orientiert sich an der frühen Bewegungsentwicklung und den frühen Reflexen. Die Übungen stimulieren prä- und postvertebrale Muster. Sie beginnen mit sehr kleinen, subtilen Impulsen und entwickeln sich hin zu größeren, kraftvolleren Bewegungen. Das Training beginnt am Boden und führt uns in den Raum. Es bietet unserem neuromuskulären System Frische und ein stabiles Getragen-Sein und bereitet uns vor, offen und präsent zu tanzen, zu spielen und auf Begegnung zu reagieren.

Martina Kunstwald
Tanzpädagogin (Zeitgenössischer Tanz) und Lehrerin für Alexandertechnik (ATVD). Gründung und Leitung von Tanzwerk Bremen (94 – 97). In die Entwicklung von Bewegungsevolution® fließen Erfahrungen aus der Alexandertechnik, dem BMC ™ und das eigene, langjährige Forschen mit der frühkindlichen Bewegungsentwicklung ein. Unterrichtserfahrung in Tanz (seit 88), Alexandertechnik (seit 95) und Bewegungsevolution® (seit 05) in Kursen, Einzelarbeit und in der Weiter- und Ausbildung. http://www.martinakunstwald.de/

Playful Anatomy

Ein Mix aus zeitgenössischen release Tanztechniken um die Bewegungsmöglichkleiten des Körpers zu erweitern. Mit Elementen aus Axis Syllabus, GaGa, flying low, u.a.

playful anatomy

A mixture out of contemporary dance techniques to enrich the movement possibilities of our body. With elements from axis syllabus, gaga, flying low, and others.

Markus Hoft started with dance improvisation (1992)/ contactimprovisation (1995) and studied dance at movingArts/Köln and SSCD/Dundee (Scotish School of Contemporary Dance). Teaching and choreografing/ performing with kindergarden children, school dance projects, people with mixed abilities, semiprofessional and professional dancers... until now. www.fooldance.de

Bernd Knappe

...beschäftigt sich seit vielen Jahren mit Kontaktimprovisationals zeitgenössischer Kunstform, nach freiberuflicher Tätigkeit als Maler, Musiker und Architekt.
Eine besondere Aufmerksamkeit widmet er dabei der Frage,
wie Menschen auch ohne spezialisiertes Training, Körperwissen oder außergewöhnliche Bewegungserfahrungen dennoch einfach, spielerisch und unbefangen miteinander improvisieren können.
Er unterstützt und initiiert inklusive Tanzprojekte und kooperiert
mit „DanceAbility-International“.

In the last 12 years I have worked with theater, music and dance as a teacher and performer. Since 2018 I have been teaching dance and movement at DDSKS - the national school of performing arts in Denmark. Beside my job as a teacher, I work as a body therapist.

My main interest lies in the human ability to express itself with sound, words and body. My teaching is at it’s core a search for a loss of mental and physical boundaries, that stops our free and spontaneous ways of expression.

CI is a big part of that search. And a way of balancing a life full of structure, plans and e-mails.

Contrasting encounters – when do we meet in contact?

What happens when very different movement qualities meet in contact improvisation, and is harmonizing the only way to meet? How far can we hold our own dance without tuning to a middle ground with a partner, and still keep a sense of being in contact? Together we explore different movement qualities and possible ways of physically relating and experiment with the meeting points. Through embracing awkwardness and struggle, the class will be a playground for expanding the CI aesthetics and notions of dancing together.

Helene Düring Kjær (DK) is a contemporary dancer based in Scandinavia and Bremen. Both a creator and performer, she is engaged in various artistic collaborations and as a dancer for choreographers. She first encountered contact improvisation through her BA in Dance (2018), and has since continued the journey through many workshops, her own practice and at CI-festivals. As a facilitator, she taught workshops in Norway, Denmark and at Schönberg (DE) dance retreats. Within CI, she is especially fond of moving into the unknown, playing with gravity and connecting poetically through dance.
https://www.heleneduringkjaer.com/

CI und das gemeinsame Zentrum: der ständige Fall

Eines der Grundprinzipien der Contact Improvisation ist das gemeinsame Zentrum. Wenn wir in Kontakt mit einem oder mehreren Partnern tanzen, lassen wir es zu, dass wir uns von unserem eigenen Schwerpunkt zu einem gemeinsamen Zentrum bewegen. Dazu gehört, dass wir die Kontrolle über unser eigenes Zentrum aufgeben, sodass wir ständig mit unserem Zentrum zu oder von unserem Partner fallen, um ein dynamisches Gegengewicht zu schaffen. Die Kontrolle über unser Zentrum aufzugeben, ist in der Regel das genaue Gegenteil von dem, was wir in unserem täglichen Leben tun. Es erfordert eine ständige Achtsamkeit in unserem Tanz. Das ist es, was ich als den ständigen Fall bezeichne. Der ständige Fall erfordert, dass wir im gegenwärtigen Moment bleiben – im Hier und Jetzt – und dass wir vertrauen. Es ist eine fortlaufende Praxis, die für Menschen aller Niveaus geeignet ist, vom Anfänger bis zum Fortgeschrittenen. Es wird nie langweilig und wir können immer besser darin werden. UND es macht einen Riesenspaß! Der ständige Fall ist das magische Element von Contact Improvisation, das es uns ermöglicht, die Ebenen zu wechseln und uns so fließend mit unserem/unseren Partner(n) durch den Raum zu bewegen. Er ist schön, wenn er subtil und klein ist, und für fortgeschrittenere Tänzer schafft er gewagte und dynamische Verbindungen und Fälle.

CI and the shared-center: the constant fall

One of the basic principles of Contact Improvisation is the shared-center. When dancing in contact with a partner or partners, we let go of moving from our own center-of-gravity to a shared center. This involves giving up control of our own center, so that we are constantly falling with our center to or from our partner so that we create a dynamic counter-balance. Giving up control of our center is typically the exact opposite of what we are doing in our daily life and typically requires a constant awareness or attention in our dance. This is what I refer to as the constant fall. The constant fall in its essence requires that we stay in the present moment – the here and now – and that we trust. It is an on-going practice that is for people of all levels, from beginners to advanced practitioners. It never gets old and we can always become better at it. AND, it is mega fun! The constant fall is the magic element of CI, which allows us to change levels and move so fluidly with our partner(s) through space. It is beautiful, when subtle and small, and for more advanced dancers creates daring and dynamic connections and falls.

Liz Erber ist eine Tanz- und Theaterschaffende Künstlerin und Tanzpädagogin, mit einem besonderen Fokus auf zeitgenössischen Formen (inklusive Contact Improvisation) und somatischen Methoden. Sie liebt Bewegung und Tanz, und die Bewegungs-Diversität, die jeden Mensch und jeder Kultur zu dieser Welt bringt. Ihre Bewegungsgeschichte begann in Amerika, mit Akrobatik, Turnen, Ballett, Jazz und viel Sport. Später entdeckte sie verschiedene internationale Volkstänze, Capoeira -während sie in Brasilien gewohnt hat, und dann in Seattle: Contact Improvisation, zeitgenössischen Tanz und ganz viele alternative somatische Methoden. Der Wünsch menschliche Bewegung auf einer tieferen Ebene zu verstehen hat sie zu Laban/Bartenieff Bewegungsstudien gebracht. Liz lebt mit ihrer Familie in Oderberg, Brandenburg, wo sie KuNaKu - Haus für Kunst, Natur und Kultur gGmbH zusammen mit ihrem Partner gegründet hat. Sie bauen einen Ort für Gemeinschaft, Künstler- Residenten, Austausch, Produktion und Zusammen-sein aus. www.KuNaKu.org, www.lizerber.com.

Dancing from/ with My Skin

In this class, we will explore the skin as both a sensory organ and a boundary, engaging with its capacity to interact with air, surfaces, and other bodies through the concept of “skin swimming.” By gliding, sliding, hanging, and flowing, we will investigate how these interactions shape our dynamics of connection and responsiveness.

Focusing on the sensations and functionality of the skin, we will address both interoceptive awareness (awareness of internal bodily states) and exteroceptive awareness (sensitivity to the external environment). By diving deeply into our tactile sensitivity, we aim to refine not only spatial awareness but, most importantly, our connection with partners. This exploration also has the potential to reduce anxiety, enhance mental clarity, and bring greater fluidity and precision to our movement.

Tiago Manquinho ist ein portugiesischer Choreograf und Tanzpädagoge. Nach seiner Ausbildung in Lissabon tanzte er 20 Jahre lang in verschiedenen Ensembles in Portugal und Deutschland, Von 2015 bis 2017 war er Hauschoreograf am Staatstheater Braunschweig, bevor er als freischaffender Choreograf europaweit tätig wurde.

Seine pädagogische Arbeit ist eng mit seiner künstlerischen Vision verknüpft. Seit 2014 lehrt er an der Universität Bielefeld mit einem Schwerpunkt auf CI und zeitgenössischem Tanz. Darüber hinaus gibt er regelmäßig Gasttrainings an Theatern, Hochschulen und Tanzensembles. Mit seiner Arbeit fördert er den Dialog zwischen professionellen und nicht-professionellen Tänzer*innen und entwickelt inklusive Ansätze, die Barrieren im Tanz abbauen sollen.

Tiago Manquinho künstlerischer Leiter des Jungtanzensembles LCD in Portugal, Teil des Leitungsteams von TANZKOOP und Vorstandsmitglied im LaFT Niedersachsen. Mit seinem Projekt act:on verbindet Tiago Tanz mit gesellschaftlichem Engagement und strebt in alle sein Formaten stets nach ästhetischen und sozialen Transformationen.

Tiago Manquinho is a Portuguese choreographer and dance teacher. After training in Lisbon, he danced for 20 years in various ensembles in Portugal and Germany. From 2015 to 2017, he was in-house choreographer at the Staatstheater Braunschweig before becoming a freelance choreographer throughout Europe.

His pedagogical work is closely linked to his artistic vision. Since 2014, he has been teaching at Bielefeld University with a focus on CI and contemporary dance. In addition, he regularly gives guest trainings at theaters, universities and dance ensembles. With his work, he promotes dialog between professional and non-professional dancers and develops inclusive approaches to break down barriers in dance.

tiago manquinho I act:on ensemble

Horizontale & schiefe Ebenen in der Contact-Improvisation

Horizontale Ebenen, auch „Tischebenen“ genannt, eignen sich hervorragend um das Gewicht des*r Partner*in aufzunehmen. Nicht nur der Rücken können die Schultern, Oberschenkel, Unterarme, Unterschenkel und die Fußsohlen als solche Flächen dienen.

Noch interessanter wird es, wenn diese Ebenen beginnen sich zu neigen und in schiefe Ebenen zu transformieren: dadurch werden Lifts dynamisch, Flächen werden zu Rutschen und die Fähigkeit zu fallen unerlässlich.

In dieser Klasse erforschen wir das Potenzial sowohl horizontaler als auch schiefer Ebenen!

Horizontal & inclined planes in Contact-Improvisation

Horizontal planes, so called “table planes”, are excellent opportunities take the weight of your partner. Not only the back but also shoulders, thighs, lower arms and the sole of the feet can be used as such. It gets even more interesting if these planes start to tilt and transform into inclined planes: thereby lifts become more dynamic, surfaces transform into slides and the capacity to fall safely becomes essential.

In this class we will research the potential of both horizonal and inclined  planes!

Esther Berias: dances Contact-Improvisation passionately for 30 years. For her CI is a life philosophy, which combines deep self-awareness with ease, humor and playfulness as well as borderline and merger experiences between the “I” and “the other”. This philosophy weaves through her way of teaching. Esther studied Dance & Choreography at the Hogeschool voor de Kunsten in Amsterdam, NL. For over 18 years she works as a movement teacher at the University for actors in Hannover (HMTM Hannover). She is present as a teacher at CI dance festivals and gives her own workshops (www.bewegung-tanz.de)

We will explore how to regenerate energy during our dance by warming up the mobility of our spine, releasing our pelvis using bouncing as a tool to connect with gravity, sending and returning energy from the ground. From this quality of groove we will dive into the multidirectionality of the skin exploring ways to smoothly transmit weight, and then continue to investigate ways to guide the momentum of the fall in the search of developing safe responses.

I understand myself as a movement researcher. My journey through dance starts with the study of Afro-Latin dances and contact improvisation. Later, with the intention of deepening my own research, I completed a master's degree in choreography at the University Center for Dance in Berlin (HZT).

My choreographic practice explores relationships between rhythm, movement and gravity, in the search to create different qualities of presence and listening between bodies.

So far, I have participated as a performer, choreographer and teacher in different artistic projects and festivals in different contexts, such as Peru (2017), Colombia (2019), Benin (2021), Switzerland (2022), Cuba (2023) and Germany (2023).

Contact Improvisation and Aikido: A Shared Practice

Contact Improvisation emerged from Steve Paxton’s studies of Aikido. I want to share with you what I’ve learned from 25 years of practicing Aikido.

Central in my view are these principles: constantly sending energy toward my partner, avoiding collisions, leading someone in a friendly and inviting manner, protecting myself, and demanding unusual directions. These elements form the foundation for duett that is both dynamic and harmonious. we use these principles to support falling and lifting, creating dances that are alive, adventurous, and deeply connected.

Matthias Früh unterrichtet seit 1985 Contactimprovisation und kombiniert Einflüsse aus Kampfkunst, Movement Training mit Bewegungsevolution® (certified trainer) und anderen Körpertechniken wie Feldenkrais und Laban. Seit Jahren verbindet diese Einflüsse in experimentellen Aufführungen mit intellektuellen Konzepten über Tanz und Wissenschaft.
Matthias Früh teaches since 1985 Contact Improvisation and combines influences from martial arts, movement training and Bewegungsevolution® (certified trainer) and other different body work
techniques such as Laban and Feldenkrais. For several years he conected improvisation structures
with the intellectual understanding of concepts about dance and science.
Have a look on:
Youtube: Matthias Früh Movement Skills für Tanz und Contact Improvisation
Instagram: movement_breme                                                        

Serious fun with dynamics
In this class we will play with different dynamics of speed, flow, intensity, direction, and focus, embracing moments of confusion to find authenticity. Drawing inspiration from martial arts principles,

we’ll engage our centers to explore different qualities of movement within our bodies and in relation to a partner. Through tasks, we’ll develop a keen sense of awareness in leading with
clarity and following with attentiveness. The atmosphere will encourages playful exploration,
transformation of energy with those around us, and letting go of expectations.

Maayan Reiter is a dancer, choreographer, video creator, motion designer, and Contact Improvisation teacher based in Cologne, Germany. She believes that dance is a powerful form of communication and energy exchange between people, and that Contact Improvisation emphasizes the importance of listening to oneself and others, fostering a sense of trust, awareness, and liveliness. In her work, Maayan uses physical communication as a tool to explore social and interpersonal relationships, and to challenge the boundaries of habitual behavior. She trained in contemporary dance at SEAD  Salzburg Experimental Academy of Dance and is currently studying Integrated Design at KISD – Köln International School of Design. There, she is exploring innovative ways to combine dance with design and technology, applying her extensive knowledge of filmmaking. Maayan also collaborates with various artists on multidisciplinary projects, and has been teaching Contact Improvisation for the past seven years in multiple settings, including occasional classes, workshops, and sessions specifically for professional dancers.
Website: https://maayanreiter.com/                            instagram: @maayan.re
Photo by Paul Trinker

Liquid Bodies      A Body Mind Centering® CI Class.

In this class we will explore our origins as movers and human animals. Inviting qualities of softness, slowness, melting and a quality of arriving into support. We will take time to marinate in these qualities so a surrendered dance can emerge.

Initially we will let images of the sea and animals without bones be our inspiration into dancing.

We will imagery to traverse the ever changing landscapes of dancing as if moving over rock, resting against tree and yielding our weight into the softness of moss. How does our form meet another using images of moving on the land as inspiration for our CI practice.

From there we will let these images fall away and we will open an improvisational space of stillness and movement. Where we follow impulses, listening to the moment and the resonance in meetings and the group field.

Jamus Wood is a dancer, somatic researcher and wanderer of the land.

With an resonate curiosity for life and a deep interest in the processes of how growing up into ourselves can unfold.

Since 2000 He has been studying Body Mind Centering® and Contact Improvisation with international teachers including Bonne Bainbridge - Cohen, Katy Dymoke, Helen Poynor, Joerge Hasmann, Daniel Werner, Nancy Stark Smith, Ray Chung, Charlie Morrissey, Martin Keogh and Kirsty Simson

Research in movement and being draws from various wells of practice including Butoh, the study of Anglo Saxon Runes, Embodied Awakening, Shibari and somatic practices such as Feldenkrais, Environmental Movement and BodyMind-Centering®. Presently he is researching with Touch Down Dance as one of their sight-impaired dancers. Has curated a number of Touch&Play festivals and is a frequent contributor at festivals in the Uk.

Currently he is teaching Body Mind Centering® with the support of embodied awakening. Attention is given to textures and flavours of presence within the body and in the spaces within the body and around it, traversing landscapes of bone, nerve and fluid, journeys into human origins and ancestry through embodied embryology. Revitalising, developing nervous system resilience and becoming relational through the embodiment process.