Saturday, Apr 13
Charlie’s classes delve into some of the ways in which perception, imagination,
physiology and physics are in a constant interplay in human movement. We will
utilise images and exercises that shift how we experience movement, to create
a space in which to notice how perception and attention might offer a constantly
evolving resource for our dancing.
There class will take the form of practical exercises explored through
improvisation. Working individually, with a partner or partners, we’ll build a
shared body of information and cultivate an easy interplay between each other
and the space.
This class invites a readiness and availability in the body/mind to the different
layers of possibility that arise as we move.
It’s a place for discovery, in which questions are asked in the dancing. We will
be at work and play in engaged and embodied action, and it’s all an invitation to
take a ride on the momentum of our own curiosity.
Sunday, Apr 14
We will approach Contact Improvisation as somatic practice towards deepening
physical awareness of sensation– centering, falling, rising, supporting.
We begin with initiating and authorizing our solo knowing/creating: wise boundaries,
personal directions of adventure, attunement in our bodies. From this basis of
self-knowing, we bring all our capacity to communicate through touch, intangible
spacial signals, self-absorbed choreography and …. (fill in the blank) to our
partnerships and group dances.
With CI as one of many styles of dancing under our belts, we will practice performance energy through creating activations, manifestations, scores, recipes, ways of watching and doing, tuning, composing, questioning… myriad practices for performance.
Being seen/ seeing; What is a score? What is open improvisation? What are we doing when we move, and how might our attention become the material of our dancing?
A space to listen to the echo of what has been learned, to forget it and to recreate ourselves in what remains, to continue working and to delight ourselves with new discoveries, to release our dance and enjoy it with innocence, to observe ourselves and savor the pleasure of dancing.
Normal price: 210 €
Soon Paid (until March 12th) and Partners from Estudio3: 190 €
group price (5 people or more): 180 €
I enjoy your eyes, I guide your look, I want you to see what we can only feel. I have the feeling that you dance with me when you look at me.
Charlie Morrissey, is a director/choreographer, performer, teacher, and researcher, who has been working in the field of performance for nearly 30 years. He creates large and small-scale site-specific and theatre and gallery based performance work in diverse contexts and locations; he organises and collaborates in a variety of performance research projects; performs and collaborates in the work of other performance makers and curates a programme of dance events at Wainsgate Chapel in Yorkshire
His work is influenced by significant and often ongoing working relationships with Steve Paxton, Siobhan Davies, Lisa Nelson, Kirstie Simson, Scott Smith, Katye Coe, K.J.Holmes, Katie Duck and others.
Teaching is central to his practice and his classes are laboratories for exploration and discovery. He teaches for dance and theatre companies, institutions, festivals and independent organisations internationally.
Recent and upcoming projects include performances of Materials rearranged to be with Siobhan Davies Dance; What Happens When – a commission from Joint Adventures with Andrea Buckley, Orlando Gough and members of the Munich Philharmonic Orchestra in Munich; he is currently creating a new group work If this is it, then what are we going to do with it with Ben Ash, Neil Callaghan, Katye Coe, Tom Goodwin and Susanna Recchia in the UK; Charlie has also been performing a solo directed by Colin Poole; is performing in Quarantine’s Wallflower and developing a new solo for Tanzwerkstatt Europa in Munich.
Karen Nelson, is a dancer/choreographer, performer, teacher and organizer, who co-founded Joint Forces Dance Co, Breitenbush Jam, Dance Ability, Diverse Dance Research Retreat, and the performance group Image Lab, among other projects.
She explores dance history and currency that centers intersections of practitioner experience. She interrogates whiteness within her own embodiment and larger community, often collaborating with artists around the world. Since 1980 Karen has taught and performed at festivals and venues in North America, Europe, South America and Asia.
She has received awards for choreography and research from National Endowment for the Arts, Oregon Arts Commission, National Performance Network, Wild Woods Foundation, Vashon Allied Arts, On the Boards NW New Works and private supporters. Collaborating with many leading artists in the field of dance improvisation include decades of work with Steve Paxton/ Material for the Spine and Lisa Nelson /Tuning Scores.
She worked for 8 years in early 2000’s as a caretaker of a Buddhist meditation retreat facility. Her teaching approach brings classic origins of CI and Tuning through exercises, images, practice and discussion along with a view towards engendering individual possession and evolution of the forms through one’s own experience. Embodied Life™, combining Feldenkrais + Focusing-influenced movement + listening additionally inform her somatic approach. Karen’s dance writing has been published in Contact Quarterly and the collection Dancing with Dharma.
I started my musical studies at the early age of 7 months, when I crawled to the kitchen cupboards to open them, take out the pots and pummel them. Then came African percussion formations, samba schools, blues and guitar, jazz and keyboard.
In the last 10 years the musical improvisation has been the school, in formations that go from the rock improvisation to the environmental music, from the concerts in premises to the music for yoga and meditation classes (practices in which I have also entered) .
4 years ago I got to know the world of improvisation in dance, and I began to dance Contact Improvisation and Butoh, and to organize dance jams with live music. So I went to improvise as a musician in 2 dance companies, Omosuno by Cristiane Boullosa, and the collective El Saco Roto.
For the past 3 years I have been organizing the Conciertos Oníricos, musical relaxation spaces that invite you to dream. And since a year ago I organize free dance sessions with a multidisciplinary focus, called Dream Session, providing a space for interaction between music, dance, poetry, painting, pastry.
I have always been attracted to the proposals that make different artistic disciplines coexist in the same scenic act. After training at the Royal Conservatory of Music in Madrid and the Hochshule für Musik und Theater Felix Mendelssohn Bartholdy in Leipzig, as well as under the direction of artists such as Carlo Marccione, Hopkinson Smith, Chema Vilchez and Enrique Blanco in different disciplines such as the classical guitar and electrical or composition, among others, I decided to explore and investigate the relationship between that scenic fact and music.
This decision is what keeps me currently linked to the dialogue between sound, body, space, movement, visual arts, music and words, through the language of theater, dance or performance.
I started in classical piano training, although I ended up developing it in a self-taught way learning harmony, guitar, singing, bass and percussion, and complementing it throughout my career with courses and private lessons of modern piano (with Sonia Megías, recently), vocal technique (with Tata Quintana), musical technology and ethnomusicology.
I compose music from an early age, one of the essential tools for the development of my auditory training, always starting from the premise of the three I's: Improvisation, Intuition and Integration. Over time, this takes me as an author, performer and arranger to form and integrate musical projects, alternating different styles such as folk, jazz, rock, minimalist music, new age or author song. I also participate as a musician in recitals of contemporary poetry, as well as in music and dance jams. My love for the performing arts, like music, is also born to me since I was little and now I can not conceive my trip without the connection or simultaneity of both. I compose music for various theater and dance shows.
Over the past six years I have been part of the Omos Uno company, to which I owe most of my learning in the scenic improvisation of music and dance.
de 16.30 a 17.00 Inscripciones
de 17.00 a 17.30 CÍRCULO DE BIENVENIDA
de 17.30 a 21.00 CLASE CON CHARLIE MORRISSEY + KAREN NELSON
de 11.00 a 14.00 CLASE CON CHARLIE MORRISSEY
de 16.00 a 19.00 CLASE CON CHARLIE MORRISSEY + KAREN NELSON
de 19.30 a 21.30 JAM SESSION
de 11.00 a 14.00 CLASE CON KAREN NELSON
de 16.00 a 18.30 CLASE CON CHARLIE MORRISSEY + KAREN NELSON
de 19.00 a 19.30 PERFORMANCE ABIERTA
de 19.30 a 22.00 JAM ABIERTA
de 12.00 a 15.00 CLASE CON CHARLIE MORRISSEY + KAREN NELSON
de 16.30 a 17.30 Integración/score-calentamiento jam
de 17.30 a 19.00 JAM FINAL
de 19.00 a 19.30 CÍRCULO DESPEDIDA .