nugent)

Alone and in partnerships this class concentrates on enhancing our movement facility. Special attention is given to the sternum and pelvic floor in relation to our hands and feet and how awareness here can guide us through falling and suspending. Focusing on the inherent rhythm in the body we develop a personal musical dialogue, noticing the time when a movement has come to it’s completion, when another one has begun, and how long we allow each to last. We explore how technically demanding phrase material offers ways of moving lusciously with both detail and a sense of abandon.

Modern III & IV  (Thomas)

These classes offer a strong technical base for students to use and explore as their movement knowledge expands. Emphasis on sensation, initiation, sequencing and weight are introduced in a floor or standing warm-up that expands to a standing exploration of the transition between form and space. Focus is placed on developing a strong, grounded technique with correct placement that moves with ease in and out of the floor. Students deepen their knowledge and utilization of moving with a skeletal and muscular approach. Students also explore their own movement voice.

Modern V  (Masson)

This advanced class focuses on understanding core movement, contextualizing the uses/abuses of technique, and recognizing the emotional subtext that informs our desire to move. Using an untraditional approach to a traditional standard, the attempt is to identify the point where the subjectivity of motion fluidly meets the anatomical/objective support of technique, potentially breaking through the historical perceptions that surround our dancing tradition. The goal is to reveal the symbiosis that exists between innate and applied knowledge. Influences include movement analyses such as Alexander and Release techniques, core integrations such as Pilates, and humanistic investigations such as Authentic Movement and Jungian Processes.

Mothertongue: Contemporary African Technique   (Chipaumire)

This class involves dancing over, under, between, inside and outside the tradition. We will use Robert Farris Thompson's aesthetic of the cool as a point of departure – to confront and challenge the learned and codified vocabulary of western modern dance. Students learn how to embody an "Africanist body" through an exploration of the circular nature of African movement and African time (rhythm). The emphasis is on southern African sensibilities, which offer contemporary dancers another way to see and understand dance technique.

African Cocktail: Contemporary African Technique (Maqoma)

The class is based on a combination of African Rhythms and release technique. We start with a warm up that prepares the body to cope with the physical demands of the work. We investigate precision, speed and a deeper understanding of inner rhythm. We work with movement phrases that we continue to manipulate and for which we discover new entry points. Space is important, as much as the body extends itself to its most extreme points, we also use the space in a similar way. The class focuses the mind, the body and the spirit and extends their existence.

Ballet IV (List)

The focus in this class is on correct alignment, ease of movement and dancing fully with musicality. Rhythm, momentum and spatial clarity are emphasized. Explanations of exercises and theory help students to use the ballet vocabulary in a simple, practical way, practicing skills that may be applied to other dance techniques. Exercises at the barre prepare for more complicated rhythms and combinations in the center. Areas of unnecessary tension are identified so that dancers may let go of excess effort and increase technical skills as well as expressivity.

Ballet V (List)

This advanced class is designed for dancers who have a thorough understanding of ballet technique. We move fairly quickly through barre exercises (focusing on placement, ease of movement and rhythm) in order to spend more time honing skills in the center. Musicality, momentum and use of the upper body are emphasized and refined. Advanced work such as jumps with beats and consecutive turns are explored and practiced. By developing core strength and releasing excess tension, we are able to make technically challenging work appear more fluid and effortless.

Jazz IV  (Young)

This class celebrates jazz dance as a dynamic, expressive, complex and continuously evolving form. Because jazz dance is inspired by vernacular dance and music, the class explores movement that has its roots in African-American dances such as the Cakewalk, the Charleston, the Lindy Hop and Hip Hop as well as the Mambo and salsa of Latin America. These social dances provide the source for movement that is passionate and physically challenging. We will approach the complexity of jazz dance from a somatically sophisticated base, integrating elements from current and classical movement techniques with a deep understanding of the body. The goal of this training is to move with clarity and ease, to be musical, expressive and to embrace risk. The warm-up is organic and "body-friendly", yet physically rigorous. The movement explores a wide range of jazz styles with a focus on elements such as isolation, swing, pulse and rhythmic variations.

Contact Improvisation (Aiken)

In this class students have the opportunity to explore the dynamics of partnering through the practice of contact improvisation. How do you lead or follow? How do you sense and adapt to what is happening in the moment, while retaining a playful engagement with your partner? How do you expand your comfort zone safely? We investigate elements that underlie the language of contact including touch, balance, support, release, flight, falling, initiation, imagination and disorientation. Emphasis will be placed upon developing physical skills, emotional clarity, safety, joy and depth of experience. All are welcome.

Odissi (Chatterjea)

This is a class based on deconstructions of the Odissi dance technique (an Indian classical dance form from Orissa), yoga and Chhau (a martial art form from East India). Working with a series of movement styles, phrases and body attitudes from these various movement genres, the class will move back and forth between movement that is solidly rooted in traditional practice and contemporary movement that Chatterjea has created based on the principles within these forms. The class will begin with a brief talk and showing of images about the history of Odissi.

Yoga (morning)(Holt)

This class progresses from warm-up asanas to more vigorous vinyasa sequences, allowing the body to gradually open with mindful attention to the breath and ease of the spine. By balancing effort with relaxation, this practice helps to establish a grounded center from which to begin each day of dancing. Pranayama (breathing exercises) and meditation further encourage an awakening of the senses, beneficial for physical and mental receptivity throughout the day.

Yoga (afternoon)(Holt) 

This gentle, restorative class focuses on replenishing the body and mind after a full day of effort. Supported postures are practiced with minimal muscular effort, allowing deep release and relaxation. Breath awareness and meditation are used to encourage a wakeful state of rest, providing the body an opportunity to renew and heal. This nourishing, restful class will leave you feeling rejuvenated and balanced.

Modern Repertory(Masson & Fittin)

Known for his collaborations with contemporary musicians, choreographer Gabriel Masson will create a new piece with composer Glen Fittin during the three weeks of the festival. Experience the give and take of a collaboration as these two gifted artists come together for the first time. The work will be performed in the Festival Finale. All participants must be enrolled in Masson’s Level V technique class.

Repertory Project   (Chipaumire)

This work will focus on public/propaganda art and how a group can be choreographed towards a specific social agenda. Chipaumire will remount le son du silence (the sound of silence). The piece attempts to describe the smallest sound/movement or the quiet before a storm/eruption that is audible only to animals, like the movement before massive social/political change. The piece was originally set for 40 people, at the Ecole de Sables (Senegal) in 2007. The work will be performed in the Festival Finale.

Repertory Project (Maqoma)

In this project we investigate process with the notion that every moment becomes a mystery. We will develop phrase work and explore ways to manipulate, extend and change, the material we develop. The challenge is to look at the material and allow the tools introduced, and the dancers guided by these tools, to influence the development of the work. In this way we continue the process to the last moment and discover the results when we arrive at the end. The process is physically demanding and brain draining but at the same time a lot of fun. The work will be performed in the Festival Finale.

Jazz Repertory  (Young)

This class explores jazz dance as a choreographic language of integrity, emotional power and innovation. Students will learn a complex piece of concert jazz dance choreography that is highly stylized, musically sophisticated and technically demanding, giving the students an intensive experience of movement research and exploration of choreographic design and form. Young will set a work that integrates the swing, pulse, syncopation and rhythmic nuances of classic jazz dance with her own deep interest in exploring the boundaries of the form. The work will be performed in the Festival Finale. All participants must be enrolled in Young's level IV jazz technique.

Making Dances I (Marks)

Movement is a powerful medium for the expression of ideas, feelings, images and experience. Moreover one of the boldest things we can do is to put something new into the world. In this class, we work with the elements of motion to deepen experience and understanding of the rich possibilities within the choreographic medium. For our purposes, moving and awareness, thinking and feeling, are mutually inclusive activities. Intuition and analysis similarly partner each other to become powerful creative tools. This course will emphasize creative problem solving as we hone our ability to verbalize what we see and feel.

Making Dances II  (Shaw)

Whether making formal dances or a site-specific work, an installation, a movement/theatre piece or a performance event, the choreographic process involves creation of a movement language and the form that houses that material. This course is for seasoned dance makers who can bring to the class a strong individual movement vocabulary and choreographic preferences. We will work with choreographic tools that range from formal arrangement to chance scores to deepen and form our work. We will work with solo form, duets and groups. Documented prior composition study is required.

Creative Process: Choreographing Democracy (Marks)

In the shadow of the upcoming election, we look at the body, and the ways bodies in motion together, are the material from which democracy is built. This class serves as a creative laboratory for examining ways dancing and dance making locates itself within the sphere of political meaning. We explore ideas about power, justice, privacy and responsibility through the creation of choreographic and improvisational structures. Bring your sense of humor, expect to have lots of fun, and plan on stirring up some trouble!

Advanced Improvisation  (Aiken)

This class is designed for those who wish to explore the art of dance improvisation both as a performing art and as a vehicle to develop new avenues for sensing, feeling, imagining and choreographing dance. It is based upon the premise that perception, movement technique and the imagination have a reciprocal relationship with one another. This class is for dancers and choreographers who wish to develop skills that support high level artistic collaboration and the performance of solo, duet and ensemble improvisation. Documented prior improvisation study is required.

Rhythm Studies (Shamou)

This class builds knowledge of the fundamental rhythmic structure of percussive music and introduces the rhythmic traditions of the African diaspora and the Middle East. Through a hands-on exploration of djembe, conga and other hand percussion instruments, body rhythms and vocal sounds, we will deepen our knowledge of rhythm and music as it relates to dance. Please bring a drum and/or percussion instruments, if possible. Some instruments will be available. Open to all.

Theorizing Dancing Bodies  (Chatterjea)

This is a discussion class where we examine performing bodies and attempt to think through some of the different ways in which these images engage us/audiences in acts of meaning making. What are some of the conceptual frames that help us look at the multiple resonances of these dancing bodies, and that might be helpful in understanding the significance of some of the choreographic choices made in these contexts?

Teacher's Toolkit  (Shaw)

Movement is a vital part of any learning process. We begin by exploring the components of physical listening and move on to issues of training the body and training the mind. Our goal is to enhance our breadth and confidence in physical intelligence. The class, designed for experienced and aspiring college and secondary school dance educators, incorporates movement exploration, sample classes, curriculum design, discussion and journal keeping.

Business of Dance  (Konikow)

In this seminar we examine the practical aspects of the profession including career options, growing audiences for dance, dealing with press, insurance and contracts, financial administration and raising funds creatively, among other topics. By the end of the course you will be better prepared to perform the business tasks expected of dance professionals and have a more holistic understanding of the field and your own dance community. Guests from the Festival faculty join us daily with informative presentations based on personal experience. You are expected to contribute to lively classroom discussions and participate in the creation of a hands-on plan designed to assist in your own or others’ future dance projects. If you have one, please bring your resume with you! Photocopying fee of $10 due first day of class.