SEZNAM DELAVNIC / LIST OF WORKSHOPS SDS 2023

Hugo Mbeng: BALET / BALLET; level lll (16+)

Klasični baletni klas baletnega plesalca in pedagoga Huga Mbenga vsebuje baletne vaje pri drogu in na sredini na naprednem nivoju. Na svojih baletnih urah z vajami različnih hitrosti in dinamike pomaga udeležencem pri zavedanju gibanja, izboljšanju koordinacije telesa in razvijanju muzikalnosti. Hugove baletne tečaje navdihujejo njegove profesionalne izkušnje in obvladovanje različnih plesnih tehnik.

Klas je primeren za dekleta in fante od 16 let dalje, ki želijo svoje znanje nadgraditi in izpopolniti na napredni ravni (3. in 4. letnik srednje baletne šole ter profesionalni baletni plesalci).

Delavnica bo potekala v angleščini. 

The ballet class of Hugo Mbeng starts from simple barre exercises towards middle section sequences on advanced level. During his ballet's classes he helps the participants to rise the awarness of the movement, improve the body coordination and develop the musicality through exercises of different speed and dinamics. Hugo's ballet's classes are inspired by his professional ballet experience as well as mastering of various dance techniques.

The class is suitable for girls and boys from the age of 16, who want to upgrade and improve their skills at the advanced level (3rd and 4th year of secondary ballet school and professional ballet dancers).

The workshop is going to be in English.

Hugo Mbeng: REPERTOAR ZA FANTE / REPERTOIRE FOR BOYS; level l - ll - lll (16+)

Pri urah repertoarja se bo pedagog ukvarjal s koordinacijo telesa in fantovsko plesno tehniko za boljše skoke in obrate. Ob koncu tečaja bo izvedena celotna variacija. Pouk bo prilagojen številu prijavljenih kandidatov in njihovim tehničnim zmožnostim, vsi kandidati pa bodo imeli možnost prisostvovati tudi individualnemu delu pedagoga z ostalimi plesalci. Kandidati lahko predhodno pripravijo variacije, ki jih želijo izvajati.

Pouk je primeren za plesalce od 16 let naprej, ki že obvladajo tehniko, pa vse do profesionalnih baletnih plesalcev.

Delavnica bo potekala v angleščini. 

At the repertory class Hugo Mbeng will work on the coordination of the body and boys's dancing technic to achieve better jumps and turns. At the end of the class a variation of the ballet repertory will be attainted. Lessons will be adapted to the number of registered candidates and their technical abilities, and all candidates will have the opportunity to participate in the individual work of the pedagogue with the other dancers. Candidates can prepare the variations they want to perform in advance.

The lessons are suitable for dancers from 16 years of age who have already mastered the technique, up to professional ballet dancers.

The workshop is going to be in English.

Francoski baletni plesalec Hugo Mbeng je začel šolanje na baletni šoli Pariške državne opere in kasneje obiskoval Pariški nacionalni konservatorij za glasbo in ples.
Po pridobljeni umetniški diplomi in certifikatu za plesnega učitelja je plesal v Avignon Ballet, Théatre du Capitole de Toulouse in Tulsa Ballet (ZDA).

Trenutno je član SNG Opera in balet Ljubljana, kjer je leta 2022 napredoval v solista. Nastopil je v številnih baletnih produkcijah, klasičnih, neoklasičnih pa tudi sodobnih: Don Kihot, Gusar, Balanchinovih Who Cares in Tarantella, Kylianovih Six Dances, Sinfonietta in Petite Mort idr.

French ballet dancer Hugo Mbeng began his studies at the Paris Opera Ballet School and later attended the Paris National Conservatory of Music and Dance. 

After obtaining the artistic diploma and the Dance Instructor Certificate he danced in the Avignon Ballet, Théatre du Capitole de Toulouse and Tulsa Ballet (USA).

Currently he is a member of the SNG Opera balet Ljubljana, where he was promoted to soloist in 2022. He has appeared in many ballet productions, classical, neo classical but also contemporary: Don Quixote, Le Corsaire, Balanchine's Who Cares and Tarantella, Kylian's Six Dances, Sinfonietta and Petite Mort etc. 

Zala Pezdir: PROGRESSING BALLET TECHNIQUE I, II, III

Progressing Ballet Technique je inovativen pristop h klasični baletni tehniki, ki ga je razvila avstralska pedagoginja Marie Walton-Mahon skupaj s fizioterapevti. Tehnika se osredotoča na oblikovanje funkcionalnih gibalnih vzorcev, mišičnega spomina, kot tudi na stabilnost, moč in gibljivost, ki so potrebne v klasičnem baletu. Na urah uporabljamo različne pripomočke, npr. velike in male napihljive žoge in vadbene trakove. PBT ure so lahko poučne, fizično zahtevne in zabavne!

Zala je certificirana učiteljica tehnike PBT od leta 2019 in pri poučevanju PBT rada vključuje tudi druge aspekte varnega baleta in preventive pred plesnimi poškodbami.

Kaj prinesti s sabo:
vaje izvajamo v tesnih/baletnih oblačilih z bosimi stopali. S sabo prinesete svojo joga ležalko in teniško žogico.

Progressing Ballet Technique is an innovative approach to classical ballet developed by Australian Marie Walton-Mahon. The technique focuses on correct movement patterning as well as stability, strength and flexibility needed in classical ballet. We use different equipment, for example fit balls, soft balls and resistance bands. PBT classes can be very informative for your individual ballet development, physically challenging and fun!

Zala is a certified PBT teacher since 2019 and when teaching she also likes to include different aspects of safe ballet training and dance injury prevention.

What to bring to the class:
Ballet/tight clothes with possibility of bare feet for better friction. Bring your own yoga matt and a tennis ball.

Zala Pezdir: BALET / BALLET; level l (10 – 14 let)

Baletni klas na I. stopnji je namenjen učencem baleta, ki imajo baletno osnovo in poznajo osnovne baletne pojme. Klas je sestavljen iz baletnih vaj ob drogu in na sredini s poudarkom na baletni tehniki na osnovnem nivoju v povezavi s plesnostjo.

Primeren je za učence od 10 do 14 let. Potek klasa in težavnost bo prilagojena prijavljenim kandidatom.

Delavnica bo potekala v slovenščini. / The workshop is going to be in Slovenian.

Zala Pezdir: SODOBNI BALET / CONTEMPORARY BALLET; level ll

Delavnica bo potekala v angleščini in slovenščini. / The workshop is going to be in English and Slovenian.

Baletna tehnika gradi na stabilizaciji in mobilizaciji segmentov telesa, ki se s časom povezujejo v vse kompleksnejše vzorce gibanja. Sodobni balet, kot ga poučuje Zala, izhaja iz njegove klasične osnove, hkrati pa v ospredje postavlja funkcionalnost gibov, razumevanje anatomije, raziskuje gibanje izven vertikale in ozavešča princip povezanosti.

Klas vsebuje vaje ob drogu in na sredini. Primeren je za plesalce različnih plesnih zvrsti z osnovnim znanjem baletne tehnike.

Ballet technique builds on stabilization and mobilization of the body parts, which over time connect into more and more complex movement patterns. Contemporary ballet, as taught by Zala, derives from the classical basis and brings attention to the functionality of movements, understanding of anatomy, it explores movement beyond the vertical axis, and works with the principle of connection.

The class includes exercises at the barre and in the centre. It is suitable for dancers of different dance backgrounds with the basic knowledge of ballet technique.

Zala Pezdir je plesalka, pedagoginja, koreografinja in kulturna antropologinja. Po končani Srednji glasbeni in baletni šoli v Mariboru in študiju na Filozofski fakulteti v Ljubljani je diplomirala tudi iz plesne pedagogike na Dans och Cirkushögskolan v Stockholmu in sicer iz dveh predmetov: klasičnega baleta in sodobnega plesa. Od leta 2007 živi v Uppsali na Švedskem, kjer ustvarja in poučuje klasični balet, sodobni ples, improvizacijo in kompozicijo. Kot plesalka in koreografinja redno sodeluje v neodvisnih plesnih in plesno-glasbenih projektih in je aktualna prejemnica regijske kulturne štipendije Uppsale za delo na področju raziskovanja intersekcionalnosti giba in zvoka.

Gregor Guštin: KOREOGRAFSKA DELAVNICA / CHOREOGRAPHIC WORKSHOP; level l (10 - 14 let)

Delavnica je namenjena plesalcem, ki bi si želeli pridobiti ali nadgraditi svoje znanje plesnih tehnik ali stilov z ustvarjalnim pristopom. Namenjena je predvsem tistim s skromnimi izkušnjami na področju lastne ustvarjalnosti. V procesu izobraževanja se bomo posvetili krajšim nalogam in ustvarjalnim izzivom ter poglobili in ozavestili razumevanje osnovnih plesnih elementov v različnih gibalnih jezikih in zasedbah. 

The workshop is intended for dancers who would like to acquire or upgrade their knowledge of dance techniques or styles with creative approach.
Primarily it is intended for those with modest experience in the field of their own creativity.
In the educational process, we will focus on shorter tasks and creative challenges, and deepen and raise awareness of the undrstanding of basic dance elements in various movement languages and ensembles.

Gregor Guštin: KOREOGRAFSKA DELAVNICA / CHOREOGRAPHIC WORKSHOP; level ll - lll (14 +)

Delavnica je namenjena plesalcem, ki že imajo dobro plesno tehnično predznanje na področju baleta ali katere od sodobnih plesnih tehnik, a jim primanjkuje praktično znanje in bi se želeli izpopolniti na področju ustvarjanja avtorskih kompozicij ter hkrati dobiti vpogled v svoj ustvarjalni potencial. Tudi na tej ravni se bomo preko različnih krajših ustvarjalnih nalog najprej posvetili osvežitvi poznavanje osnovnih plesnih elementov. V nadaljevanju bo naš cilj samostojno delo in delo v skupini, zato bo dobrodošlo, da bodo udeleženci v učni in kreativni proces vnesli veliko mero raziskovalnega duha in radovednosti.

The workshop is intended for dancers who already have good technical dance knowledge in the field of ballet or one of the modern dance techniques but lack practical knowledge and would like to improve their skills in the field of creating original compositions and at the same time gain insight into their creative potential.

At this level we will first focus on refreshing our knowledge of basic dance elements through various short creative tasks,. Further, our goal will be independent work and work in a group, so it will be welcome for the participants to bring a great deal of research spirit and curiosity to the learning and creative process.

Gregor Guštin

Gregorja Guština, rojenega 18.12 1979, je ples zaznamoval zgodaj in že kot najstnik je prejel več nagrad na regijski in državni ravni. V letni in poletnih šolah se je učil plesnih tehnik Marthe Graham in Lesterja Hortona, jazz baleta, baleta ter še drugih plesnih in koreografskih tehnik. Pri šestnajstih letih, leta 1995, je postal državni prvak. Zmaga ga je vodila na svetovno prvenstvo na Madžarsko.

Svoje izobraževanje je nadaljeval na Srednji glasbeni in baletni šoli v Mariboru. Prav kmalu je kot nadarjen dijak dobil štipendijo za mednarodni baletni seminar v Avstriji. Vseskozi so ga zanimale različne plesne tehnike in pri devetnajstih je postal državni prvak v plesni disciplini solo show ples. Nato je bil sprejet na znano šolo Rudra Béjart v Švicarski Lozani. Plesalca  je pot vodila domov, v Slovenijo, kjer je na Srednji glasbeni in baletni šoli Maribor diplomiral.

Takoj nato se je njegova pot profesionalnega baletnega plesalca nadaljevala v SNG Opera in balet Ljubljana. Sprva kot zborist in kasneje kot solist v baletnem zboru je ustvaril več vlog v baletih: Don Kihot, Bajadera, Coppelia na Montmartru.

Leta 2000 je na tekmovanju mladih slovenskih baletnih plesalcev prejel nagrado za najboljšo izvedbo sodobne koreografije, ki jo je poimenoval Bihma. Nagrada je bila tudi televizijski  portret enaindvajsetletnega plesalca in koreografa, posnela ga je Televizija Slovenija.

Na tekmovanje mednarodnih koreografskih miniatur v Beograd  je prav tako prejel nagrado. Za Gala večere novih baletnih koreografij na slovensko glasbo pod okriljem Društva baletnih umetnikov Slovenije ustvarja domala desetletje – vir navdiha za koreografije išče v glasbi Slavka Osterca, Demeterija Žebreta, Slavka Avsenika mlajšega, Vlada Kreslina, Nece Falk, Silence in v ljudski glasbi. Na tekmovanjih BALTEK– tekmovanje mladih baletnih plesalcev, je dosegel najvišja odličja tako kot plesalec kot koreograf.
Gregor Guštin je doma v Kočevju, kjer je nastopal že v osnovni šoli, že leta pa kot pedagog in koreograf vodi mažuretno skupino, s katero ustvarja tudi celovečerne prireditve. Ta skupina se pod njegovim mentorstvom redno uvršča na prva mesta na regijskih, državnih in mednarodnih tekmovanjih. Je dobitnik nagrade »Deklica s piščalko« za umetniške dosežke.

Tesno je vpleten v razvoj mladih, ki bodo sledili njegovi poklicni poti v plesni svet, ki je privilegij tistih, ki umetnost giba razumejo in potrebujejo. Že šesto leto sodeluje z Višjo baletno šolo kot mentor študentom na praktičnem izobraževanju v okviru SNG Opera in balet Ljubljana.

Claudia Sovre: BALET / BALLET; level ll (14 – 16 let)

Trening klasičnega baleta sestoji iz baletnih vaj pri drogu in na sredini. Na tej stopnji bo poudarek na ozaveščanju delovanja mišic plesalcev na odprti ''en dehor '' način, kar predstavlja osnovni pogoj za pravilno izvajanje baletnih korakov, saj lahko le na takšen način plesalci napredujejo v baletni tehniki in hkrati zmanjšajo možnost fizičnih poškodb ob tem.

Vaje bodo zasnovane po metodiki Veganova ob uporabi varne prakse, s katero lahko baletni pedagog potek in težavnost treninga prilagodi prijavljenim kandidatom, njihovem predznanju in telesnim predispozicijam.

Trening je primeren je za dekleta in fante od 14. let naprej, ki plešejo balet že nekaj let (stopnja 6.r baletne šole, 1. in 2. letnik srednje baletne šole). Izjemoma se v baletni klas lahko vključijo tudi starejši ali mlajši kandidati, s potrebnim baletnim predznanjem.

Classical ballet training consists of ballet exercises at the barre and in the center. At this level, the emphasis will be on the awareness of the dancers' muscle function in an open "en dehor" manner, which is the basic condition for the correct performance of ballet steps, because only in this way can dancers progress in their ballet technique and at the same time reduce the possibility of physical injuries.

The exercises will be designed according to Vaganova methodology using safe practice, with which the ballet teacher can adapt the course and difficulty of the training to the registered candidates, their prior knowledge, and physical predispositions.

The training is suitable for girls and boys from the age of 14 who have been dancing ballet for several years (level 6 of ballet school, 1st and 2nd year of secondary ballet school). Exceptionally, older, or younger candidates, with the necessary prior knowledge of ballet, can also join the ballet class.

Claudia Sovre: REPERTOAR ZA DEKLETA / REPERTOIRE FOR GIRLS; level ll – lll (14 +)

Dekleta bodo pouk repertoarja začela z vajami na konicah prstov, skozi katere bodo utrjevale mišice stopal in baletno tehniko ''na špicah'', ki se sestoji iz vaj pri drogu in na sredini. Nadalje bodo spoznala določene ženske variacije iz klasičnih baletov, ki jih bodo izdelovale najprej delih in nato povezale v solistično celoto.

Pouk je primeren za dekleta od 14 let naprej, ki že obvladajo tehniko špic, pa vse do profesionalnih baletnih plesalk. Izbor in izvedba variacij bo prilagojena prijavljenim kandidatkam ter njihovem baletnem predznanju. Kandidatke lahko predhodno pripravijo variacije, ki jih želijo izvajati.

The girls will begin the repertoire lesson with exercises on points, through which they will strengthen the muscles of the feet and the ballet technique "on points", which consists of exercises at the barre and in the center. Furthermore, they will get to know certain female variations from classical ballets, which they will first make in parts and then connect them into a solo whole.

The class is suitable for girls from 14 years of age who have already mastered the pointe technique, up to professional ballet dancers. The selection and performance of variations will be adapted to the registered candidates and their prior ballet knowledge. Candidates can prepare the variations they want to perform in advance.

Claudia Sovre je končala srednjo Baletno šolo (na sedanjem KGBL srednješolsko baletno izobraževanje) leta 1983. Vzporedno je uspešno zaključila še Srednjo šolo za oblikovanje in fotografijo ter nižjo glasbeno šolo Franca Šturma, smer klavir. Po končanem šolanju se je zaposlila v baletnem ansamblu SNG Opera in balet Ljubljana. 1986 se je za šest sezon pridružila baletu HNK Zagreb in se v času vojne na Balkanu vrnila v ljubljansko Opero. Leta 2003 je sprejela ponujeno prerazporeditev z delovnega mesta  baletne plesalke na pozicijo asistentke koreografa in se vzporedno začela ukvarjati z baletno pedagogiko. V ljubljanski Operi je delovala še v vlogah asistentke umetniškega vodje, koordinatorke in producentke baleta. Leta 2009 je ustvarila svojo prvo koreografije za APZ Tone Tomšič na pesem Izštevanka skladateljice Nane Forte, s katero so pevci osvojili 1. mesto na prestižnem svetovnem tekmovanju pevskih zborov na Norveškem. Udeležila se je več slovenskih tekmovanj koreografski miniatur v organizaciji DBUS, kjer je dosegla 2. in 3. mesta. Za Mladi Slovenski balet je leta 2014 ustvarila polurno koreografijo Zgodbe z Marsa in Venere in svoj prvi daljši projekt Prevaljška legenda, s sodelovanjem Koroškega akademskega pevskega zbora Mohorjan in igralca Aleša Valiča, na glasbo slovenskega skladatelja Lojzeta Lebiča. V SNG Opera in balet Ljubljana je koreografirala opero Ljubezenski napoj v režiji Krešimirja Dolenčiča ter kot koreografinja in oblikovalka odrskega giba sodelovala pri več koncertih in drugih slavnostnih dogodkih v matični hiši.

V oktobru 2016 je kot prva generacija začela obiskovati novo ustanovljeno Akademijo za ples AMEU-EMC smer balet in leta 2019 uspešno zagovarjala svoje diplomsko delo Učitelj baleta in njegove vloge v izobraževalnem procesu baletnega plesalca, s čimer je pridobila naziv ''diplomirana plesalka/koreografinja (VS)''. Študij končuje na magistrski stopnji iste Akademije, na smeri Plesna pedagogika. S svojimi prispevki o poučevanju baleta in vlogi učitelja pri tem je sodelovala na nekaj znanstvenih konferencah in okroglih mizah.

Kot baletna pedagoginja v baletnih ansamblih in baletnih šolah in članica žirije je gostovala v Mariboru, Kairu (Egipt), Muscatu (Oman), Münchnu (Nemčija), Zagrebu (Hrvaška), Sarajevu (Bosna in Hercegovina) in Beogradu (Srbija).

Danes deluje v ljubljanski Operi v vlogi asistentke koreografa, baletne pedagoginje in koreografinje, redno pa gostuje tudi izven matične hiše doma in v tujini.

Claudia Sovre graduated from the High School of Ballet (secondary level of Conservatorium of Music and Ballet  Ljubljana) in 1983. At the same time, she also successfully completed the High School for Design and Photography and the Music School Franc Šturm, majoring in piano. After finishing school, she joined the ballet ensemble of SNG Opera and Ballet Ljubljana. In 1986, she joined the HNK Zagreb ballet for six seasons and returned to the Ljubljana Opera during the Balcan war. In 2003, she accepted the offered redeployment from the position of ballet dancer to the position of choreographer's assistant, and at the same time began to work on ballet pedagogy. She also worked in the Ljubljana Opera in the roles of assistant artistic director, coordinator and ballet producer. In 2009, she created her first choreography for APZ Tone Tomšič to the song Izštevanka by composer Nana Forte, with which the singers won 1st place at the prestigious world choir competition in Norway. She participated in several Slovenian choreographic miniature competitions organized by DBUS, where she achieved 2nd and 3rd place. In 2014, she created a half-hour choreography for the Young Slovenian Ballet, Stories from Mars, and Venus, and her first longer project, The Legend of Prevalje, with the collaboration of the Carinthian Academic Choir Mohorjan and actor Aleš Valič, to the music of Slovenian composer Lojze Lebič. At SNG Opera and Ballet Ljubljana, she choreographed the opera Love Potion directed by Krešimir Dolenčič and participated as a choreographer and movement creator in several concerts and other celebratory events in the Opera house.

In October 2016, she was the first generation to attend the newly established Dance Academy AMEU-EMC majoring in ballet, and in 2019 she successfully defended her graduation thesis Ballet teacher and his role in the educational process of a ballet dancer, earning the title of "graduate dancer/choreographer (VS)''. She is finishing her studies at the master’s level of the same Academy, in the direction of Dance Pedagogy. She participated in several scientific conferences and round tables with her contributions on ballet teaching and the teacher's role in it.

As a ballet teacher in ballet ensembles and ballet schools and a member of the jury, she has toured in Maribor, Cairo (Egypt), Muscat (Oman), Münich (Germany), Zagreb (Croatia), Sarajevo (Bosnia and Herzegovina) and Belgrade (Serbia).

Today, she works at the Ljubljana Opera in the role of assistant choreographer, ballet teacher and choreographer, and regularly performs outside the home company in Slovenia and abroad.

Magdalena Reiter z gosti / with guests: KOREOGRAFSKI LABORATORIJ / CHOREOGRAPHIC LAB; level lll

Koreografske in dramaturške pristope delavnice bosta povezovali ponovitev in transformacija, kot izhodiščni točki. Raziskovali bomo nekatera koreografska in dramaturška orodja, ki definirajo cikličnost v plesu. Ponovitev bomo obravnavali kot izhodišče za razvoj (in možne koreografske transformacije) giba, plesnega ali tematskega motiva; cikličnost pa kot možno dramaturško spremembo.

Osredotočili se bomo na vprašanje intenc ter njihove artikulacije. S praktičnimi in fizičnimi vajami bomo raziskovali, kako lahko dramaturgija in glasba prispevata k koreografskemu procesu, kot partnerja v dialogu.

Delavnici se bosta občasno pridružila gostujoča umetnika - dramaturginja in glasbenik, ki bosta ponudila svoj vpogled v procese in nastajajoče koreografske materiale.

Delavnica je del šrišega programa Koreografskega laboratorija, ki nastaja v produkciji Zavoda Mirabelka. Jeseni 2023 se bo Koreografski laboratorij nadeljeval v Ljubljani z delavnicami Lali Ayguadé(Španija), Magdalene Reiter (Poljska / Slovenija) ter Andreje Podrzavnik (Slovenija). Sprejem na prvo delavnico Magdalene Reiter v okviru PPŠ omogoča nadaljno udeležbo na jesenskih delavnicah Koreografskega laboratorija ter 60% popust na ceno le-teh.

Tekom celotnega programa Koreografski laboratorij bo nastajal kratki film, ki bo dokumentrial proces dela. Režiser filma bo s kamero občasno spremljal in dokumentiral delavnice.

Koreografski laboratorij je odprt za koreografe in plesalce, kakor tudi za druge umetnike s področja uprizoritvenih umetnosti (dramaturge, igralce, performerje), ki jih zanima razvijanje koreografsko-dramatruških principov.

Na delavnico v okviru PPŠ lahko sprejmemo do 6 udeleženk_cev. Prijavnica mora vključevati kratek življenjepis, motivacijsko pismo (do 1000 znakov s presledki) ter povezavo do posnetka solo avtorskega dela (dolžina 2-7 minut).

Magdalena Reiter (PL / SLO) je koreografinja, plesalka, pedagoginja , ki od leta 2002 živi in ustvarja v Sloveniji. Je diplomantka Državne baletne šole v Gdansku, Poljska in akademije P.A.R.T.S. (Performing Arts Research and Training Studios) v Bruslju, Belgija.
V produkciji nevladnih organizacij ali v okviru javnih zavodov in plesnih skupin (Studio za suvremeni ples, Anton Podbevšek Teater, Lutkovno gledališče Ljubljana, Polish Dance Theatre – Poznan Ballet, Bodhi Project, idr.) je ustvarila več kot 20 avtorskih solov in skupinskih projektov, ki so bili prikazani doma in v tujini, med drugim: Vibracija posamezne strune (s Katarzyno Chmielewsko in Jakubom Truszkowskim), Preludiji in fuge (z Matejo Rebolj), Conversation pieces, Alica v Čudežni deželi, Forma interrogativa, Attention, Transland, Pars pro Witacy, Bližnji plani, Solo za dva glasova (z Milanom Tomašikom in Anjo Golob), idr. Njene predstave so bile prikazane tako doma, kot v drugih evropskih državah.

Kot koreografinja deluje v gledališču, operi in na filmu. Kot pedagoginja in mentorica je poučevala v Sloveniji in tujini (Folkwang Universität der Künste, Zagrebška Plesna Akademija, Zagrebški Plesni Center, SEAD – Salzburg Experimental Dance Academy, SVŠGL, skupina En-knap / EKG, na delavnicah v Franciji, Italiji, Avstriji, Belgiji, na Poljskem, idr.).
Je prejemnica Nagrade Ksenije Hribar za koreografski opus (2023).

Je pobudnica in umetniška vodja VIBRE - Mednarodnih delavnic in festivala sodobnega plesa v Ljubljani (2013-2020) ter ustanoviteljica Zavoda Mirabelka.

Kaja Lin: KIDS JOGA / KIDS YOGA; level l

Kaja Lin: MODERN; level ll

Delavnica bo potekala v angleščini in slovenščini. / The workshop is going to be in English and Slovenian.

Delavnica modernega plesa je primerna za plesalce z osnovnim plesnim predznanjem, ljubitelje plesa in profesionalce, ki želijo svoje znanje nadgraditi.

Na delavnici bomo preko vodenih vaj spoznavali neprekinjeno, fluidno gibanje, ki pa bo podprto s kontrolo in močjo. Nekaj časa bomo namenili tehničnim elementom plesa in strukturiranim plesnim sekvencam s premiki po prostoru. Fluidnost giba v stoje bomo prenesli tudi na gibanje po tleh (floor work). Na koncu se bomo posvetili še koreografiji in  razvijanju lastnega plesnega izraza.

Kaja Lin je plesalka, koreografinja in plesna pedagoginja, ki je svojo razgibano umetniško pot začela po končanem Konservatoriju za glasbo in balet v Ljubljani (2009). Po diplomi je sedem let preživela v tujini, najdlje v Izraelu, kjer je plesala v teatrih: Kibbutz Contemporary Dance Company II in Fresco Dance Company ter v številnih lastnih projektih in projektih drugih koreografov. Sprejeta je bila v tudi v projekt Excellent Dancers project pri Batsheva Dance Company. Od leta 2015 do 2017 je bila zaposlena v teatru ImPerfect Dancers Company v Italiji.

Svoje lastne koreografije je imela priložnost predstaviti na: International Festival of Performing Arts v Indiji, v teatru Suzanne Dellal (Tel Aviv, Izrael), teatru Zichri (Kibbutz Ga'aton, Izrael), 6. Plesni Nacionali (Španski Borci) , 9. Festivalu Front@ , NoFormat Art Gallery (London), v okviru mednarodne mreže Pan Adria na Reki, v Zagrebu, v Lutkovnem gledališču Maribor, v SNG Nova Gorica, Plesnem teatru Ljubljana in teatru Španski borci. S soavtorsko cirkuško-plesno predstavo ’MirOr’ je sodelovala na Ani Mraz, Ani Mrzli in Ani Desetnici.

V Sloveniji je plesala v projektih Kjare Starič, Kjara’s Dance Project (2011, 2015, 2019) in MN Dance Company (2016/2017). Leta 2019 je na odru Španskih borcev nastopila z avtorsko predstavo 'Corpus Aurora' in soustvarila plesno-gledališko predstavo ’Free Standing', leta 2022 pa avtorski solo 'Odtujenost'.

Kaja Lin je samostojna ustvarjalka, ki sodeluje tudi v mednarodnih projektih in je soustavnoviteljica mednarodne mreže, 'The Foreigners Collective'.

Anamaria Klajnšček & Magi Serra: PARTNERING; level ll

Delavnica bo potekala v angleščini in slovenščini. / The workshop is going to be in English and Slovenian.

TELESA V RAVNOTEŽJU – (Delavnica partneringa)

Delavnica temelji na prenosu teže in iskanju ravnotežja v situacijah, ko si s partnerjem delimo isti prostor. Fokus je na senzitivnem telesu, ki je zlahka berljivo in karseda transparentno za impulze, ki prihajajo od partnerja. Posebno pozornost je namenjena načinu, kako se približamo telesu drugega - skrbno in z občutkom empatije, da ustvarimo okolje, kjer se kakršenkoli dvig lahko zgodi brez večjega napora ali bolečin.

Delamo na toničnosti telesa, ki je močno, a vseeno okretno in artikulirano. Da pridemo do celostnega razumevanja vsake situacije, spodbujamo telo, ki lahko konstantno menja med vlogama 'baze' in 'letalca'. Poseben poudarek je na ustvarjanju vzajemnega zaupanja, kjer se je posameznik zmožen popolnoma prepustiti in po drugi strani prevzeti odgovornost za telo drugega. Samo v takšnem okolju lahko pride do igrivega vzdušja in imaginacija začne delovati.

Ukvarjamo se s fizičnim jezikom, ki prehaja med kontaktom, partneringom in cirkusom.

BODIES IN BALANCE – (Partnering workshop)

The workshop is based on the use of weight-shift and balance, while sharing the ground with a partner. The focus is on awakening a sensitive body, which is very readable as well as transparent to reading the impulses that are transferred from our partner. Extra attention is given to the way we approach the body of the other, with sensitivity and care, in order to create an environment where any kind of lift can happen without much effort or pain.

We build the tonicity of the body, which is strong, yet articulated and agile. A body, which can constantly switch between the role of a ‘base’ and a ‘flyer’ in order to get the full understanding of each situation. The work is underlined by building the trust to fully let go of the weight and giving in to the responsibility for the other. Only through such an environment, can true playfulness emerge and imagination starts taking place.

The language we deal with is on the border between contact, partnering and circus.

Anamaria and Magí sta se spoznala leta 2018 in od takrat naprej sodelujeta v raziskovanju partneringa, ki temelji na ravnotežju med njima. Na podlagi te raziskave sta ustvarila predstavo COSSOC, ki je bila premierno uprizorjena leta 2021 v Španiji. Gre za ulično predstavo daljšega formata, ki je do zdaj imela že več kot 60 ponovitev v raznolikih kontekstih in državah.

Anamaria Klajnšček je slovenska plesalka in koreografinja, ki trenutno deluje med Španijo in Slovenijo. Svoje izobraževanje je dokončala v Amsterdamu na Akademiji za teater in ples (AHK). Po študiju se je pridružila plesnemu ansamblu TanzMainz v Nemčiji, kjer je sodelovala z Guyjem Naderjem in Mario Campos, Sharon Eyal ter Guyjem Weismanom in Roni Haver. Zadnja leta dela kot freelancerka in trenutno nastopa v predstavah različnih koreografov: Roser Lopez Espinosa, Pere Gay Faura, Žigan Krajnčan, Guy Nader in Maria Campos. Poleg tega nastopa tudi z lastnimi kreacijami: s kolaborativnim duetom COSSOC skupaj s katalonskim plesalcem Magijem Serro ter s plesno-vokalnim solotom ONA.

Magí Serra je performer in koreograf baziran v Barceloni. Je versatilen performer, ki je delal z mnogimi koreografi predvsem na katalonski plesni sceni. Med njimi so Roberto Olivan, Guy Nader in Maria Campos, Roser López Espinosa in Lali Ayguade. Zadnjih sedem let ustvarja tudi lastne projekte, med katerimi je predstava Esvorell s premiero na Fira Mediterrania de Manresa (2016), solo The size of a detail s premiero na Sismograf Festivalu (2018), ter duet COSSOC s premiero na Sismograf Festivalu (2021). Pogosto sodeluje tudi z glasbenikom Arnau Obiols na projektu Brots Transhumants in trenutno dela na novem solotu Condens.

Anamaria and Magí met in 2018 and since then they have been working on a partnering research based on balance between the two bodies. Out of this research they created a performance COSSOC, which premiered in 2021 in Spain. It is a long format street piece that has done more than 60 shows in many different contexts and countries.

Anamaria Klajnšček is a Slovenian dancer and choreographer, currently working between the Spanish and Slovenian dance scene. She finished her studies at Amsterdam Academy for Theatre and Dance (AHK). Afterwards she worked for a German company TanzMainz, where she collaborated with Sharon Eyal, Guy Nader & Maria Campos, Guy Weisman & Roni Haver. Last couple of years she works as a freelancer and currently she is performing in pieces by Roser López Espinosa, Pere Gay Faura, Žigan Krajnčan, Guy Nader & Maria Campos. Besides this she performs with her own creations: a collaborative duet COSSOC together with a Catalan dancer Magi Serra and her dance & voice solo performance ONA.

Magí Serra is a performer and creator based in Barcelona. He’s a versatile performer and have worked for many of the choreographers more active in the Catalan dance scene, such as Roberto Olivan, Guy Nader & Maria Campos, Roser López Espinosa or Lali Ayguade. Seven years ago, he started to create his own projects: Esvorell, which premiered in Fira Mediterrània de Manresa (2016), a solo The Size of a detail, premiering at Sismògraf Festival (2018) and COSSOC, which premiered at Sismògraf Festival (2021). He often collaborates with a musician Arnau Obiols on their project Brots Transhumants and he is currently making a new solo called Condens.

Gina Bonatti: IMPROVIZACIJA KOT KOMPOZICIJA / IMPROVISATION AS COMPOSITION; level ll

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

Improvisation-as-Composition

Improvisation as Form; a doorway into Composition or Composition itself.

As I am coaching throughout the workshop, the dancers begin in building awareness of the body in space; the body in movement and how the building up of awareness of dancing even in the smallest starts of warming up, in how a foot begins to warm itself against the floor, builds awareness of what the other foot is doing concurrently. We build from warming up. Dancing and awareness of space; awareness of movement, of self, others, the floor, air and other elements; awareness of breath, of breathing, of tone, of sounds. In music improvisation and composition there is time spent Listening.

In dance improvisation and composition there is also the imperative to listen. Stillness in movement; silence in sound. Use of repetition, use of values (large, small, deep, shallow, fast, slow, etc): these can be tools for discovering vocabulary; teaching vocabulary to the duet partner; teaching to the group. How does a group improvise together to compose a coherent dance? I learned a great deal of this from Kenneth King and these tools we will source; when to exit, when to enter, when and how to use stillness the way music uses silence.

Dance is a kinetic, phenomenological, and visual form. We listen while seeing or being seen. While discovering the truth of our experience we connect to the world,  the space we are inhabiting and space shared in the greater world, the entire universal world.

The art of choreography is more functionally prioritized in issues of space over issues of steps. This is helpful when composing dances. We might add forms of music and dance from pre-classic genres: forms in duple or triple meter; oppositional meter in the body; a Sarabande in triple time for example. And we might couple these forms with the use of non-meter music in the room to work
within: electronic music from my preferred composers who can be found on public sources like YouTube: Amacher, Radigue, Oliveros, Lockwood, Eastman.

Use of form, of texture and value, of time, of space; questions of interest: harmony or dissonance; symmetry or asymmetry; unison or sequential. Query, concept, inner-life, personal need, virtuosity, and other pursuits in dance are lifelong. The workshop is oriented toward Improvisation-as-Composition to further dance-artists (and dancing artists) in their accomplishments.

Gina Bonati has been creating work since 1982 in hybrid of dance, theater, sounds and installation. Titles include A Fugue of Circles: Loss and Recovery at JSKD in Ljubljana, Slovenia in 2022, Crag in Ljubljana in 2020, Emergence Sea; Hunger & Visits at DIA in NYC (H&V receiving critical acclaim from Jennifer Dunning in The New York Times), The Miraculous Development of a Child at The Kitchen and numerous projects at venues everywhere including a shiver of site specifics. Collaborators include Adrienne Swan (with whom she produced 8 dance events during the 2020 lockdown year on her rooftop and a few probably illegally occupied spaces), Kenneth King, Elizabeth Castagna, Edwin Torres, Ruben Ornelas (whom she mentored for NYS Choreographers’ Initiative in 2021). In the 90s she produced all kinds of dance events mostly at The Knitting Factory in the Knot Room with Laurie MacFarlane. She danced with Kenneth King and Dancers, Sally Silvers and Dancers, Errol Grimes Group, Alan Good Dance, Jane Comfort Group, Wendy Hilton’s Baroque Ensemble. Danced in MCDC Repertory with five other scholarship students who were under the magnifying glass for company potential. She studied with Merce in company class, took company class with ABT, studied ballet with The Corvinos, David Howard, Hector Zaraspe, Janet Panetta and Peter Schabel. Presently studies ballet with Heather Hawk and Espen Giljane. Examples of Baroque dances organized by Wendy Hilton, duets with Kenneth King and her own solo work are in the Dance Collection at The Lincoln Center Library for The Performing Arts. She holds a BFA in Dance from The Juilliard School where she studied Dance Composition with Hanya Holm, Doris Rudko, Ethyl Winter, Kazuko Hirabayashi. Holds an MFA in Dance from Mills College and an MFA in Improvisation and Performance from The Center for Contemporary Music at Mills College. Member of Ildiko Nemeth’s New Stage Theatre in NYC since 2019, member of the Actors Studio since 2003, member of SAG/AFTRA and AEA since forever. She teaches dance to dancers and to other people. She teaches acting at The Lee Strasberg Theatre and Film Institute in NYC to the college sophomores at NYU Tisch School of the Arts. She is a poet and playwright, an actress, a dancer, a choreographer, a painter.

Yuridia Ortega: SODOBNI PLES / CONTEMPORARY DANCE; level l

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

Yuridia Ortega: SODOBNI PLES / CONTEMPORARY DANCE; level ll

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

The workshop proposes a physical language based on the mind-body connection, anatomical concepts, as well as various creative images. This language will be developed through a series of exercises designed to enhance the mind-body relationship while moving. Using improvisation guidelines, floor work and contact exploration, not to mention some acrobatic elements, we will experiment different movement qualities so as to to open new fields of possibilities.

We will focus on finding ways to thrive in movement through joint connections, as well as entering and leaving the floor in constant negotiation with natural impulses and anatomical shapes of each body. Another important axis will consist in learning to use just the right muscular tension in order to achieve fluidity in an organic and relaxed way.

This workshop is aimed at dancers, actors and circus performers, or any other person wishing to explore or deepen the aforementionned aspects of movement.

Yuridia Ortega is a dancer, choreographer and acclaimed contemporary dance teacher from Mexico City, graduated from the National School of Classical and Contemporary Dance.

She has presented her work in various festivals in Mexico, Spain, France, Scotland, Finland, India, Turkey, Bulgaria, Croatia, and Slovenia. Yuridia took part in the « Guillermo Arriaga National Dance Award » winning project with Cía Camerino 4 by Magdalena Brezzo. She was also part of the cast in the national event « Yo Mexico » in 2010. Ortega has collaborated in the theatre field with Joan Santos as assistant director, as well as in different projects in the circus field. Her work as a choreographer or director include various « Collective Creations of the International Festival of Contemporary Performing Arts FIAEQ » and direction of the circus and dance show "A la Mesa" by Cía Illai, for the Mérida Fest 2021. She consistantly collaborates with independent Mexican artists and is director of the Cía DeaquíDeallá Collaboración Escénica. In 2022, she co-created Swissbased company »Those who drink tea«.

Yuridia has lately been teaching workshops «La soltura del cuerpo» in Mexico, Switzerland and Slovenia. Yuridia has taught workshops in countless dance and circus festivals.
Yuridia has also undertook training in Release technic with Jeremy Nelson, Jaime Ortega.

Nohemi Barriuso: SODOBNI PLES / CONTEMPORARY RELEASE BASED, level ll

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

Movement Roots In today's abundant movement trends, movement roots focuses on the origins of various acro/soft acro movement techniques, conversations and questions are encouraged to open up about culture and where certain techniques may come from or be widely used beyond the scope of social media trends. We will explore how to flow between Breakin and other movement techniques, developing power from the ground up and through levels, stacking inversions, soft touch vs dynamic, as well as weight distribution and movement concepts through short improvisation, traveling sequences and technical drills. There will be short rep work sequences and we'll also focus on style and form vs free flow. I will give you tools to grow and develop your own movement style/ improv/movement identity. Composition and musicality tools, repertoire from past creations will be shared and dissected during this research.

A native of Spain, Nohemi Barriuso trained in dance, circus arts and improvisation in Madrid and London before moving to New York to further her training at the Trisha Brown Studios, Movement Research, and Cunningham Studio, thanks to a dance scholarship from the Ministerio de Educación y Cultura of Spain. She holds a B.A. in Fashion Design by the Polytechnic University of Madrid, a Diploma in Dance by Lewisham College (London), and a Master in Dance by the State University of New York/ SUNY Purchase. While there, she joined Shen Wei Dance Arts for the creation of Map, and the revival of Near the Terrace, premiered at the Lincoln Center. She was a founder member of Deganit Shemy & Company and key in the creation of such pieces as Iodine and Queentet -1st and 2nd prizes for best choreography, A.W.A.R.D. Show 2006 and 2008. She also danced works by Trisha Brown, Mark Morris, Noa Dance/ Nelly van Bommel, Julian Barnett, Sidra Bell and Kazuko Hirabayashi Dance Theatre, and on projects by Ayako Kurakake in Kyoto; Rosemary Lee, The Rambert Dance Company, and Albert & Friends Instant Circus in London; and Sol Pico Compañía de Danza in Madrid, among others. Upon moving to Brussels, she collaborated with theatre director Vital Shraenen and Met-X Moving Music in the creation of site-specific and multi-disciplinary events for diverse festivals in Belgium. These collaborations involved artistic coordination, movement conception and costume/ visual design. Based in Ljubljana since 2017, where she moved to join En-Knap Group as Rehearsal Director for over three years, she continues to perform and design while teaching sporadically workshops in contemporary dance and improvisation. Currently, she is working with visual artist Maria Dermitzaki on a new creation that will premiere in Belgium in 2024.

Michael Marso Riviere: SODOBNA TALNA / CONTEMPORARY FLOORWORK, level ll

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

Incorporating elements of release technique, floor work and improvisation, the class starts by awakening body and mind to ease us into motion. Set exercises and movement phrases focus on alignment and balance, by strengthening and stretching, as well as encourage sequential transitions with special attention to joint-articulated physicality. More dynamic movement sequences accross the floor emphasize the use of weight, momentum, and dynamics to maximize efficiency and joy. Improvisation tasks aim at expanding perception and body awareness in relationship to motion, space, music, ourselves and other dancers.

Michael Marso Riviere: BREAKDANCE

Marso made his choreographic debuts in 2005 and whilst drawing inspiration from his pioneers (Robert Hylton, Victor Quijada) in hybrid movement genres, he developed his own language and methodology blurring the lines between Capoeira, Breaking and Contemporary Dance. Marso, founder of Cie Decalage, is known for his unique style of movement and deliver performance, education, and residency work across the dance sector both in the UK and abroad.

See full biog: www.marsoriviere.com/about

LINKS with video links : https://www.marsoriviere.com/teaching IG, FB, Twitter: @marsoriviere

Maja Kalafatić: JOGA – RADOVEDNO TELO / YOGA – CURIOUS BODY

Delavnica bo potekala v angleščini in slovenščini. / The workshop is going to be in English and Slovenian.

Vsaka ura bo imela svojo tematiko, tako se bomo v petih dneh posvetili kolkom, stoječim asanam, zaklonom,  predklonom in inverzijam (obrnjeni položaji). Skozi vaje ozaveščanja, delu v parih in asistenci bomo delali na stabilizaciji telesa, prav tako na odpiranju in krepitvi mišičnega tkiva. Privoščili si bomo tako dinamične sekvence kot poglobljen vpogled v posamezne položaje. Namen vadbe je čimvečja funkcionalnost telesa, urjenje prisotnosti in vzpostavitev pravilnega dihanja.

Each class will have its own theme, so in four days we will focus on the hips, standing asana, backbends, forward bends and inversions (inverted positions). Through awareness-raising exercises, working in pairs and assisting each other we will aim to stabilize the body, as well to open and strengthen muscle tissue. We will enjoy dynamic sequences as well insights into individual positions. The purpose of the classes is to maximize the functionality of the body, train the presence and establish proper breathing.

Maja Kalafatić je plesalka, koreografinja, pedagoginja in učiteljica joge, ki živi in ustvarja med Ljubljano in Beogradom. Leta 2006 je diplomirala na SEAD (Salzburški eksperimentalni akademiji za ples) in leta 2015 magistrirala na Hochschule fiir Musik und Tanz, KöIn: HfMT na področju plesne diseminacije. Trenutno je doktorandka na FMK (Fakulteta za medije in komunikacije v Beogradu), na področju transdisciplinarne umetnosti in medijev. Njena doktorska disertacija postavija pod vprašaj koncept veščine v sodobni performativni umetnosti. Njena praksa zdruzuje teoretične in praktične osnove ter vključuje raziskovanje giba, koreografiranje, vodenje delavnic (sodobni ples, somatska praksa, družbena koreografija, aktivizem, joga), ter pisanje o plesu.

Deluje kot samozaposlena v kulturi.

http://ski.emanat.si/maja-kalafatic/

Maja Kalafatić is a dancer, choreographer, teacher and yoga teacher who lives and works between Ljubljana and Belgrade. She graduated from SEAD (Salzburg Experimental Academy of Dance) in 2006 and received her Master's Degree in Hochschule für Musik und Tanz, K6In: HfMT in Dance Dissemination in 2015. She is currently a PhD student at FMK (Faculty of Media and Communication in Belgrade), in the field of transdisciplinary art and media. Her dissertation is problematizing the concept of skill in contemporary performing arts. Her practice combines theoretical and practical grounds and includes movement exploration, choreography, facilitating workshops (contemporary dance, somatic practice, social choreography, activism, yoga), and writing about dance.

She works as a self-employed in the culture.

http://ski.emanat.si/maja-kalafatic/

Nicole Speletic: MODERN, level l

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

A very contemporary modern dance class, grounded in the style of Humphrey-Limon, complemented with influences from other styles such as release, ballet and Horton. There will be a thorough warm-up from floor, to standing to moving through space. There will be attention to finding fluidity and suppleness - to alignment, form and articulation - to dynamic actions and sequences. - and to intention/inspiration. We will be rolling, stacking, swinging, spiraling, carving, rising, resisting, with suspension and opposition weight and lightness. We will use the second half of the sessions to build longer phrases and combinations drawn from excerpts of repertory. We will play with rhythm and imagery to dance with full dynamic power and full-bodied expressivity. We will use repertory phrases in new and relevant ways, bringing our own sensibilities, infusing them with our own meaning and feeling. (Dancers from this class may be invited to be part of a summer video project at the end of the course.)

Nicole Speletic (nspeletic@gmail.com), dance artist and philosopher from New York City, was first in her family to attend college. Full merit scholarships provided opportunities to pursue her education from high school through doctoral level. She held a full PhD fellowship at Georgetown University, was granted the Mellon Teaching Fellowship, was co-director of the student dance company (G.U. Dance) and received two awards for her contribution to the arts.

Nicole trained and worked at the Limon Institute (7 years), was apprentice with Limon Dance Company, was Associate Director of Limon Professional Studies Program (3 years) and helped design that curriculum. She later completed one year of a master's degree in Dance Studies (Malta University).

Dr. Speletic strongly values her European heritage, and travels there annually offering workshops, presentations, projects and attending special courses. She also maintains an active practice in dance and philosophy, with daily class and cross-training, and through reflective theoretical analysis - each enriching the other. She would say that she has learned the most from life experiences: tutoring prisoners, changing her own name, marrying her sister, talking her father through to the next realm, standing up in court for a friend, dancing back-up at Bowery Ballroom and busking with a jazz band in the UK. And she believes in art's power to express the most profound and significant aspects of this human condition - to catalyze human experience – its mystery, delight or tragedy - into something meaningful and valuable.

More: https://www.youtube.com/watch?v=NnohjJbM1Ao&feature=youtu.be

Mitja Obed: FLAMENCO

Delavnica bo potekala v angleščini in slovenščini. / The workshop is going to be in English and Slovenian.

Na delavnici bomo spoznali flamenko kot medij izražanja naše notranjosti in fluidnosti telesa. Odkrili bomo tančico tega daljnega a vseeno bližnjega plesa, ki živi v sožitju z glasbo. Pogledali si bomo posamezne detajle, ki jih uporabljamo - dlani, roke, udarce z nogami, boke in odločne poglede, ki plešočega naredi vladarja svojega plesnega prostora. Posebej se bomo posvetili telesni ritmiki, ki je v flamenku tako prisotna, in skozi njo naš gib zlili z glasbo, sebi pa pustili prosto pot h kreativnemu dialogu s samim seboj. Tu bomo pustili mehkobi, da nas prevzame, spet tam pa pognali korenine v zemljo in čvrsto zavzeli tla pod nogami. Delavnica je primerna za začetnike, saj ni potrebno predznanje flamenka.

Mitja Obed je plesalec flamenka in eksperimentalnega (sodobnega) flamenka. V svojem delu se loteva raziskovanja flamenka, ki pa ga preoblikuje in uporablja kot orodje izražanja svojih idej in konceptov. Pri izrazu na sceni se ne ustavlja zgolj pri tradicionalnem, marveč prestopa njegove meje in ga bogati s sodobno-plesnim besediščem, baletom in drugimi plesnimi oblikami, prav tako pa s pristopi fizičnega gledališča in zvokovne improvizacije. Deluje z različnimi umetniki raznih področjih (flamenko, jazz, klasični glasbeniki, plesalci moderna in sodobnega plesa, baletni plesalci, pesniki, likovniki) v Sloveniji in tujini (Hrvaška, Španija, Italija, Avstrija, Srbija, Madžarska). Njegovo avtorstvo so plesne predstave Entropija (2022), Dictarot (2021), Imagen (2020), Box (2015), diStoRTion (2017), kot sokoreograf je sodeloval v predstavah Brave New World (2019), (Ni)sem (2016), Metamorphosis (2016), Flamencoraneo (2015).  Ustvarja tudi na področju plesnega filma - SO- (2020), #sketchesofMartillo (2020), Cinco sin cinco (2019), Adapto (2019), diStoRTion (2017), Box (2015). Je umetniški vodja plesno-glasbenega koncertnega cikla Espacio flamenco.

Catalin & Virginia: DANCING CONTACT IMPRO; level ll

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

Dancing Contact Improvisation / CI between technique and composition..from solo to CI, to solo and CI again, and so on...
We look at Contact Improvisation first as dancing. A kind of dancing that requires a careful and daring attention of the physical, perceptual and imaginative layers of the relation with the other. One of our much appreciated teachers, Steve Batts, defines CI as a creative exploration of the limits and opportunities of physical proximity but also the echoes of this investigations in the solo dancing. Looking from this perspective we noticed that sometimes in Contact Improvisation we focus so much on following the point of contact that we forget about dancing, or we dance our solo schemes forgetting about including proximity and contact possibilities in our composition.

We propose a workshop on how not to loose yourself in the sensory experience of CI and bring more of yourself into the dance, or even sometimes challenge the flow and the predictability that appear in the CI learned patterns by changing and playing with muscle tone, inertia and direction. But also to see how from the solo dancing and improvisation you can find solutions of entering in contact that make sense both technically and compositionally. How not to get lost in the ‘duet bubble’ and include others around and the space. To keep the specific zoom-in quality of CI and at the same time be able to develop an open eye on the zoom out perspective: the ensemble vision of real time composition practices. Let’s have a rich dance! Follow CI principles and technique, then break them, then dance solo, and then come back in CI with more curiosity and sophisticated approach on dancing in contact with others.

Virginia and Cătălin are partners in life but also in many artistic and teaching projects: "Our personal story is difficult to separate from our artistic activity. The passion for dance, movement, music, and performance has brought us a lot of experience and opportunities for professional affirmation. But the complexity of the ever-changing contemporary world, the accelerated speed of information, technology and critical global events makes us more and more want to slow down and search for ways to increase the quality of attention, perception, clear thought and action. Our way to do this is by facilitating frames of closeness with other artists, friends and interested public where we share our movement, music and dance experience."

Virginia Negru is a dancer, performer and facilitator of movement workshops, dance and contact improvisation. Driven by her passion for dance, she traveled and worked with teachers from Romania and abroad that marked her experience and artistic identity: Catrina Choate (Contemporary Dance and Feldenkrais), Amalia Strinopoulou (Limon Technique), Lelia Marcu (ballet ), Steve Batts and Ursula Laeubli (Poetic Movement), Benno Voorham and Sybrig Dokter, Scott Wells, Alexandra Soshnicova and Sergei Golovnya, Cyrus Khambatta, Nora Hajos, Nancy Stark Smith, Sasha Dodo, Adrian Russi, Susanne Martin, (Instant Composition and Contact Improvisation), Kira Kirsch and Antoine Ragot (Axis Syllabus).

Artistic approaches, pedagogical initiatives, performative invitations: ‘’My life is my art’’ - a performative journey from Venice to Finisterra - 4 months walking in a demarch of find out what is behind the “curtain” of everyday reality and to search other ways to contribute and be present as an artist in the world; weekly Contact Improvisation courses followed by dance jam sessions - as a manifestation of the desire for direct and immediate communication with other artists and the audience interested in dance, but also from the need to replicate models of learning and practice encountered in other countries; Contact Bucharest Festival - the annual organization of an intensive event of learning, practice and experience exchange through dance and CI with teachers and participants from several countries; ‘’Pe Bune’’ - guest dancer and teacher in the PETEC project to help create an improvisation, music and dance performance for children; ‘’Balance in Imbalance’’ - a series of CI workshops dedicated to professional actors and dancers from several cities in Romania; ‘’Negotiating reality’’ - movement research laboratory through CI; ‘’After.Life’’ performances by Sasha Dodo, ‘’The illusionists’’ by Mădălina Dan - performer; CNDB Dance and Performance Academy - guest teacher.

She currently guides ‘’Perspectives in Motion’’ and ongoing improvisation and instant composition Lab and enthusiastically shares with each occasion her experience and passion through dancing, teaching and performing.

Cătălin Diaconu studied Automatics in college and worked in this field in the period 2005-2021. His interest in music, theater and movement led him to become more and more involved in various artistic projects, and at present he dedicates himself almost exclusively to this direction. He studied guitar at the age of nine, and during college he started playing in the rock band Avatar, and continued for ten years. He later discovered electronic music and in 2012 began studying electronic music production. Over time he has been invited as a DJ to several events and festivals; participated in classes with Tom Cosm, Mr Bill, Simon Neumann, Keith Mills, Warp Academy, and in 2017 organized at SAE Institute Bucharest an electronic music laboratory inviting Simon Neumann as a mentor; composed the music for dance performances, ‘’Pe Bune’’,‘’After.Life’’, and for the dance film: "Ship of Fools", "The one here is not the one there".

All this time his passion for movement has led him from Kung Fu in childhood, Tai Chi in college and later on to Contact Improvisation and Aikido. In 2015 he began to study CI intensively in workshops, international courses and dance festivals. In 2017, in response to the invitation to teach, he decided that he could take the CI study to another level, initially as a course assistant and then leading his own classes. Those who inspired and guided him in this process were: Virginia Negru, Sveta Pashko, Cyrus Khambatta, Sergey Golovnea and Alexandra Soshnicova, Steve Batts, Scott Wells, Malcolm Manning, Sasha Dodo (CI), Kira Kirsch and Antoine Ragot (Axis Syllabus). In 2018 he held classes, individually and in collaboration with other teachers, in Bucharest and at a few international CI festivals (India, Thailand, Ukraine, Ireland).

His experience and versatility in both movement and music opened up new opportunities for him and aroused his interest in the performative area: he performed in the dance performances "After.Life", "Pe Bune" and numerous performances of dance improvisation, organized in various unconventional spaces.
At the present moment he is part of the ongoing improvisation and instant composition Lab "Perspectives in motion"; produces electronic music; initiates, seeks and experiments, individually and together with other musicians, different frames for composing music; supports and facilitates, in partnerships with Virginia Negru, CI workshops, dance jam sessions and performances for which he creates live music, acoustics and electronics.

Videos with us: https://www.youtube.com/channel/UC2QkO1pjNr8HIIzPkRFESDQ__

Dejan Srhoj, DISKolektiv, Rok Vevar: UTELEŠENA ZGODOVINA PLESA / EMBODIED DANCE HISTORY, level lll

Delavnica bo potekala v angleščini in slovenščini. / The workshop is going to be in English and Slovenian.

Utelešena zgodovina - delavnica preko SoPoučevanja

Ekipa treh SoPoučevalcev bo na Poletni plesni šoli s predavanji, avdio-vizualnimi dokumenti ter postopnim in strukturiranim plesnim treningom uvajala v prakse plesa in kontekst ameriške postmodernistične plesne umetnosti iz 60. in 70. let prejšnjega stoletja. Preko izbbranih tem, kot so (1) konstrukcija vs kompozicija, (2) delo na osnovi predmetov in nalog, (3) praksa vs produkt, (4) gib vsakdana, (5) fizični sistemi vs tehnike, bo ekipa zagotavljala varno, ustvarjalno in konstruktivno okolje, v katerem se udeleženci lahko soočijo z izzivi, s katerimi so se ukvarjali ustvarjalci v 60. in 70. letih prejšnjega stoletja. Delavnica je razdeljena na pet treningov s ciljem, da študentje doživijo metodološko dosleden in ustvarjalen ter odprt plesni studio tistega obdobja. Vsi pedagogi so prisotni hkrati na vseh treningih in se medsebojno vključujejo v poučevanje. SoPoučevalci: Rok Vevar, DISKOlektiv, Dejan Srhoj.

 SoPoučevanje je izobraževalni format v katerem dva, trije ali več pedagogov so-poučuje isti plesni trening ali delavnico. Format od leta 2012 razvijamo člani mreže Nomad Dance Academy in drugi povabljeni pedagogi.

Rok Vevar je arhivist, zgodovinar sodobnega plesa, ki živi in dela v Ljubljani. Je član balkanske plesne mreže Nomad Dance Academy in organizacije Nomad Dance Academy Slovenija. Leta 2018 je uredil knjigo (Dan, noč + človek = Ritem: Antologija slovenske sodobnoplesne publicistike 1918–1960), za katero je izbral gradivo in napisal spremna besedila. Leta 2020 je izdal monografijo (Ksenija, Xenia; Londonska plesna leta Ksenije Hribar 1960–1978 ). Leta 2019 je za svoje delo prejel nagrado Ksenije Hribar, leta 2020 pa nagrado Vladimirja Kralja za dosežke na področju gledališke kritike in teatrologije za obdobje 2018–2019.

DISKOlektiv umetniško raziskuje, kaj vse so še ples, koreografija, improvizacija, praksa, poučevanje, igrivost; v vlogi plesalca, koreografa, klovna, pisca, pedagoga, producenta, urednika; v formatih igre, prakse, predstave, instalacije, publikacije, avdio in video del ter kar je še tega. Pred kratkim je prevzel nagrado Ksenije Hribar za izviren pristop in prakso v polju sodobne plesne umetnosti.

Dejan Srhoj je plesalec, ki že vrsto let preko predstav, plesnih improvizacij, deljenja praks in izobraževanja razvija koreografske principe, ki se tičejo skupnosti. Dejan je soustanovitelj CoFestivala in regionalne mreže Nomad Dance Academy, znotraj katere razvija inovativne pedagoške formate kot so CoTeaching in Teaching without a teacher. V letih med 1998 in 2001 je kot solist plesal v Ljubljanskem baletu, po odhodu iz le tega pa so-ustanovil Fičo Balet. Sodeloval je z mnogimi koreografinjami in režiserji v Sloveniji in tujini.

Embodied history - workshop through CoTeaching

Summer dance school will see the team of three CoTeachers make introductions into the dance practices and context of the American postmodern dance of the 1960s and 1970s with talks, lectures, audio-visual documents and procedural and structural physical work. With selected topics of (1) construction vs. composition, (2) object and task based work, (3) practice vs. product, (4) the movements of everyday, (5) physical systems vs. techniques, etc. the team provides a safe, creative and constructive environment to engage students in the challenges that the creators of the 1960s and 1970s were very busy with. The workshop is divided into 5 daily 3 hours sessions with the aim for students to practically experience the methodologically consequent and creatively open dance studio of the period. All coteachers are present simultaneously at all sessions and mutually engage in the practice of teaching. CoTeachers: Rok Vevar,  DISKOllective, Dejan Srhoj,

CoTeaching is an educational format in which two, three, or more pedagogues co-teach the same dance training or workshop. The format is developed by the members of the NDA network and other invited guests since 2012.

Rok Vevar is an archivist, historian of contemporary dance living and working in Ljubljana. A member Of the Blakan dance network Nomad Dance Academy and organization Nomad Dance Academy Slovenia. In 2018 he edited of the book (Day, night + man = Rhythm: An Anthology of Contemporary Slovene Journalism 1918-1960), for which he sellected materials and wrote accompanying texts. In 2020 he published a monograph (Ksenija, Xenia: The London Dance Years of Ksenija Hribar 1960-1978). In 2019, he received the Ksenija Hribar Award for his work, and in 2020, the Vladimir Kralj Award for achievement in the field of theatre criticism and theatre studies for the period 2018-2019.

DISKOlective explores artistically what else dance, choreography, improvisation, practice, teaching, playfulness can be, taking on various roles such as a dancer, choreographer, clown, writer, teacher, producer, editor, in formats such as games, practice, performance, installations, publications, audio and video works, and whatever else there is. Recently, they received the Ksenija Hribar Award for an original approach and practice in the field of contemporary dance art.

Dejan Srhoj is a dancer who, for many years, has been developing choreographic principles related to community through performances, dance improvisation, sharing practices, and education. Dejan is a co-founder of CoFestival and the regional network Nomad Dance Academy, where he develops innovative pedagogical formats such as CoTeaching and Teaching without a teacher. Between 1998 and 2001, he danced as a soloist in the Ljubljana Ballet, and after leaving, he co-founded Fičo Balet. He has collaborated with many choreographers and directors in Slovenia and abroad.

več o SoPoučevanju / more on CoTeaching: https://nda.si/SoPoucevanje-CoTeaching

Sebastián Gómez-Lomez: SOMATIC PRACTICES AND DANCE, level ll

Delavnica bo potekala v angleščini. / The workshop is going to be in English.

Somatic Practices and Dance

‘Orbital Repatterning / Sensorimotor Patterns applied to partnering dance’

The first year of life in the human being is crucial in the psycho-cognitive development of the infant. During this laboratory we will evoke this period of life, neurologically reprogramming from intrauterine development until the baby reaches verticality and the milestone of gait. This moment is the ideal to start any artistic discipline. The re-experiencing of these patterns has been part of qualitative conditioning methods for actors or dancers such as Developmental Technique ™️ (Taavo Smith, 2010) or our own Repatterning orbital ™️. Both methods employ a simple progression of movements with a large vocabulary that reflects human development. This progression is expressed externally from creeping to crawling to standing. Within each level of verticality, there is a sub-progression „from spinal movement to homologous (both arms together or both legs), to homolateral (left arm and left leg together, right arm and right leg together), to contralateral (left arm and right leg together, right arm and left leg together‟ (Bonnie Bainbridge Cohen, 2008).

These movements can take from a few minutes, a few hours, and even several days to be carried out, with rigorous attention to the sensory and proprioceptive system. This attention is a kind of verification, revision or therapy where proprioception, tactile stimulation and gaze develop the keys to somatic training.

During each session we will focus the dynamics on acquiring the anatomo-functional bases of the bone-joint system to apply them to a style of dance in pairs. The Bone System is an Instrumental System that requires a conscious work of each of its elements and the relationship between them. We will try to rediscover our sensory-motor development patterns to bring them to the maximum personal expression of partnering work.

Sebastián Gómez-Lomez  is international  Philosophiae doctor  ( PhD)   in the area of  Dance  Anatomy of spine  holded by  the Department of Physical Therapy department of University of Murcia (UMU-Spain)/  Department of  Dance of  Technical University of Lisbon (UTL-Portugal).  Director of the Official University Master's Degree in Dance and Movement Arts until 2015 and Higher University Studies of Art of Flamenco -2015 to 2017. Head of the Research Group in Performing Arts at Catholic San Antonio University (UCAM) since 2011.  Responsible of the  line:  Analysis of the Choreographic and Performative acting.  Artistic Director in different European projects such as Eramus Plus and Creative Europe Programme during the last 10 years. For the last 22 years he has lectured in Games and Motor Skills, Somatic Practices and Dance, and Corporal Expression at the Catholic University of San Antonio in Murcia.

I  BASIC: plesno predznanje ni potrebno  / dance knowledge is not necessary

II INTERMEDIATE: osnovno plesno znanje potrebno / basic dance skills are necessary

III ADVANCED: visok nivo plesnega znanja / high level of dance knowledge

Nivo I je priporočljiv za začetnike in plesalce do 14 let. Za nivo ll je najnižja starost 15 let, za nivo III pa 18 let. Kjer nivo ni naveden, ni omejitev. /

Level I is recommended for beginners and dancers up to 14 years old. The minimum age for level ll is 15 years, and for level III 18 years. Where no level is listed, there is no limit.