Writing about dance - young talent meets independent scene | host Tanznetz Freiburg gUG

As part of tanzwuchs #9, young talents interested in writing are invited to a three-day workshop dedicated to writing about dance in all its facets. Dance is movement - and it moves us. But how can we put this into words?

Whether it's a review, a creative text, an essay or an experimental form - we try out together how movement can be translated into language. Participants will attend the evening performance of tanzwuchs #9, in which six short pieces from the independent dance scene will be presented. On this basis, individual texts will be written about the works shown - with space for their own perspectives, questions and formats.
The workshop is accompanied by experienced writing coaches and dance mediators. The aim is to promote new voices in the field of dance journalism and mediation - and to give them a platform. A selection of the texts will be published after the workshop on the Tanznetz Freiburg website.

Programme:

Friday, 10 October:

1:00 p.m.: Welcome
2:00 – 5:00 p.m.: Input Essayistic writing by Thaddäus Maria Jungmann

Essayistic writing: How can you write about something that defies language? Just seen – already gone. In this workshop, you will learn tools for writing about the fleeting nature of movement. The starting point is classical criticism – but we can move away from it, become more fluid, shift formats and ask new questions: How much distance does a good text need? What does objectivity mean in writing – and is it even necessary? How lively can, how artistic must a critique be? Together we will explore forms of writing that do not hold on to things, but resonate with them. Using selected short video examples, we will practise naming phenomena and developing potential interview questions. The workshop is aimed at anyone who wants to explore dance and performance through writing – whether you are writing your first texts or want to question long-established techniques. The resulting contributions can be published on a blog by arrangement. The workshop will be held in spoken German. If you have any individual requirements, please let us know in advance!

About Thaddäus Maria Jungmann: Thaddäus Maria Jungmann studied scenic arts in Hildesheim and musical theatre in Osnabrück. Thaddäus lives as a freelance performer and dramaturge in Cologne, where they are currently pursuing a master's degree in dance studies – with a stay abroad in Bern/Expanded Theater. They also work as a journalist for the two trade journals Theater der Zeit and tanz. Through writing, Thaddäus most recently came to develop artistic audio descriptions for blind and visually impaired audiences at tanzhaus NRW.

Saturday, 11 October:

2:00 p.m. – 5:00 p.m.: Input Performance Analysis by Dr Jutta Krauß
7:00 p.m. – 8:00 p.m.: tanzwuchs #9 performance

Performance Analysis: How can touching bodies in motion be translated into comprehensible concepts? How can a dynamic and ephemeral dance event be captured in words without appearing rigid and static? Based on the method of performance analysis, the workshop will demonstrate approaches to making dance events conceptually comprehensible. Starting from one's own location and one's own state of being touched, encounters with dance events should take place that enable questions, leave questions open and invite possible answers that do not codify, but interact with the dance. The meanings conveyed to the audience in a dance event are to be translated into possible interpretations, which are then reflected in a text about the dance, so that the emotional response can be presented in a way that is comprehensible to others.

During the workshop, possibilities for writing about dance will be demonstrated in order to find one's own linguistic embodiment of and about dance. Based on exemplary dance events, possible moments of personal emotional response are filtered out and used as a starting point for a text-dance response. Concrete steps of being moved by dance, talking about dance and writing about and with dance are demonstrated in the workshop.

All audience members who want to not only watch a dance event but also interact with it in writing are cordially invited to the workshop to write texts in response to the dance events at Tanzwuchs 2025. Upon agreement, these can be published on a blog. Individual needs will be gladly addressed during the workshop.

About Dr Jutta Krauß: Dr Jutta Krauß is a dance scholar, dramaturge, lecturer and teacher. She studied dance culture at the Faculty of Philosophy and Humanities at the University of Bern, Switzerland, and completed a teaching degree at the University of Education in Freiburg. She is a member of the Society for Dance Research and was its first vice-chair from 2021 to 2023.  Her work and research focus on contemporary dance with theorems of body and costume.

Sunday, 12 October:

10:00 a.m. – 1:00 p.m.: Writing workshop
1:00 p.m. – 2:00 p.m.: Lunch break
2:00 p.m. – 5:00 p.m.: Writing workshop
19:00 ­ 20:00: tanzwuchs #9 performance (optional)

Thursday, 16 October:
Text submission

When: 10 - 12 October 2025

Where: H15, Haslacherstr. 15, Freiburg

Requirements for participation: You enjoy writing, are interested in dance and are not afraid of blank pages. No previous experience in writing about dance is necessary – curiosity is enough. Participation is free of charge, but the number of places is limited to 12 participants.

Registration: 
To register, please send an email with the subject line ‘Writing Workshop’ to presse@tanznetz-freiburg.de.
Please include your full name and contact details (email/telephone number). Registration deadline: 26 September 2025

Please let us know in your email what you need in order to participate and we will do our best to make it happen! The two lecturers on site will also cater to individual needs.

Further information: https://tanznetz-freiburg.de/en/workshops

Human Moves - Playful practice & explorative inquiry of Contact Improvisation

Workshop with Hugh Stanier | host bewegungs-art freiburg

My approach to movement practice is both technical and experiential - concentrating on building up a functional understanding of underlying physical principles and structures of Contact Improvisation, whilst also widening the trust to one's instincts, impulses and intuition. The principal themes behind the work are organic, efficient and functional movement, tuning and sensitivity to listening through & with the body, deepening the awareness of the body in movement and in connection to other bodies. The sessions develop slowly from inside to out. Often starting with individual floor-work, offering particular principles and tasks, and then gradually building up through the layers using the natural spirals of the body.  Material alternates between contact and solo tasks, and exercises that connect the group as a whole, creating an open, safe and exciting environment to explore. 
Within specific exercises we will explore tools that are helpful to work in contact: sharing weight, center-to-center, leaning and supporting, rolling point of contact. Also using ideas around momentum, suspension, inertia & falling. To find effortless ways into weight transfers and lifting, leading and following, falling and spiraling…Time will also be given to work with dance-scores, which allows participants to get into the flow of their own movement, giving time and space to integrate the learnt technique into their dance.
We will explore the idea of dancing open questions, such as: Why do I move? What do I feel when I am dancing? How do I move with another person/other people whilst remaining connected to my own movement? What impact does this practice have on how I choose to live my life? Finding words to describe our dancing is sometimes not enough. Sometimes dancing our inquiries is the best way to get more informed about what is happening for us when we dance, and why it is so important to us to dance. By giving time to stillness around the practice we will offer our nervous system (both individual and collective) time to integrate the experience of moving and learning together. The tools we learn in the practice of this form can also be applied to how we relate to others in the everyday experience. The workshop environment can serve as a microcosm to understand ourselves more deeply or notice how we view ourselves and bring greater awareness to our habitual patterns - how we treat ourselves, how we relate to others etc. Noticing how intrinsically the mind and body are linked and giving space to the embodied experience of softening the mind through engaging the body in a relaxed & focused way. We will also focus on how we sculpt space as a group, open our collective perception and look at how we move as a whole. How we frame dances by watching, giving space, feeling when to move, and when to be still. We will work with structures and scores to frame improvisation, and specific techniques for working in trios and larger groups. Cultivating a deeper awareness of listening, breathing, giving, receiving, timing and moving as a collective

Hugh Stanier is a Contemporary Dance Artist specialising in Floorwork & Contact Improvisation. He has over 20 years of  teaching & performance experience. He began dancing when he was 15, training in Break dance and Contemporary. He went on to train at Northern School of Contemporary Dance, graduating in 2008. Since then he has worked with companies such as 2Faced Dance, Tom Dale, STAN Won’t Dance, and Wim Vandekeybus/Ultima Vez. He has taught internationally at the Goa Contact Festival, Goa Dance residency, Thailand Contact and ecstatic arts festival, Berlin contact festival and Portugal Contact festival and for National Dance company Wales (NDCW) as well as organising his own workshops and retreats in Portugal, Germany and Israel. Within his teaching practice he combines his experience in Breakdance, Contemporary and Contact Improvisation to create a highly physical, technical and intuitive approach to movement exploration. He is a TMW (Tai Chi Movements for Wellbeing) facilitator. The principles of Tai Chi and Qi Kung underpin his approach to teaching and sharing movement. Guided by the ethos of presence and play, Hugh’s work emphasizes listening to the body’s innate wisdom and exploring movement that feels organic and authentic. His sessions offer a gentle yet powerful space to reconnect with breath, awareness, and the freedom of self-expression, encouraging participants to find their own sense of joy, balance, and ease in movement.

When: Saturday 8. / Sunday 9. November 2025
Saturday 10 a.m - 6 p.m / Sunday 10 a.m - 5 p.m

Where: Studio LÖ45, Lörracherstraße 45, 79115 Freiburg

Price: 130 € (early bird until 24. October) therafter 150 €
Saturday only 75 € (early bird until 24. October) thereafter 90 €

You can stay over at the studio for a little fee, in case you need accommodation.

Info & registration: workshop@bewegungs-art.de

VIEWPOINTS

Workshop with Martin Carnevali | host bewegungs-art freiburg

Viewpopints is simultaneously a communication system, perception training, and improvisation technique. It is so effective because it is based on purely physical criteria that are intuitively understandable to everyone – such as speed, distance, form, and timing – thus making artistic processes concretely malleable. With VIEWPOINTS, the individual trains readiness, presence, and body awareness, and an ensemble receives a common working basis that everyone shares, enabling communication in action. In the 1970s, choreographer Mary Overlie first formulated a philosophical-practical vocabulary that she called the Six Viewpoints. Anne Bogart and her company transformed this vocabulary into a system that serves actors both for concrete scenic development and for daily training. In this weekend workshop with Martin Carnevali, we will receive a thorough and systematic introduction to the application of Viewpoints and explore their criteria and techniques.

After training as an actor, Martin Carnevali worked for ten years at German and Austrian municipal theaters before studying again with Anne Bogart and the SITI Company in the United States. There he learned, among other things, the working techniques of Viewpoints and Composition. Since then, Martin Carnevali has focused on the practical and creative aspects of theater work: training, research in laboratories, theater anthropology, and various psycho-physical working methods. This took him away from German-speaking theater for many years, to Poland, Wales, and India, where he spent a lot of time with theatermakers such as Phillip Zarrilli, Tadashi Suzuki, Eugenio Barba, Mary Overlie, and Kaite O'Reilly. In India, he learned the martial art Kalaripayattu. In exchange, he taught at drama schools and worked with theater companies. Since 2010, Martin Carnevali has been teaching his skills at theater schools and translating plays and books on theater – including the Viewpoints book. From 2021 to 2024 he was an actor at the Luzerner Theater, where he also headed acting training and was responsible for questions of stage practice as a dramaturge.

TRANSFORMER | host Tanznetz Freiburg gUG

Workshop on body, poetry & (pop-)music by Mira Mann

Workshop as part of the exchange residency “for exchange+” - a cooperation between Tanzzentrale Nürnberg, Tanztendenz München, EinTanzHaus Mannheim, Schwindelfrei Mannheim, Produktionszentrum Tanz + Performance e.V. Stuttgart, CONdance e.V. Bamberg and Tanznetz Freiburg. The three interdisciplinary artists Alina Belyagina, Olena Polianska and Mira Mann from Munich devoted two weeks to their chosen theme “The mechanic of support”.

Mira Mann's practice begins with the body and develops texts, music and performance from it. She does this so consistently, perhaps also because it presents her with particular challenges. Since her youth, she has lived with multiple sclerosis, an incurable nerve disease that causes very different symptoms in each person affected. Her own illness is a fundamental reality of her work and her drive. It shapes her perception and the way she comes into contact with the world. For her, inventing new systems and showing vulnerability is empowering and without alternative. As a poet - she has published four volumes of poetry with the traditional Cologne-based publisher Parasitenpresse since 2019 - she is particularly interested in the performative poetic power of words and the special spaces of meaning they unfold when they come into contact with music and bodies.

In the workshop format, she provides an overview of the current state of literary knowledge on the interplay between body and text production and uses specific examples to guide the participants' work. Together with her, the participants will try out various possibilities of body-related text production and take time for a very personal deep dive into body-text-music connections (part 1). They then access the resulting text material and create sonic and performative spaces for it. The group uses everyday sounds and simple chorally sung and spoken modules. The performative elements are also based on everyday life and work with gestures and general dance movements. In this way, the participants and Mira will work together to find ways to connect the private with the political across different disciplines, with the body always at the center.

Starting from the body, we will develop texts, sounds and performative spaces together in the accompanying workshop. This interdisciplinary workshop is aimed at anyone interested in dance, theater, literature and the visual arts. No previous knowledge is necessary.

Mira Mann works transdisciplinary in the fields of poetry, music and performance. She deals with sex, illness, motherhood and violence in a radically personal way. In her work, she makes common role clichés and social attributions resonate and creates connections between actors of different genres, consciously crossing the boundaries between so-called high and subculture. Her curatorial and artistic practice explores the boundaries of closed systems and searches for unexpected feedback loops. Fundamental to her work is the combination of artistic and curatorial practice with mediation formats.
www.miramann.net / info@miramann.net / https://www.instagram.com/mira__mann/

LANDSCAPES AND BODIES 

Contemporary Dance Workshop with Jakob Jautz & Laura Aris | host bewegungs-art freiburg

This workshop offered participants the opportunity to take part in an exchange between contemporary dance, landscapes, artistic research and creation. They were invited to experience and reinterpret key concepts of our current work, “Wondering Horizons”, by moving beyond rational consciousness through intuition. The workshop explored landscapes and their inhabitants (human and non-human) and how they imprint themselves on our bodies. The ever-evolving concept of Landscape based Choreography and the similarities and connections between dance and walking were the basis of the workshop.
Landscape based choreography is a working method that deals with the relationship between people and their environment through the body and movement. The workshop is about focusing on the influence that landscapes, their inhabitants and the local climate have on us through exercises and incorporating this into our movements.The participants approached this topic in a very tangible, concrete way, but also through more abstract and metaphysical approaches. So we explore how to embody memory of landscapes; look at how a landscape defines our choreographic choices and becomes our co-creator, thereby recognizing the voice of the landscapes we are part of.
Walking and dancing - two actions that share fundamental principles such as weight, time and space. Walking is a captivating and harmonious oscillation of muscle contraction and relaxation that allows us to discover the world and even “create” space with each step. In the workshop, we build dance on this foundation by expanding everyday movement into a sophisticated form of expression through controlled weight shifting, spatial awareness and rhythmic intention. As Le Breton so beautifully puts it: “On the pilgrimage (wanderings), sensory perceptions are purified of routine; another way of inhabiting the world is discovered.” (free translation)

Laura Aris Álvarez (co-producer/dancer/choreographer/performer) Laura Aris (1977) is a versatile dance artist known for her performing skills and an esteemed international educator with a career that spans renowned dance companies and independent artistic projects.

Jakob Jautz (co-producer/dancer/choreographer/performer) Jakob Jautz (1993) is a German born and based artist. He studied contemporary circus at ACAPA in the Netherlands and graduated in dance and choreography at SEAD in 2018. Since then, he has created and performed his own and collective creations across the EU.

THE EMERGENCE OF DANCE

Workshop with Sigal Zouk

At first we practice something like what comes before it becomes dance. The becoming of dance. Being in the body. In space. In time. Being looked at, being recognized and recognizing the situation as it is. And let it grow from there, finding the logic of the moment. The class combines physical body work with awareness development practice. various improvisational patterns designed to enhance and fine-tune the synchronization of physical, mental and emotional awareness and the sensitivity of the Person. We are heightening our awareness of our own body and the space around it. We are learning how to use our mental and emotional present moment state as a starting point from which we can connect to our performance tasks. We are improving our ability to shift between different states.Through a series of guided improvisations we are training our ability to unite the mental, the physical and the emotional; being and doing; choreography and presence. The work is process-based. Its benefits and outcomes can be applied to any kind of dance or performance form or style.

Sigal Zouk is a dancer/artist working in Berlin since 1997. She received her training at the Emek Izrael Dance School and joined the Bat-Sheva Ensemble from 1994-96. After moving to Berlin and working with artists such as Luc Dunberry and Juan Cruz Dias de Esanola, she became a member of  Sasha Waltz and Guests from 1999-2004. In 2005, she began her collaboration with Meg Stuart/Damaged Goods; first as a dancer and then as choreographic advisor/outside eye for the work of Stuart and Phillip Gehmacher as well as Stuart’s following works. In 2007, she began her long time collaboration with Laurent Chetouane in which she created 10 dance and theatre works for the stage. During the past few years she has begun to develop her teaching practice where she guides professional dancers to locate their feeling body to a presence that has the potential to navigate in and through any situation.
She teaches in several European dance departments and institutions including Tanzfabrik Berlin,  HZT University Center for Dance Berlin ,ZZT Hochschule für Music und dance Köln, DDSKS Copenhagen ,DOCH Uni Art Stokholm ,Cullberg Ballet Stokholm ,CNDB Bukarest ,Suzanne Dellal Center Tel- Aviv , Ponderosa TanzLand, „ Hollins University (Virginia/ USA)“ Plovdiv summer program Bulgaria, and many more.
Zouk accompanies artists and choreographers such as Meg Stuart,Jared Gradinger/Angela Schubot, Antje Shupp, The progressiv wave, Tamara Rettenmund, Mor Demer, Shannon Conney and Moritz Majce on their artistic path and helps them to work with their limits and their potential. She was named best performer at the Dortmund Festival 2010 and Dancer of the Year 2011 by Tanz Magazin.

PULSE

Workshop with Sylvain Ludovico (for semi-professional / professional dancers)

The Pulse workshop provided participants with a theoretical foundation of rhythm and musical structures that enabled them to recognize the rhythmic patterns of a song. They explored different basic structures such as binary and ternary rhythms while listening and dancing to different styles of music (funk, blues, electro, African ternary rhythms, bossa nova, etc.). These explored rhythms were embodied and internalized through sensory experience. Once these principles are defined, the participants began to detach ourselves from the structure of the music through improvisation, transforming the body into a personal percussive instrument. In the second phase, each person explored his/her unique rhythm, perception of time (past, present, future) and grounding, in resonance with the music.

Sylvain about himselv: I have a diverse artistic background and training that brings a holistic approach to my work in dance. I had a strong foundation in music, having studied violin for 10 years, which gave me a deep understanding and appreciation of the relationship between dance and music. I later explored performing arts disciplines, including theater and directing. Driven by my curiosity about the body and its language, I studied at Rick Odum's Jazz Institute Paris (Ballet, Contemporary, Jazz). There I had the opportunity to learn from accomplished dancers and teachers such as Geraldine Armstrong, Iris Florentiny and Rick Odums himself. I also obtained my teaching diploma under the guidance of Patricia Karagozian and Daniel Hossein. In 2020, I immersed myself in a joint project with Peter Mika within the Cobosmika Junior Company. After this experience, I ventured into co-directing the company Puntos de partida as a dancer and choreographer. Within this framework, I am also driving the development of a research-based movement work called Sensor. Through the sensitive integration of the fascia, Sensor promotes a deep connection to the sensations of the body during the dance, rather than just fixating on the form. Since 2021 I have been teaching regularly for professionals and amateurs in Europe and Central America. More about Sylvain on Instagram: @sylvain_ludovico

The desire for the self II
Stage presence in Instant Composition by and with Oliver Lange

For one weekend, the focus was on their own stage personality. In Instant Composition, the participants initially stood on stage as themselves, dancing, moving, speaking and singing as themselves. Roles, states and emotional worlds emerge from the moment and are spontaneously taken on and absorbed by the performers. The question was: how can we portray ourselves without going into theatrical exaggeration and at the same time not lapsing into the private sphere? The participants came into contact with our performance selves and their individual strengths and weaknesses through a wide range of exercises from the repertoire of the performing arts. All aspects of stage work were included: dance, speech and action.

EXPRESSIONAL COMPOSITION with Smadar Goshen

BodyBelonging(s) | Based on the research of the solo piece 'KEN | כן'

The first part of the workshop was about Gaga/people class, which offers a framework for users to
connect to their bodies and imaginations, experience physical sensations, improve their
flexibility and stamina, exercise their agility and explosive power, and enjoy the pleasure
of movement in awelcoming, accepting atmosphere.
The second part was about Expressional Composition: BodyBelonging(s). Bodies carry belongings; Belongings carry stories; Stories carry people; People carry bodies. In this session they looked at the simple act of composing bodies with and without objects in space, and the narratives it develops. We practice tools of making room for context as a consequence of composing, of placing in (and with) relation. Crafted images of bodies and their belongings will open a door into our personal-collective physical archive. Smadar Goshen is a dance maker, a performer and a trainer. She completed her Bachelors degree in dance and her Masters degree in choreography at the Jerusalem Academy for Music and Dance (JAMD). Born in Israel, she had shifted her professional base to Stuttgart since 2019. Smadar is a certified Gaga teacher as well as GYROTONIC & GYROKINESIS® Trainer and Pre-Trainer. Her extensive knowledge about the moving body is an important part of her work with both, professional and non-professional movers. In the current yearbook of the magazine Tanz, she was honored as one of the 10 most promising pioneer dance makers in Germany. https://smadargoshen.com 

SKINNER RELEASING TECHNIQUE

Dance workshop with Lily Kiara

SRT was developed by Joan Skinner (1924-2021) and aims to achieve greater ease in dance, dynamic alignment, refined attunement with our body and imagination. There is an ongoing fine-tuning as we consciously venture into unknown creative territories. By listening within, we allow ourselves to get in touch with our inner body and connect with something bigger than ourselves. Embodied listening, inner spaces, presence, dynamic stillness, softening and allowing are some of the key practice areas in Skinner Releasing, alongside letting go, that support new routines. Softening supports the release of power through efficiency and responsiveness. Allowing encourages listening. In this way we can become more available. In technical work and in creating dances, guidance and allowing are closely related, as are stillness and action, receptivity and wildness. Lily Kiara teaches classes and workshops in Skinner Releasing Technique and Creating (Instant) Dances, sometimes together with a musician or lighting designer. She has taught throughout Europe, the USA, Australia and Indonesia and also accompanies artists in their process. www.lilykiara.nl

The Joy of the Unknown - inspired by the Fighting Monkey Practice

Dance Workshop with Anna Rose

The workshop focused on various elements of Fighting Monkey Practice, in particular communication and partner work. Within the framework of various movement situations, we worked on listening and dealing with unpredictability. How do we coordinate ourselves internally and in relation to others in a constantly changing environment? Through the lens of Fighting Monkey Practice, we looked at how we age and how we can better prepare for the unknown. How do we recognize patterns and potential problem areas before they become injuries, and how can we recover from injuries through movement? How do we recognize and understand our imbalances in order to better respect our own structures and take a conscious and active role in our own long-term physical health? Anna Rose is an Inspire by FM ® instructor/practitioner recognized by founders Jozef Frucek and Linda Kapetanea. She is a Berlin-based dance artist and singer who hails from the Shawangunk Mountains in New York. She has worked with various choreographers and danced/choreographed in various film and television productions "Babylon Berlin", "Tár" and "The Ballad of Songbirds and Snakes". Her current movement and art research focuses on the connection between struggle and dance and explores the intersections between the principles of struggle and collaboration.
More about Fighting Monkey: https://fightingmonkey.net

The Anatomy of Voguing

Tanzworkshop mit Plenvm Moonlight Ninjadem

Vogue is a dance form that is deeply embedded in its culture and cannot be separated from it. Understanding the origins and motivations of Ballroom culture, created by queer African American and LatinX individuals, allows participants to find personal and authentic expression. The aesthetic inspirations, which are based in the fashion world, martial arts and painting, are - like dance itself - subject to constant change and inspire each other. In his classes, Plenvm shows how these influences can be combined with one's own individual body language. As a trained dancer and musician, he also incorporates conditioning and rhythm exercises into his lessons. Plenvm is one of the pioneers of ballroom in Austria, a father, organizer, teacher and active member of the international scene, in which he appears as a walker, commentator and judge. With EatSlayLove and Danger Class, Plenvm coordinates platforms for gatherings and performance opportunities for the Ballroom and intersectional LGBTIQ+ communities.

SINERGIA

A workshop with Colectivo R3M

SINERGIA, where playful-improvisation-creation dynamics are generated to allow three or more bodies to touch either with physical contact, through space or even by intention. Engaging with the fact that our bodies grow possibilities when they relay on other bodies, we let ourselves be driven by the commitment in between the group, approaching to each other through dynamics of contact and partnering, but also instant composition and different impulses that we have used in our own research. As a collective of four, our philosophy believes in networking and negotiation. We trust in self building as we build with others, and the same thing as dancers and choreographers. The main ax of the workshop is that movement benefits from the particularity of each body within the group.
R3M is a costa-rican dance company founded in 2015 by Andrea Núñez Segnini, Sol Pardo Carballo, Sofía Riggioni Rojas and Michelle Sánchez Sancho.

Shared Levitation | Partnering-Workshop

Shared Levitation Partnering is based on the principles of action – reaction wants to liberate us from aesthetics of dance and enhances playfulness and functionality instead: an easy way to get excited again and again and to lure the inner child out. In addition, we try to eliminate prejudices regarding gender, body type, weight, and age. Anyone can be lifted and lift!
We start the class by opening our channels of awareness and connect to our partner by manipulating, testing and speculating with his/her structure and weight. A special focus in this phase is the use of our whole body doing the task, not only being limited to our hands and arms. In this first part the use of playfullness allows us to connect to our instinctive and primitive side, tuning into a shared natural flow of breath. With the help of exercises in different constellations, every time changing and adapting to a new partner and universe - we listen, follow and direct the movement as one functioning organism through space. We learn how much resistance, power and direction is needed to reach our maximum together by investigating with the given tools, and finally learning fixed Partnering material at the end of each class.

Me and Sebastian - a dance workshop on the musical body

Movement research with Choreographer Zina Vaessen & Julia Klockow
 

Accompanying the performance Ist Trieb, ist Geist, ist Kampf und Glück, ist Liebe - Sebastian und ich! you can dive into themes and qualities from the piece in a short movement workshop. How does music move us and how do we move music? Zina Vaessen (Freiburg/Basel) invites everyone interested to listen with the whole body. Previous dance experience is not necessary, only the desire to move.

Additional Info:

www.tanznetz-freiburg.de/dance-dates

Sharing the language | Peninsula Flora

Movement Session mit Smadar Goshen

Peninsula Flora is a dance piece by Smadar Goshen, a choreographer from Israel who has been working in Stuttgart since 2019. She creates a poetic habitat of possibilities in which man and plants, in this case the cactus, meet at eye to eye. In her workshop, anyone interested can dive into the movement practice themselves and learn more about the background of Peninsula Flora's body language.

Additional Info:
www.tanznetz-freiburg.de/dance-dates