Bewegungsevolution®

basiert auf der frühen Bewegungsentwicklung und den frühkindlichen  Reflexen. Die Übungen und Bewegungs-anregungen des Trainings beginnen mit kleinen Impulsen und entwickeln sich hin zu größeren, kraftvolleren Bewegungen. Das Training beginnt am Boden und bietet unserem neuro-muskulären System Frische und ein stabiles Getragen-Sein und bereitet uns vor, offen und präsent im Raum zu tanzen, zu spielen und auf Begegnung zu reagieren.

English:

Bewegungsevolution® is based on early movement development and primitive reflexes. The exercises and movement suggestions of the training begin with very subtle impulses and develop into larger, more powerful movements. The training begins on the floor, providing our neuromuscular system with freshness and a stable sense of support, preparing us to dance, play, and respond to encounters openly and presently in space

Martina Kunstwald

Dancer, dance teacher, and Alexander Technique (ATVD) instructor.

Training in dance and movement analysis (Munich), Alexander Technique (Hamburg). The development and practice of the method: Bewegungsevolution® is supported by many years of experience with the Alexander Technique, further training in various somatic approaches, and her own extensive research into early childhood movement development.

Teaching experience in dance (since 1988), Alexander Technique (since 1995), and Bewegungsevolution® (since 2002) in workshops, one-on-one sessions, and in Bewegungsevolution® training and continuing education. http://www.martinakunstwald.de/ @martinakunstwald

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“.

Composition: In this class leading into a jam the focus is on composing together. Dancing as a group, building awareness to each others movements, impulses, atmospheres, images, ... creating a moving poetry.

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

F(ol)low and Encounter
We let slow, enjoyable reaching and stretching transition into more and more dynamic movement
through space – observing how one bodypart follows another bodypart.
We invite other people to follow us in various ways. We reveal how connection starts before touch and how touch can turn into support. F(ol)low into a meeting! Flow into resting into flow!
Follow into levelchanges, into shared weight, potentially into lifts, into resting, into melting, into sensing, …
Roland Nordeck
I have been practicing CI for over twenty-five years and I studied contemporary dance in
Outokumpu (Finnland) for three years full-time. Aikido is an important part of my movement background. Bodywork (mainly shiatsu) and improvisational dance complement my general interest in communication. I am involved in “Tanztheater Göttingen” – in the role of teacher, choreographer and dancer.
Apart from CI and Contemporary Dance I also teach dinghy sailing – understanding it as as a
continuous counterbalance with the wind.
I love to explore the similarities between dancing and surfskating – especially concerning flow and
release and the efficiency of spiral movements.
I live, move, play, teach, choreograph and offer bodywork in Göttingen

Tender Boundaries, Wild Dance

Was wäre, wenn wir Berührung in Contact Improvisation nicht als selbstverständlich betrachten? Wie können wir wirklich spüren, wie komplex und vielschichtig Berührung ist?   

In dieser Klasse übern wir eine feine Wahrnehmung von unseren Körpersignalen zu den Impulsen aus unserer Umgebung. In Solo und Duetten unsere Grenzen oder Zustimmung spüren zwischen “Ja”, “Vielleicht” und “Nein”.

Im Trio spielen wir mit Möglichkeiten, wie sich Nicht-Zustimmung – etwa zu Berührung oder zu einem Lift – deutlich und zugleich tänzerisch und verspielt ausdrücken lässt. Zum Abschluss integrieren wir unsere Erfahrungen in einer fokussierten Jam-Situation. Wir lassen uns überraschen, was entsteht, wenn wir tief mit uns selbst, unseren Grenzen verbunden sind.

Tender Boundaries, Wild Dance

Contact is not a finished thing. - Steve Paxton, 1975

What if we begin by assuming that touch in Contact Improvisation is not a given? How can we truly sense the complexity and multilayeredness of touch?

In this class, we learn to sense our body signals to impulses from our environment.
Through solo and duet explorations, we tune into the subtle layers of consent: Do I feel to this touch a full “yes“? A “yes with allowing“? Or perhaps a “no“?

In a trio, we’ll play with ways to express non-consent – for touch or for a lift – clearly and creatively, through dance and playfulness. We’ll close with a focussed jam, integrating what we’ve discovered. What can emerge in a space for the unknown – when we are deeply connected to ourselves, and our boundaries?

Natascha Golubtsova (RU/DE)
...has been researching and creating in the field of Contact Improvisation and dance since 2006. She began her dance journey in Russia with CI and contemporary dance; soon after, Authentic Movement, Butoh, The Axis Syllabus, Feldenkrais, the Ilan Lev Method, Body-Mind Centering, dance improvisation, and instant composition became part of her practice. For the past ten years, she has been dancing in Hamburg, where she integrates these influences in her regular CI classes, jams, workshops, and improvisation evenings. As a dance artist, she merges somatic and performative approaches in her stage work. Her main inquiry revolves around the question: What potential lies within human beings, and how can it be discovered through dance?
www.nataliagolubtsova.com

Kopf nach unten!

Wir erkunden die spannenden Möglichkeiten der Kopfüberposition – und den Übergang von der aufrechten zur kopfüber Position. Spüren und folgen dem Gewicht des Kopfes und beschreiten umgekehrte, rollende Kontaktpunkte. Erkunden, wie wir das Gewicht in der Kopfüberposition teilen können. Übungen und Tipps erleichtern das Überkopfgehen in jeder Phase eines Tanzes. Die eingeführten Grundlagen und Themen können vertieft werden. Sie erhalten Unterstützung, wo nötig, und zusätzliches Material /Übungen, wo gewünscht.

Heads Down!
We shall explore fun possibilities when inverted - and in transitioning from heads-up to heads-down. We'll feel and follow the weight of the head. We'll travel inverted rolling-point-of-contact pathways. We'll find how we may pour and share weight when upside-down. There will be safety guidelines and practice, and tips for going upside down at any stage in a dance. The class material is differentiated, and extended explorations may continue from the foundations and themes introduced. You will have support where required, with extra material and explorations where desired.

Asher Levin is based in Dartington in South-West England (Where Steve Paxton first taught CI in Europe at Dartington Hall - the current home of the Totnes weekly jam!). Asher loves being and interacting with the land and elements in that beautiful part of the world. He’s practised Contact Improvisation,  Dance Improvisation with elements of Contemporary Dance, as well as Physical Theatre, for over a quarter-century.  He's had a performance and research practice throughout his adult life. He's taught CI internationally since 2008.

Organic Contact - Body-Mind Centering® into Contact

Wir tauchen ein in die Materie des BMC® und forschen, wie die Organe das Fließen, Fülle und die Verbindung im Kontakt vertiefen können. Welche Qualität und welches Volumen bringen Organe in den Kontakt, welche Bewegungen und Verbindung laden die Organe ein. Kommt mit mir auf eine Reise und erfahrt Volumen und Elastizität, Lolassen und Kraft die unsere Verbindung und Qualtität im Contact Leichtigkeit und Tiefe erlaubt.

BMC into Contact

We immerse ourselves in the subject matter of BMC® and explore how the organs can deepen flow, fullness and connection in contact. What quality and volume do organs bring to contact, what movements and connections do the organs invite? Come with me on a journey and experience volume and elasticity, letting go and strength that allow our connection and quality in contact to be light and deep.

Gabriele Koch lives in Wuppertal. She has dedicated her life to dance and the exploration of movement. She has been dancing and teaching Contact Improvisation for more than 25 years and loves and lives the endless exploration of movement and interpersonal contact. Gaby is a Somatic Movement Educator for Body-Mind Centering® and has long integrated the connection to our bodies into her work. She is interested in constantly discovering new ways, breaking patterns and finding subtlety, connection and freedom in dance.

Unterstützende Hindernisse – inspiriert von Parkour und seiner Verbindung zu Contact (siehe Parcon CQ Newsletter, Summer/Fall 2016).
Wir experimentieren damit, über unsere Mittanzenden zu springen oder auf ihnen zu landen. Dabei üben wir einige Basics aus Parkour und verweben sie mit tänzerischen Bewegungen.
Wenn das Wetter mitspielt, können wir nach der Klasse auch draußen einige dieser Elemente ausprobieren – direkt in Bewegung, im Austausch mit Umgebung und Partner*innen.

Supportive Obstacles

Inspired by Parkour and its connection to Contact (as described in Parcon CQ Newsletter, Summer/Fall 2016), we’ll play with the idea of leaping over — or landing on — our dance partners!
We’ll explore some basic Parkour elements and weave them into our dancing. If the weather is kind, we might even take the practice outside and try out some of these movements in the open air.

About Matthias

Since 1985, I have been teaching Contact Improvisation, drawing inspiration from martial arts, Parkour, and a range of movement and somatic practices — particularly Bewegungsevolution, but also Laban, BMC, and Feldenkrais. Over the years, I’ve created and performed numerous works — choreographed and improvised, with text or music, indoors and outdoors.
My passion lies in exploring, analysing, and questioning movement and dance concepts — finding freedom through understanding.

🌐 www.matthiasfrueh.de

Youtube: Tutorials „Movement skills für Tanz und Contact Improvisation“

Insta: movement_bremen                            

Vom Gewicht teilen zum transformativen Potential

Was heißt es eigentlich, Gewicht miteinander zu teilen? Mit wem teile ich Gewicht? Wie erlebe ich das Gewicht teilen? Wie viel Gewicht mute ich anderen zu?

Diese Klasse beschäftigt sich mit dem Gewicht teilen - auch im Sinne eines transformativen Potentials von CI für Care und gesellschaftliche Transformation. Damit wir gleich gute Intentionen für 2026 setzen können

Sharing Weight to Transformative Potential

What does it actually mean to share weight? With whom do I share weight? How do I experience sharing weight? How much weight do I burden others with? This class explores sharing weight—also in the sense of Contact Improvisation's transformative potential for care and social transformation. So that we can all set equally positive intentions for 2026.

Heike Kuhlmann, from Berlin, has been teaching Contact Improvisation and Dance Somatics for over 20 years. Through her teaching, she aims to strengthen self-efficacy and agency, and to draw attention to social contexts and necessities. This will enable us to face the challenges of the coming years and discover what role Contact Improvisation can play.

s exploration also has the potential to reduce anxiety, enhance mental clarity, and bring greater fluidity and precision to our movement.

“Centers, Obliques, and Tangents”
‘Centers of the dance’ is a returning topic in my dancing and teaching. When I dance, look at or consider dance I may recognise various centers: the center of gravity of the body, or that of parts of the body, the center of the planet, the center between partners, the center of the stage or room, the center of a composition, the focal center… Some of these may only live in my perception or imagination. 
In this 2-hour class however I woud like to eventually focus on centers that we share, and consider axial, radial and tangential directions and relations to that. Curious what this will bring? I am too!

Kees Lemmens: As a dancer I am richly inspired by other fields of knowledge; having studied architecture, some philosophy and recently some psychology, and having worked in architecture and fine-arts. I love how dance teaches me about the body, other people, the world. Travelling a lot for dancing, I worked with many international teachers. 

Taking and giving workshops I see as creating and learning together. I've given dance courses for the LAK-theatre in Leiden, MOOOF New Dance Center in The Hague, and the VAK in Delft, and I (co-)organize and teach at CI-events in the Netherlands and abroad. 

Preferences, Balance and Dynamic Diversity in our dances

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.

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.

In this class we will investigate different possibilities to support and give wait to/from the legs and feet, and try to discover new patterns - working with the lower body.

During the class I will introduce a “concept” I call “the small asshole”:

How can we, in a gentle, safe way, offer each other resistance and with softness in mind and body, surprise each other to open up the dance? 

We will get quite physical - recommended for experienced dancers.

Johannes Frieboe

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.

Dogmatic Games to Challenge and Expand Our Dance Patterns

In this workshop we explore a series of dogmatic games designed to interrupt our habitual choices and expand the possibilities within our dancing. Each game offers a clear constraint—a “dogma”—that invites us to move beyond our usual patterns, meet the unexpected, and discover new pathways through the body and in relation to one another.

Grappling Game: We explore the act of grabbing as a responsive, supportive, and creative tool.
Instead of grabbing from anxiety or the impulse to “save” someone, we investigate how grabbing can open possibilities. We work with the idea of a 360-degree contact surface, where the grip becomes dynamic, adaptable, and full of potential. Through the limits of the grab, we discover the range of options hidden inside restraint.

Awkward Game: Here we look for moments of awkwardness, stuckness, and the genuine “what now?!” When we encounter these moments, we slow down and stay inside them. We use words if helpful, and we give ourselves time to experience the texture of the stuck place. As we soften tension or shift our relationship to the moment, new pathways often emerge. What once felt like a block becomes a doorway into new sensations and directions.

Rikke Lundgaard Ebling (she/they) is a contemporary dancer, improviser, and choreographer based in Aarhus, Denmark. Their practice centers on Contact Improvisation, partnering, and floorwork. They are currently studying at the MA Art Praxis at the Dutch Art Institute, ArtEZ, where they explore CI as an activist artform and as a space for political, somatic, and relational inquiry.

Rikke has practiced CI since 2016 and has taught for the past five years in Denmark, the Czech Republic, and Morocco. Their movement background spans contemporary dance, physical theatre, acroyoga, Alexander Technique, and Countertechnique, grounding their practice in acrobatic and somatic weight work, embodied listening, and responsive movement. Rikke is trained at Dansestudiets Danseuddannelse (2024), holds a BA in Aesthetics and Culture (2021), and has a degree in physical theatre from Move’n Act (2018).

Helene and /or Markus and probably other teachers

We will offer a space to investigate, research, tryout,... different things you are interested in. We might need to reduce to a few different topics which will be collected until 30.12.