Intensive and Workshop Teachers 2017

Each teacher offers 1 intensive class and 2 workshops. You will have the possibility to take 2 intensives (3x3 hours each) and several workshops. For detailed information also have a look at the schedule!




From Instinct to Artifice: Contact Improvisation Through Physicality, Aesthetics, and Politics

This workshop will cultivate real, sweaty, conscious dancing — this means that it will be multiplicitous, rare, radically alive, responsible, daring, charged, mundane, embellished, responsive, political, resistant, ridiculous, permissive, and more. We will foundationally work with hard and soft Contact Improvisation skills/practices in order to cultivate an open system contact body. We will also work with solo and group improvisational, compositional, and perceptual scores that draw on both instinct and artifice. It will be physically/energetically intense. What happens will be highly influenced by who is in the room, what we value, the risks we are willing to take, and how we move. We will attempt to prepare our physical and energetic bodies for anything and everything that we can imagine. It is impossible. And we will still take it on with ambition and generosity. How can we consider the politics of dancing in this current time? Think ‘Super Hero Training Camp’. Through being quite specific and disciplined in our research and play, we will invite a culture of possibility that in turn heightens our critical capacities, artistic intelligence, and kinesthetic acuity. 


Permeable Durational Disorientation 

This Contact Improvisation class will consider the body's relationship with gravity in supportive and destabilizing ways. We will work with durational disorientation. We will find soft edges. We will work with velocity and momentum. We will work with sphericity. We will engage with multi-directional off-verticality. We will cultivate precarious and volumized states of physicality in solo body and in physical contact as a way to provoke sensitized dancing possibilities. Through an intense focus on physicality and state we will notice what else becomes available. And we will take all of that into juicy, full-bodied contact dancing.


I dance with the body that I have to cultivate radical aliveness, longevity, and possibility. Originally from Alaska, I am currently based in San Diego, California, US. Contact Improvisation, through teaching, practice, and performance, is a central aspect of my work and I have had the pleasure of teaching at several festivals including Freiburg, Ibiza, wcciJam, and Salt Dance Fest. In addition to CI, I am a contemporary dancer and dance maker. Working with and/or performing for Sara Shelton Mann, Nancy Stark Smith, Katie Duck, Ishmael Houston-Jones, Karen Nelson, Eric Geiger, Karen Schaffman, Yolande Snaith, and Leslie Seiters has fundamentally inspired my work. I hold an MFA in Dance Theatre and currently teach in Dance Studies at California State University San Marcos. I am also in the first year of the Feldenkrais™ Certification Training Program.




[in] between

During the course of this intensive the possibility of moving with weightless weight and the possibility of moving with weight falling up where up is weighted will be explored. Balance will be considered as a thing of transition that can support our actions while taking physical risks. Material will include moving from the sensation of balancing, tipping, sharing weight and utilizing momentum. 

Even though the material brought to this intensive is prepared, I am interested in making specific choices in relation with the participants that will be informed by our daily desires and experiences. Each session will begin with fine tuning, learning and practicing contact moves taken into dancing alone and with one or more partners. We will also reflect on how the practices, investigations and immersion affect our dancing. We will spend time letting go and releasing; intensifying and easing our movements, and playing with buoyancy and airiness. 



Recently I've been interested in teaching CI classes that would be open to all levels, centered around the basic principles of contact but focused on the quality I'd call ‘beginner's mind’. The work with the quality of the ‘beginner's mind’ would entail working with the kind of curiosity and excitement often seen in people who meet ‘the form’ for the first time. What I'm interested in is practicing the kind of involvement (open, curious, vulnerable, attentive, immersed and intense) independently from the amount of experience one has previously had with CI and looking at what kind of reflecting and learning that makes possible.


Eszter is a dancer, teacher, working at the University of Theater and Film Arts in Budapest, a certified Skinner Releasing Technique teacher. She is a member and co-leader of Tánceánia, the only mixed-ability Company in Hungary. She has been practicing, studying and teaching releasing work and improvisation including Contact Improvisation for over 20 years. She has been creating her dance performances, performing solo and group improvisation since 1993, has been a guest teacher at Master workshops and International Festivals since 1998 and organizes national and international events, projects (Kontakt Budapest International Improvisation Festival, ECITE, PORCH, Ponderosa Tanzland, IDOCDE, LEAP). She is the co-founder of IDOCDE (, and the project coordinator as well as one of the researchers of the EU funded International project on documentation of Contemporary Dance Education REFLEX EUROPE (2015 – 2018). Her core interest is somatic-based movement research, improvisation performance and community work for dance education.



photo: Nadja Meister


Waves, Swells and Undercurrents

Contact Improvisation reveals to us that instability leads to mobility … and great instability leads to exhilarating mobility. 

We begin by decelerating our sense of time to enter the details of sensation. From here we locate our ground to dance while in the act of falling. And dance we will.

Exploring the many currents, ripples and patterns in our sea of perception we will delve into the tiny ripples that grow into sea swells and the spontaneous acrobatics of the form. 

Some of my current interests:

  • Cultivating lucid touch
  • Finding the ideal body tone to both sense possibility and organize movement
  • Allowing awareness of nuance to grow into dynamic movement states
  • Awareness of my own and my partner’s rehearsed futures 
  • Trailblazing new pathways by entering a continuous follow-through

This intensive is for those with a strong grasp of the fundamentals of contact improvisation.


Deeper Still

The workshop will cover in depth:

  • silkworms sliding slowly out of their yellow cocoon
  • leaves detaching from the tree with a slight breeze, suspended, floating
  • the tiny pieces of a strange artifact and we do not know how it works
  • a stream of cascading crystal clear water 
  • the denial of the simultaneity of time
  • water drops piercing stone
  • contemplating from the window of a moving train the landscape that is there but disappears instantly
  • honey spilling 

All levels welcome.


Martin Keogh has been teaching and performing Contact Improvisation for 37 years. After attending the Interlochen Arts Academy and Stanford University, Martin spent time traveling to monasteries in Japan and Korea and was a dharma teacher at the Empty Gate Zen Center in Berkeley, California. He is one of the original members of the Motivity Dance Company, which specializes in aerial dancing on low level trapezes. Martin founded The Dancing Ground, an organization that produces conferences on gender, race and mythology. He worked as consultant and teacher with Touchdown Dance USA, an organization that teaches C.I. to the blind. For his contribution to the development of Contact Improvisation Martin is a Fulbright Senior Specialist and listed in Who’s Who in the World. He has taught in 34 countries on six continents.




Mass, Mind and Motion

This intensive will play with ongoing interests I have in how perception, imagination, physiology and physics are in a constant interplay in human movement. We will work with images and exercises that shift the ways in which we experience movement. The work is influenced on Steve Paxton’s Material for the Spine, on Lisa Nelson’s preparations for Tuning Scores, Contact Improvisation, and on my own current and collaborative researches into movement and mind/body relationships. The workshop will be a combination of practical exercises and improvisational scores. Working individually, with a partner or partners, and as a group we will build a shared body of information as we go along so that we can cultivate an easy interplay between each other and the space that we work in. The work fosters a readiness and availability in the body to the different layers of possibility that arise as we move. Deep listening is encouraged as a means of tapping into what’s there – in our bodies, in the environment and in our interactions with others. We use the information we discover as a resource for our dancing and play with this as we engage in the moment-to-moment composition that is produced by the movement of our attention. These workshops are a place for curiosity and discovery, a time for our embodied imaginations to play, let’s all jump on board and take the ride.


Making ourselves up as we go along ...

This workshop plays with different ways of imagining and experiencing the body in relation to its interior, to other bodies, and to space and environment. We will explore the body as substance, structure, and as a perceptual and imaginative proposition – one which we are actively inventing as we go along. The workshop focuses on the body as a mass of molecules in relation to the physical forces exerted upon it from within and without; and the body as a constantly shifting perceptual experience set into motion by the imagination. These different ways of contextualizing the body will be playfully explored through practical exercises and improvisational scores, working solo, with a partner and ensemble.


Charlie Morrissey is a director/choreographer, performer, teacher, and researcher, and has been working in the field of performance for 25 years. He creates large and small-scale site-specific and theatre and gallery based performance work in diverse contexts and locations; organises and collaborates in a variety of performance research projects; and performs and collaborates in the work of other performance makers. He has significant and ongoing working relationships with Steve Paxton, Siobhan Davies, Lisa Nelson, Kirstie Simson, Scott Smith, Katye Coe, K.J.Holmes, Andrea Buckley; Katie Duck and others.




Opening Gates into Consciousness

This workshop focus is in the changes of the bodies in a physical dialogue. The key for the work lays on the action of taking time and giving attention to the receiving and the delivery of information to become conscious of the communication that is happening in each dance, in relationship to the environment, the group, a partner and yourself. Aiming to develop the ability to track the flow of information as the process continues to take place, we will create a frame to bring to consciousness the choices we make and the possibilities they determine. We will provoke a deep state of listening questioning the communication in the dance and focusing our attentional mode on the multiplicity we are in action.


The art of sharing weightless weight

We will investigate the relation of our body to the "UP" and the "DOWN" in stillness and movement inside the dance.  We will explore the bones system and its relationship to gravity, finding the alignment of each situation. We will investigate the use of the floor, the use of the architecture of our bodies, of other bodies, using the breathing, as a tool to invite the active release to happen. Integrating this principles will offer support to your dance, being in the present moment as you listening to  the momentary needs of the bodies moving together, between earth and sky.


Eckhard has been enthusiastically dancing and performing Contact Improvisation since 1988. His focus lies in the exploration of the fundamentals of this dance form. In his 25 years of regular teaching practice he has been playfully spreading the seeds of his continuous research.

Daniela is a nomad artist involved in the practice, performance and teaching of CI since 1998. As a visual artist, she is interested in the relationship of the body and the environment and makes out of their meeting in the present moment the primary matter of her research, her expression and creation. Multiple medias: video, objects and installation integrate her practice.

Since 2004 we travel the world to share our vision, practice and performance of Contact Improvisation and Improvisation, moving together across Europe and the Americas.



photo: Alena Vladimirovna



This workshop is meant to be an attempt to shake up some of our beliefs about contact improvisation. An intensive workshop on the choices we make in relation to our preferences and prejudgements when entering a dance. What are our expectations? With whom do we want to dance and whom do we avoid to dance with? Should a contact duet be harmonious to be satisfying? The work that we will do together will be physical, playful, reflective and with a good portion of fun and pleasure. We will dance in and out of contact, in and out of our comfort zones and hopefully in and out of our habitual patterns. Dancing contact improvisation for more than 35 years and teaching this form for the last 32 years, I sometimes ask myself why I still find an interest in it. In trying to find an answer to this question I keep coming back to what I see as the fundamentals of contact improvisation. 


Contact Fundamentals

These open classes are dedicated to what I perceive as the fundamentals of contact improvisation. Some of the work we will do goes all the way back to my first exposure to this form in a workshop with Nancy Stark Smith in Amsterdam in 1981. Other parts of the work are rooted in my own journey of dancing and teaching contact improvisation ever since that first exposure. To me an experienced contact improviser is someone who is skilful and interested to dance with people from various backgrounds and levels of experience. This workshop is open for all levels of experience.


Benno is an international performer, choreographer and teacher from Holland, living in Stockholm since 1995. Since his graduation in 1986 from the School for New Dance Development in Amsterdam he has worked internationally as an independent dance-artist, directing his own work as well as collaborating with others in both set and improvised pieces. Together with Sybrig Dokter he started LAVA-Dansproduktion, an international operating association for dance, based in Stockholm. In recent years he has choreographed several works for and with children and youth. In 2012/2013 the project HOME with children from children homes in Moldova, Ukraine and Belarus and in 2014/2015 with internal refugees inside Georgia. 

Musicians 2017

Ernő Zoltán RUBIK (HU)


About Ernő

Ernő is a pianist, improviser and composer. His works explore the interplay between audience and performer, improvisation and composition, music and physical performance. Inspired by his experiences in theater and dance projects (Krétakör, The Symptoms, Research Into the Unknown) he enjoys “hacking” the concert situation by investigating it’s theatrical aspects. He uses several small objects, a flute, a melodica and his voice as an extension of his instrument. 



About Sébastien

After graduating a violin-making school in Québec, Sébastien Olivier decided to direct his way toward performing arts and physical theatre. First in Paris, and then at the Accademia Teatro Dimitri in Switzerland, he was taught techniques of theatre, mime, dance, acrobatics, mask, and improvisation. He is now involved in two creations with the companies Neurone Moteur and Théâtre de l'Agrume. Music always accompanied him, especially the piano, the guitar and the singing. Music improvisation first came to him by instinct, and has been developped in parallel to improvisation in dance with the quartet Forbofurbo and the piano master Caspar Guyer.



About Ingrid

Musician, dancer, body worker. Born in upper Austria, based in Vienna. She has been involved in several Art Projects in the 1990ies and in the early 21st century as Musician, dancer and actress before she retreated into her role as mother and house wife. Now she is coming back with New Sounds and her old passion of playing the piano and using her voice. The endless field of not knowing - listening, being, feeling, observing - the first sound, out of nowhere, developing. The dance delivers the rhythm.



About Michael

Psychotherapist, Shiatsu practitioner, dancer, musician. Inspired by the silence, he captures the atmosphere in which the dancers are located and supports them with his music. Similar to the dance itself, making music on Jams is a regardful way to get in touch with the dance and the dancers. He plays with a variety of instruments like guitar, percussion-instruments, piano, electronic musical instruments, various wind instruments, overtone recorder, melodica, and others. An essential part of his music on CI-Jams is the silence, out of it arise the next sounds.