Moving East - Past Events

These are past events which have been held at Moving East.

Interdisciplinary Course for Dancers: 13 - 17 August 2007

10am – 5.30pm daily

Cost - £120

• Sasha Roubicek – Release-based Dance Technique
• Paul Douglas – Aikido & Kashima Shinryu (Japanese Martial Arts)
• Campbell Edinborough – The Feldenkrais Method®

With combined backgrounds in Dance, Aikido, The Feldenkrais Method® and other mindful bodywork the teachers will each lead a two-hour session exploring how an enhanced awareness of breath, energy and sensory change may inform our understanding of movement.

Sasha Roubicek is currently working with Siobhan Davies Dance Company as a contributing dance artist, teacher and performer. Sasha is an established teacher of international repute having taught many Dance companies and in many vocational dance schools throughout Europe & Scandinavia. Sasha has practiced Aikido for over 10 years and has travelled to Japan to further her studies. Aikido continues to inform her work both as a teacher and performer.

Sasha will teach advanced professional technique. Working through relaxation to find detail of quality and articulation in the body, Sasha builds her material to explore a wide energetic range that combine both mindful and dynamic expression. She will draw upon her practice of Aikido & Kashima Shinryu swordsmanship to illustrate some of the principles that underpin her approach to dance.

Paul Douglas is the founder and Artistic Director of movingeast. Paul performed with London Contemporary Dance Theatre and Rambert Dance Co. and was a founder member of Siobhan Davies Dance Co. with whom he danced from 1988-96. For six years, Paul also directed and choreographed for his own company Small Bones. He has studied and taught Aikido for over twenty years, is the cheif instructor and director of Tetsushinkan Budojo and holder of 5th Dan.

Aikido is a Japanese martial art established in the 1930s. Aikido techniques involve manipulation of the joints and balance of an opponent. It is a non-competitive form characterised by movement that is both fluid and dynamic.

Kashima Shinryu is an older traditional school of swordsmanship developed during Japan’s turbulent medieval period. Inherent in Kashima techniques are a profound understanding of dynamic physiology and the engagement of the human spirit.

During these classes we will consider how these rich sources of knowledge may enhance our dance processes and offer us alternative perspectives on personal development. All classes may incorporate both Aikido and Kashima Shinryu Kenjutsu.

Campbell Edinborough has led workshops in the Feldenkrais Method® and Aikido at Northern School of Contemporary Dance. He is in the process of completing a doctoral thesis investigating educational ethics and methodology in the field of actor training at Royal Holloway, University of London. Campbell is holder of 1st Dan in Aikido and Kashima Shinryu and continues his studies with Paul Douglas at movingeast.

The Feldenkrais Method® enhances students’ self-awareness and ease of functioning through the mindful investigation of movement patterns. It was first developed in the 1940s by the physicist, engineer, and Judo master Moshe Feldenkrais.

Applicants must have a minimum of two years full-time, vocational contemporary dance training and should be in a state of good health and fitness. Open to those with disability but please note we are on the first floor and access is by stairs only.

To secure a place on this course please complete the booking form (Word version or PDF version) and send with the full fee of £120, cheques to be made payable to movingeast. Please note, all fees paid are non-refundable.

New Dance Floor

My thanks to all our dance clients who sent in comments in support of our application to Arts Council England, London for a new floor - I am pleased to announce that our Grants for the Arts application was successful and the new Harlequin sprung floor will be installed during the week of December 18th 2006.

Thanks to your enthusiasm for using our space in 2006 we experienced one of our busiest years. The studio at movingeast is fully booked well into 2007 (see calendar for availability) so make your bookings now for your spring rehearsals and enjoy the extra spring in your step!

Paul Douglas, Director

Trisha Brown Company Intensive Led by Sandra Grinberg, October 16-20, 2006

Mon – Fri, 10.30am – 4.30pm

Technique Class & Repertory Workshop

Cost: £120

Following the overwhelming success of the courses Sandra taught in 2003, 2004 and 2005, we are delighted to welcome her back.

Technique classes will focus on working in-depth on body alignment and simple skeletal mobility, and on exploring other fundamentals that are integral to the range and detail of Trisha Brown’s movement style.

In the repertory session, Sandra taught movement phrases from Trisha Brown’s “Glacial Decoy” (1979). This piece was Ms. Brown’s first choreography specifically for proscenium stage and is filled with silky movement seamlessly interspersed with unpredictable gesture. Sandra will address issues such as performance quality, dancing with an awareness of others, and the relationship between the choreography and the music.

Sandra Grinberg was born in Gdansk, Poland, where she first began dancing. In 1995, she joined P.A.R.T.S., the national dance school of Belgium, and then moved to New York to continue her studies with a scholarship at the Trisha Brown Studio. Sandra began working with the Company in 1999, and has since performed both throughout the U.S. and internationally as a featured performer. Sandra teaches at the Trisha Brown Studio and for Company residency activities worldwide.

This course was suitable for professional dancers and dance students with a minimum of 2 years full-time training.

Akram Khan Intensive 29 May - 2 June 2006

Stop Press News! Due to the unprecedented response to The Akram Khan Company Intensive March 27th - 31st we offered another opportunity to access the work and processes of this internationally renowned Artist.

This second course was also led by Shanell Winlock with Akram visiting and teaching during the week when his schedule permited.

Daily schedule:

Fee: £100

This intensive was open to dancers with professional experience or a minimum of 2 years full-time vocational training.

Akram Khan Intensive 27 - 31 March 2006

Akram Khan Company have agreed to teach a week long Intensive at movingeast 27th - 31st March 2006. The course will be led by Shanell Winlock, and Akram Khan will also teach on some occasions throughout the week.

Daily schedule:

Fee: £100

This intensive was open to dancers with professional experience or a minimum of 2 years full-time vocational training.

Trisha Brown Company Intensive Led by Sandra Grinberg, June 13th – 17th 2005

Mon – Fri, 10.30am – 4.30pm

Technique Class & Repertory Workshop

Cost: £100

Following the overwhelming success of the courses Sandra taught in 2003 and 2004, we were delighted to welcome her back. After performances by Trisha Brown Dance Company at Sadler's Wells on 31 May & 1 June, Sandra returned to movingeast to offer an intensive exploration of Trisha Brown's choreographic processes.

The intensive focused in particular on movement material from Astral Convertible (1989). A later collaboration with Rauschenberg, the piece features a cleverly designed industrial set containing built-in motion sensors which respond to the movements of nine dancers. In turn, this triggers the lighting and sound system, allowing the dancers full control over the performance. Dancers taking part in the intensive had an opportunity to perform excerpts from the piece. Technique classes will focus on working in-depth on body alignment and simple skeletal mobility and on exploring other Trisha Brown movement style fundamentals.

Sandra Grinberg was born in Gdansk, Poland, where she first began dancing. In 1995, she joined P.A.R.T.S., the national dance school of Belgium, and then moved to New York to continue her studies with a scholarship at the Trisha Brown Studio. Sandra began working with the Company in 1999, and has since performed both throughout the U.S. and internationally as a featured performer. Sandra teaches at the Trisha Brown Studio and for Company residency activities worldwide.

This course is suitable for professional dancers and dance students with a minimum of 2 years full-time training.

Trisha Brown Company Intensive Led by Sandra Grinberg, November 15th – 19th 2004

Mon. – Fri.10.30am – 4.30pm

Technique Class & Repertory Workshop

Cost: £100

Following the overwhelming success of the course Sandra taught in 2003, we were delighted to welcome her back and to be able to offer another opportunity to explore the processes of the Trisha Brown Dance Company.

Technique classes focussed on working in-depth on body alignment and simple skeletal mobility and on exploring other fundamentals that are integral to the range and detail of Trisha Brown’s movement style.

In the repertory session, Sandra taught a phrase from “Canto/Pianto” emphasising key aspects of the process utilised by the Company. Sandra addressed issues such as performance quality, dancing with an awareness of others, and the relationship between the choreography and the music (Monteverdi’s L’Orfeo).

Sandra Grinberg was born in Gdansk, Poland, where she first began dancing. In 1995, she joined P.A.R.T.S., the national dance school of Belgium, and then moved to New York to continue her studies with a scholarship at the Trisha Brown Studio. Sandra began working with the Company in 1999, and has since performed both throughout the U.S. and internationally as a featured performer. Sandra teaches at the Trisha Brown Studio and for Company residency activities worldwide.

This course was suitable for professional dancers and dance students with a minimum of 2 years full-time training.

Summer School 2004 - August 16 - 20

Our regular summer school this year included:

Sasha Roubicek in Bird Song by Siobhan Davies Photographer: Stephen White Sasha Roubicek & Pari Naderi in Bird Song by Siobhan Davies Dance Company Photographer : Joel Chester

Sasha Roubicek – Release-based Dance Technique
Paul Douglas – Aikido & Kashima Shinryu (Japanese Martial Arts)

August 16 - 20, 10am – 5.00pm daily

Cost - £100

With combined backgrounds in Dance, Aikido and other mindful bodywork the teachers will each lead a three hour session exploring how an enhanced awareness of breath, energy and sensory change may inform our understanding of movement.

Sasha Roubicek has danced with Motionhouse, Yolanda Snaith Theatredance and Small Bones Dance Co. Sasha is currently working with Siobhan Davies Dance Company as a contributing dance artist, teacher and performer. Sasha is an established teacher of international repute having taught many Dance companies and in many vocational dance schools throughout Europe & Scandinavia. Sasha has practiced Aikido for over 10 years and has travelled to Japan to further her studies. Aikido continues to inform her work both as a teacher and performer.

Sasha taught advanced professional technique. Working through relaxation to find detail of quality and articulation in the body, Sasha builds her material to explore a wide energetic range that combine both mindful and dynamic expression. She drew upon her practice of Aikido & Kashima Shinryu swordsmanship to illustrate some of the principles that underpin her approach to dance.

Paul Douglas is the founder and Artistic Director of movingeast. Paul performed with London Contemporary Dance Theatre and Rambert Dance Co. and was a founder member of Siobhan Davies Dance Co. with whom he danced from 1988-96. For six years, Paul also directed and choreographed for his own company Small Bones. He has studied and taught Aikido for over twenty years, is the chief instructor and director of Tetsushinkan Budojo and holder of 5th Dan.

Aikido is a Japanese martial art established in the 1930s. Aikido techniques involve manipulation of the joints and balance of an opponent. It is a non-competitive form characterised by movement that is both fluid and dynamic.

Kashima Shinryu is an older traditional school of swordsmanship developed during Japan’s turbulent medieval period. Inherent in Kashima techniques are a profound understanding of dynamic physiology and the engagement of the human spirit.

During these classes we will consider how these rich sources of knowledge may enhance our dance processes and offer us alternative perspectives on personal development.

Applicants needed a minimum of two years full-time vocational dance training and to be in a state of good health and fitness. It was open to those with disability but please note we are on the first floor and access is by stairs only.

Choreographic Residence - Ricochet Dance Productions February 2-27th 2004

Ricochet Dance Productions launched in autumn 2003, signalling a new phase of development for Ricochet Dance Company. Ricochet Dance Productions continues to be led by the aesthetic choices and the vision of the Artistic Directors Karin Fisher-Potisk and Kate Gowar and their investigation into the art form.

Ricochet Dance Productions now wants to emphasise collaborations across the art forms, presenting live performances and dance through different mediums in traditional and non-traditional venues. The company has developed a new flexibility in the way it works, reflected in scale and choice of collaborators.

In February 2004 Ricochet Dance Productions will work at Moving East with Australian choreographer Lucy Guerin - music composed by The Sons of Silence, costumes designed by Caroline Bronwen Hughes and lighting designed by Sarah Gilmartin. Lucy will create a new piece for six dancers: Robert Dingemans, Karin Fisher-Potisk, Kate Gowar, Henrietta Hale, Tom Hodgson and Matthew Morris. This is Your Life examines in close up the fragmented aspects of an individual life. Guerin employs a probing and intimate vocabulary to unlock a moment of truth amongst the detritus of the everyday. This will be Guerin's first commission for a company in the UK.

Artists Residencies

The Artists Residency is a scheme for established artists who are interested in informing and resourcing their creative processes through an understanding of Martial Arts and/or Complementary Medicine. 

The artists for 2003 were Charles Linehan (Autumn). Information about past residencies is available here.

Charles Linehan (Autumn 2003)

Charles Linehan and company dancers Andreja Rauch, Rahel Vonmoos, Greig Cooke and Ben Ash were in residency at Moving East during June and July 2003. The company were working on a new quartet to première on 13th October 2003 at The Robin Howard Theatre as part of Dance Umbrella.

This new work was a complement last year's critically acclaimed duet Grand Junction. Charles worked again with Finnish lighting designer Mikki Kunttu, and for the first time with established composer Matteo Fargion. The project was currently supported by Moving East, Laban, Danspace New York, and Dance Umbrella. The company is happy to acknowledge the ongoing support of Arts Council England and British Council, London.

Charles Linehan set up his company in 1994 after working extensively as a dancer and choreographer across Europe. Charles has received the Jerwood Award and bursaries from the Robin Howard Foundation and the Paul Hamlyn Foundation. Last year he also received the Wingate Scholarship.

The company has toured extensively throughout Europe, and this year is thrilled to be planning it's first trip to America and Canada in March 2004. Charles is also busy creating commissioned work for George Piper Dances and teaching internationally. Charles' work has been described as haunting, beautiful and intelligent. The company values originality and innovation, an absence of clutter, and the dancers, beyond their technical excellence, for their creativity, and individual human qualities.

Management:
Zoë Boden at dansoffice
Tel: 0207 401 7337
Email:

Skinner Releasing Technique - Mon 3-Fri 7 Nov 2003

Gaby Agis & Company, Morning Company Class

In residence at Moving East in preparation for the upcoming production, EXPLICIT FAITH for March 2004, Gaby Agis and other company members taught a week of morning classes in Skinner Releasing Technique at the Introductory level.

Gaby is a British dancer, choreographer, and SRT teacher. For the past ten years, Gaby has been teaching SRT at the introductory and ongoing levels in London, and across Britain and Europe.

Skinner Releasing is a dance technique that facilitates a deep kinaesthetic experience of movement. Hands-on tactile studies and imagery foster releasing of hidden tension patterns and blocks to allow more freedom of movement. The process reveals the natural grace in every human being - a key philosophy in the work. The guided poetic imagery is interwoven with music and sound that taps into the imagination, triggering spontaneous improvised movement. Thus, technical growth and creative process are integrated. Beginners are always welcome, alongside experienced dancers.

Trisha Brown Dance Company Intensive

Movingeast offered a unique opportunity for professional dancers to study with American master dance maker Trisha Brown and Sandra Grinberg, a senior member of Trisha Brown Dance Company.

Led by Sandra Grinberg

29 Sept – 3 Oct Technique Class & Repertory Workshop

10.30am – 4.30pm

Cost: £100

An opportunity to study intensively with Sandra Grinberg, a senior member of Trisha Brown Dance Company, gaining an insight into the company’s training methodology and the work of Trisha Brown.

Sandra Grinberg was born in Gdansk, Poland, where she first started dancing. In 1995, she joined P.A.R.T.S., the national dance school in Brussels. Sandra then moved to New York to continue her studies on scholarship at the Trisha Brown Studio. She began working with the Company in 1999, and has since performed internationally and throughout the U.S. as a featured performer. Sandra teaches at the Trisha Brown Studio and for Company residency activities worldwide.

In the technique classes the focus was on working in depth on body alignment and simple skeletal mobility and on exploring fundamentals that are integral to the range and detail of Trisha Brown’s movement style.

In the repertory session, Sandra taught a phrase from “Twelve Ton Rose” (1996), with emphasis on key aspects of the process utilised by the Company: attention to detail, performance quality, and dancing with an awareness of others. Sandra also worked with participants on the relationship between the music (by Anton Webern) and the choreography.

For professional dancers or those with at least two years vocational training or equivalent.

Trisha Brown

Sat 4 Oct Choreographic Workshop 2pm – 5pm

Cost: £30

Trisha Brown lead a master class in dance composition for choreographers and for dancers interested in contributing to choreographic process. Sharing insight into her choreographic work, which spans over 35 years, Trisha discussed specific choreographic tools and structures and asked participants to create short compositional studies. There was an opportunity for dialogue and feedback on the work generated.

A unique opportunity to study with American master dance maker Trisha Brown.

Trisha Brown

As a member of the Judson Dance Theater in the 1960s, Trisha Brown pushed the limits of what could be considered appropriate movement for choreography and in doing so, changed modern dance forever. Since founding her own company in 1970, Trisha Brown has created an extensive repertory including the Robert Rauschenberg/Laurie Anderson collaboration “Set and Reset” and the powerful “Newark.” Trisha Brown is the first woman choreographer to receive the coveted MacArthur Foundation Fellowship and most recently was honored with the National Medal of Arts. Her internationally acclaimed company will be performing in London at both Sadler’s Wells Theatre and The Barbican Theatre this autumn.

MovingEast Summer Course

Sasha Roubicek – Release-based Dance Technique
Henry Montes – Bodywork/Improvisation
Paul Douglas – Aikido

11 – 15 August, 10am – 5.30pm daily Cost: £100

Sasha

With combined backgrounds in Dance, Aikido and other mindful bodywork the teachers each lead a two-hour session exploring how an enhanced awareness of breath, energy and sensory change may inform our understanding of movement.

Sasha Roubicek is a member of Siobhan Davies Dance Co., and has danced with Motionhouse, Yolanda Snaith Theatredance and Small Bones Dance Co. Sasha is an established teacher and has taught many Dance companies in the UK and abroad. She has studied Aikido for over 10 years and has travelled to Japan to further her studies. Aikido continues to inform her work both as a teacher and performer.

Paul Douglas is the founder and Artistic Director of movingeast. Paul performed with London Contemporary Dance Theatre and Rambert Dance Co. and was a founder member of Siobhan Davies Dance Co. with whom he danced from 1994-99. For six years, Paul also directed and choreographed for his own company Small Bones. He has studied and taught Aikido for over twenty years, is the senior instructor and director of Tetsushinkan Budojo and holder of 5th Dan.

Henry Montes is a freelance dance maker, performer and teacher. He has performed for many independent choreographers and companies in New York and Europe including Susanne Linke, Reinhild Hoffmann, Keely Garfield, Kirstie Simson and Jonathan Burrows Group. Henry is currently a member of Siobhan Davies Dance Co. and continues to perform with Charles Linehan. Henry continues to study Yoga and Aikido and is a teacher of Alexander Technique and a registered Cranial Sacral Therapist.

Henry

For professional dancers or those with at least two years vocational training or equivalent.

Nancy Stark Smith and Composer Mike Vargas (ZOOM) - 9 – 13 June 2003

ZOOM: Contact Improvisation in Detail & Perspective

10am – 5.30pm daily

A five-day workshop for intermediate and advanced practitioners investigating Contact Improvisation and its practice within a broader field of improvisation, composition and music.

Nancy Stark Smith trained as an athlete and gymnast, and went on to study and perform modern and post-modern dance in the early 1970s. she danced in the first performances of Contact Improvisation in 1972 and has since been central in its development as dancer, performer, teacher, writer/publisher and organiser. She travels throughout the world teaching and performance Contact and other dance improvisation work. Nancy has collaborated with many partners and performance makers include Steve Paxton, Julyen Hamilton, Karen Nelson, and most recently musician Mike Vargas. In 1975 she co-founded Contact Quarterly which she continues to co-edit and produce.

Mike Vargas began playing music in 1959. His curiosity and a love of collaboration have led him through many contexts and cultures. Since 1980 Mike has created close to 100 commissioned dance scores and has presented solo and ensemble concerts of his music both nationally and internationally. He has taught composition and improvisation at universities across the USA and has participated regularly at numerous festivals such as the Bates Dance Festival and Tanzsommer Innsbruck. For the last four years, he has been teaching and performing with Nancy Stark Smith. 

During the mornings, Nancy lead the group in continuing training in Contact Improvisation, going back to basic Contact principles and sensations: "We challenged our play with 'the forces', with each other, and stimulated new clarity and depth in our dancing of this form." In the afternoon sessions, Nancy and Mike brought CI into play within the context of other improvisational forms and material. Participants worked alone, in contact, in groups, in silence and with live music, addressing physical and energetic changes of state, natural composition, presence, and relationship. Nancy introduced participants to specific scores and practices, primarily the Underscore, a long jamming/composition/contact score. These sessions also included detailed listening practices led by Mike.

Intermediate/advanced level in Contact Improvisation was required for this course.

Cost: £200

For more information contact Paul on 020 7503 3101 or via email:

Mike Vargas Concert and Discussion

Structured Improvisation in music and dance

Tuesday 10 June 2003, 7.30pm - 9.30pm
Cost:    £7 (free to those participating in ZOOM)

Mike played some of his compositions and structure improvisations for piano and talked about their relationship to dance improvisation, followed by an informal discussion.

This event was open to anyone but was of special interest to those who improvise with music and dance, composers, choreographers, and practitioners of Contact Improvisation.

Open Contact Jam & Discussion with Nancy Stark Smith & Mike Vargas

Structured Improvisation in music and dance

Saturday 14 June 2003, 10.30am - 5.30pm
Cost:    £40 (free to those participating in ZOOM)

A day of focused Contact jamming with periods of live music by Mike. Nancy and Mike took part in a moderated discussion about Contact, improvisation, music and issues arising from the teaching and performance of CI and other improvised work.

Open to anyone with experience in Contact Improvisation.

Eva Karczag Workshop - 3 – 7 February 2003

Class and improvisation workshop

Eva Karczag has been a member of leading groups in the field of experimental dance, including Richard Alston's 'Strider', and the Trisha Brown Dance Company. Eva was on the faculty of the European Dance Development Center, Arnhem, from 1990-2002. Eva is an internationally respected dance maker, performer and teacher. She continues to create and perform solo and collaborative work. Many of her collaborations involve links across the arts, with composers, visual artists, video makers and designers. Her creative process and teaching methodology are informed by dance improvisation and mindful body practices. Eva has pursued in depth study of T'ai Chi Ch'uan, Chi Gung, Alexander Technique, Ideokinesis and Yoga.

Inspired and informed by the practice of T’ai Chi and Chi Gung, Eva lead an exploration of the Eastern concept of ‘doing non-doing’. At the foundation of these classes lies an appreciation of, and respect for, the innate intelligence of a fluid and awake body, gleaned through cultivation and application of eastern and western mind-body concepts. Using directed touch and metaphoric imagery, participants were guided to sense, observe, and explore the complexity of anatomical structure, the inner form and landscape of the body, as consciously experienced support for movement. Clarifying patterns of use releases the body from tensions that restrict the free flow of energy.

Choreographers/Dancers Exchange (Spring 2003)

The Choreographers/Dancers Exchange aimed to facilitate a networking opportunity for choreographers and dancers to source and expand their pool of possible future collaborators. Fin Walker and Akram Khan, representing 2 generations of choreographers working within an abstract aesthetic, will each spent two days with a group of ten invited dancers exploring ideas, sharing their processes, and developing a relationship with the view of collaborating on future projects.

Dancers for this project were selected by the choreographers with the assistance of movingeast.

Course with Fin Walker - 16 – 19 October 2002

Technique class and improvisation workshop

Fin Walker is an independent dance maker, performer and teacher, and has worked with many dance artists and companies in England including Jonathan Burrows and Rosemary Butcher. She began creating work in 1993 and established her company, Walker Dance in 1998. In 1999, Fin won the major Jerwood Award for Choreography. Fin teaches regularly for Independent Dance at The Jerwood Space and at Greenwich Dance Agency. She has taught company class for Siobhan Davies, DV8 and Yolande Snaith Theatredance. Fin has also traveled to Estonia to teach and has given classes and workshops at the Academy of Culture in Latvia.

During this four day workshop Fin will lead participants through an exploration of the thinking, moving body. Fin aims to facilitate a state of enhanced self-awareness, “By being more present within ourselves, we can begin to explore our holding patterns. The sessions will investigate methods of opening up our awareness to ourselves on a mental, spiritual and emotional level, allowing for less constricted movement and a fuller creative expression.”

Artists Residencies 2002

The Artists Residency is a scheme for established artists who are interested in informing and resourcing their creative processes through an understanding of Martial Arts and/or Complementary Medicine. 

Ted Stoffer and Fin Walker each undertook a residency to develop new works. During their residencies, they and their dancers had the opportunity to explore complementary techniques with our Associate Therapists.

Ted Stoffer: 8 – 26 July

Ted Stoffer has performed with Scapino Ballet, Rambert Dance Company and Yolande Snaith Theatredance prior to establishing Aphasia Dance Company in 1997. Ted received a Jerwood Award for Choreography in 1998 and has also been a recipient of an Arts Council TAPED award. He has recently been commissioned to create a new work for Norddans, Sweden.

During his residency, Ted created solo and duet material for his forthcoming new work, “Still Movement”. Exploring themes of transformation, memory and regeneration, “Still Movement” was developed for performance in intimate gallery settings. Integrating live and filmed choreography, the work will exploit the body as a projection surface and source of intricate and microcosmic physicality.

Fin Walker: 2 – 13 September

Fin Walker is an independent dance maker, performer and teacher, and has worked with many dance artists and companies in England including Jonathan Burrows and Rosemary Butcher. She embarked on her choreographic career in 1993 and established her company, Walker Dance in 1998. In 1999, Fin won the major Jerwood Award for Choreography.

During her residency at Moving East, Fin developed a duet that began as a commission for the “Outside In” project at the Royal Opera House. “The Self” was to be performed by a female dancer, who at various intervals is joined by three different male partners. The female energy will shift relative to each partner.

Summer School with Paul Douglas, Sasha Roubicek and Rick Nodine: 19 – 23 August 2002

The Summer School for August 2002 featured Paul Douglas, Sasha Roubicek and Rick Nodine.

10am - 6pm daily

This course explored how the principles and practice of Aikido and Contact Improvisation may inform and enrich our understanding of dance process. Each teacher lead a 2-hour session drawing upon their extensive experience in different disciplines and explored the benefits of inter-relating knowledge across these three forms.

Prior to beginning his development of Contact Improvisation, Steve Paxton studied Aikido for many years. He was impressed by the reflexive knowledge of the body invoked in the training of Aikido and by what seemed to him to be an aesthetic based on physical necessity. The dancers involved in the early work of Contact Improvisation practised Aikido skills alongside their improvisational experiments. Aikido skills are still utilised by many Contact teachers as an element within a Contact class.

Aikido has been a major formative influence on the teaching methodology employed by both Paul Douglas and Sasha Roubicek and has enhanced their skills and understanding of dance performance.

Paul Douglas performed with London Contemporary Dance Theatre and Rambert Dance Company. He was a founder member of Siobhan Davies Dance Company, and Director of Small Bones Dance Company. He has studied and taught Aikido for over twenty years, is chief instructor of Tetsushinkan Budojo and holder of a 4th Dan in Aikido.

Sasha Roubicek is a member of Siobhan Davies Dance Company, and has danced with Motionhouse, Yolande Snaith Theatredance and Small Bones Dance Company. Sasha is an established teacher and has taught many dance companies both nationally and internationally. She has practised Aikido for over 10 years, and has often travelled to Japan to further her studies. She holds a 2nd Dan.

As a dancer, Rick Nodine has worked with Kate Brown, Gaby Agis, Andrew Fifield and Karl Jay-Lewin. He has been a member of Yolande Snaith Theatredance since 1996. He has collaborated to create improvised performance with Lalitaraja, Paula Hampson, Andrea Buckley, Jon Lever, Benno Vorham (Sweden) and he is currently performing an improvised duet with Joviar Longo. In 1999, Rick created Ambler and in November 2000 he performed his solo, Minutes After, at the Kampnagel in Hamburg, Germany. In the past year, Rick has taught Contact and improvisation to Forbidden Theatre Company, Bedlam Dance Company, DV8 and at The Jerwood Space, Dance Base (Edinburgh), Tanzfabric (Berlin) and the London Contemporary Dance School. He currently teaches Contact Improvisation and improvisation at London Contemporary Dance School.

Body Mind Centering into Dance - with Katy Dymoke (six Sundays from Feb - June 2002)

Katy is a BMC practitioner, dancer, director of Touchdown Dance

Sunday sessions: 11.30am – 5.30pm

This was a continuous series so participants were encouraged to attend the full course if possible.

We used a variety of approaches, including guided movement meditations, anatomical references, hands on, partnering and movement exploration/embodiment. The final half hour involved integrative practise including drawing, writing, moving as each person desired. The material did  not cover detailed anatomical training, rather than the application of essential principles that can support the individual in the development of a deeper, embodied sense of his/her movement. 

Session 1. (Feb 17) The cellular mind. The structure of the cell and its essential quality taken into the body and expressed in movement. A quiet session.

Session 2. (March 24) The skeletal mind. Finding "bone", defining the skeletal mind, exploring connections and joint spaces. Exploring movement qualities and improvisation.

Session 3. (April 7) The tissue cells and muscle; the active mind of the muscular system, the coupling action around joint spaces. The concept of tensility, stabilisation and connection, and the currenting of muscular energy.

Session 4. (April 28) The fluid system, transitional and inter-cellular fluid that brings a sense of a continuum in support of movement.

Session 5. (May 19) The interdependence of the above structures to organ support; the release of the organs within this frame and the sense of moving from the centre (the "sensory centre" rather than the "centre of gravity") towards the periphery into/through space.

Session 6. (June 9) The perceptive senses; the mind of the senses in relation to self and the external environment. The sensing and the action aspect of the senses. The relationship of the senses in support of movement. Integration.

 This series was suitable for dance students and practitioners, somatic and other practitioners/therapists interested in dance, and dance professionals.

These notes are guidelines. For further information and booking contact Katy Dymoke:

at Touchdown Dance
42 Edge St
Manchester M4 1HN
tel 0161 278 1499

Course with Jeremy Nelson: 1 - 5 July 2002

Jeremy taught  a 2 hour technique class 10-12 each day and Improvisation sessions between 1-5pm.

Jeremy Nelson trained at London Contemporary Dance School and went on to dance for Siobhan Davies, Second Stride and Stephen Petronio dance companies. In 1991, he received a New York Dance and Performance “Bessie” award. Jeremy has studied Klein Technique with Susan Klein and Barbara Mahler, and is certified to use their technique as a theoretical basis for his contemporary technique classes. He has also studied Alexander Technique with June Ekman, Contact Improvisation with Kirstie Simson and Bodymind Centering. Jeremy is a member of the teaching faculty at Movement Research NY and has taught throughout Europe and the USA.

Jeremy’s course began each day with a technique class informed by his understanding of Klein Technique, Bodymind Centering and Alexander Technique with the aim of finding strength, specificity and ease of movement. His classes encourage a deepening awareness of the whole body through which to learn and develop dynamic, articulate and expressive dancing. His built from simple exercises to phrases of movement that involve moving boldly, taking chances off balance and covering lots of space.

The afternoon workshop involved a deeper investigation of the body with hands-on partner work leading to improvisation resourced by anatomical images and movement qualities. These sessions also involved generating and manipulating one’s own phrase material, using it as a springboard from which to explore compositional ideas.

Feldenkrais into Contact Improvisation 24 February and 10 March 2002

Two workshops with Jackie Adkins and Thomas Kampe.

In these workshops we used exercises drawn from the Feldenkrais Method® to explore and refine solo movement skills allowing participants to expand their movement vocabularies and to deepen their practice of Contact Improvisation. We used guided solo explorations to develop a state of detailed listening and connectedness with oneself, one's environment and a partner. This lead into refined, sensory dialogues through touch - developing into expansive Contact Improvisation dancing.

Jackie and Thomas have many years of teaching Contact Improvisation between them and are both currently undertaking professional trainings in the Feldenkrais Method®.

Enquiries: Jackie 020-8809 3269
email:

Writing about Disability Dance
Dance Writing Project at the Royal Festival Hall on Saturday 27th and Sunday 28th October 2001

A weekend project over two afternoons and one evening for Undergraduate and Postgraduate students with an interest in developing writing skills and approaches to critiquing disability dance.

The aim of the project was to promote a broader awareness and appreciation of dance by people with learning disabilities, its unique aesthetic and the development of a critical language and approach. Following the project RFH Education aimed to place a selection of the writing produced during the project within a variety of publications. Participants had an opportunity to meet Anjali Dance Company, the UK's first professional touring dance company whose members all have a learning disability and see their performance of Through New Eyes, a triple bill of works choreographed by Claire Russ, Matthew Hawkins and Rhonda Harbour in the Purcell Room.

The cost of participating in the project was free and we were keen to involve students who have potential to both benefit from and contribute to the project, to deliver the assignment and to take part in furthering the debate at this level. There were just 12 student places available and we were offering Colleges/Universities between 3 and 4 places each.

The programme included:

• An afternoon programme of talks and presentations by a dance programmer, choreographer, dance journalist and dancers from Anjali Dance Company
• Evening performance by Anjali Dance Company in the Purcell Room
• Overnight written assignment by participant dance writers/students
• Afternoon of discussion and receiving feedback about the written pieces and issues arising from the assignment

For further information please contact:

Karen Hall
RFH Education Officer - Dance
Email:

ANJALI DANCE COMPANY - THROUGH NEW EYES - A Triple Bill

Purcell Room, SE1 Saturday 27 and Sunday 28 October 2001

Demonstrating a disarming and engaging aesthetic that brings a new edge to contemporary dance, the UK's first professional touring dance company whose members all have a learning disability, Anjali, brought their extraordinary triple bill, Through New Eyes, to the South Bank.

TALKING POINT, choreographed by Claire Russ, portrayed quirky body conversations connecting each dancer. As geometric forms flicker and fade, music by Leftfield, Kruder and Dorfmeister pulsed out loud beats and rhythms.

Mixing intimacy with grand gesture, dancers interwove in PROSPEROUS BEACH, choreographed by Matthew Hawkins to the strains of Strauss and Mendelssohn - and seemed to be led by a strange object suspiciously resembling a giant prawn!

In FLIGHT, choreographed by Rhonda Harbour, dancers abandoned their solitary 'flight' paths to unite towards a common goal and strove for the unattainable. As they hovered between reality and fantasy, their desire was to escape gravity.

With leadership from artistic director, Nicole Thomson, Anjali work with some of the most exciting choreographers on the British dance scene, The dancers are always central to the choreographic process and their performances are marked by technical as well as creative excellence.

Summer School with Paul Douglas, Sasha Roubicek and Scott Clark: 27 - 31 August 2001

August saw the return of our regular summer school (oversubscribed this year!) with Paul Douglas and Sasha Roubicek, with guest teacher Scott Clark. This course explored how the principles and practice of Aikido and Feldenkrais may inform and enrich our understanding of dance. Each teacher lead 2-hour sessions drawing upon their personal experiences in different disciplines, and explored the benefits of inter-relating knowledge across these forms.  

Paul Douglas performed with London Contemporary Dance Theatre and Rambert Dance Company. He was a founder member of Siobhan Davies Dance Company, and Director of Small Bones Dance Company. He has studied and taught Aikido for over twenty years, is headmaster of Tetsushinkan Budojo and holder of 4th Dan.  

Sasha Roubicek is a member of Siobhan Davies Dance Company, and has danced with Motionhouse, Yolande Snaith Theatredance and Small Bones Dance Company. Sasha is an established teacher and has taught many dance companies both nationally and internationally. She has practised Aikido for over 10 years, and has often travelled to Japan to further her studies. She holds a 2nd Dan. 

Scott Clark danced with Bebe Miller in New York, and became a founder member of Siobhan Davies Dance Company following his move to London. He has performed and taught worldwide, and is a qualified Feldenkrais practitioner with over 10 years experience.  

Contact Improvisation with Jovair Longo and Rick Nodine: 21/22 July 2001

Two days aimed at deepening our understanding of how we give and receive touch. Embodying our sensations will lead us to dancing, while unraveling the layers and qualities of touching will create fluency in the dialogue of contact.

The workshop is structured as a team-teaching initiative, increasing the opportunities for individual feedback.

Jovair and Rick have been dancing together for the past six years in the Companies of Gaby Agis, Kate Brown and Yolande Snaith. Jovair has been teaching his work for professional dance companies as well as in open classes, schools and universities. Rick has taught contact improvisation for seven years in the UK, Germany, Greece and the USA. They have been performing a collaborative duet since 99 in England and the Continent.

Time:     12 - 6pm (to be confirmed)
Cost:     £50 (£40 concessions)

For information and booking, contact Robert Anderson on 07929 521 699
Booking: send a 50% deposit (payable to Robert Anderson) to 75 Royal College St, London, NW1 OSE.

Colin Poole: 30 June - 1 July 2001 (part of "Under the Influence")

Colin’s choreographic vocabulary is eclectic drawing upon such diverse dance styles as Release, Latin and Dancehall, whilst also embracing Yoga, Qi Gong and Aikido. His work focuses on the complexities of intimacy and solitude within personal and social relationships. Through humour and theatricality, he examines the roles we play and the strategies of deceit we sometimes employ in order to fulfil our most personal desires. During this course, Colin will lead an improvisatory workshop exploring these diverse cultural influences to discover original movement ideas and new approaches to choreographic themes. 

Rick Nodine: Sundays 22nd and 29th April 2001

Open to all levels of experience, especially those new to the form, this workshop offered a structured and exploratory experience of Contact Improvisation. Through learning fundamental skills, participants attuned their senses and discovered new pathways in movement both alone and with a partner. Ranging from the meditative to the exhilarating, we found ways to dance with ease and spontaneity.

For information and booking, contact Robert Anderson on 07929 521 699
or email:
or see the web site: www.contactimprovisation.co.uk

Spring intensive with Eva Karzac: 7 - 11 May 2001

We were very pleased to have Eva Karzac as teacher of our Spring course in May 2001. Eva danced with Richard Alston’s Strider (1973-75) before moving to New York to perform with the Trisha Brown Dance Company (1979-85). She is a widely respected choreographer, dancer and teacher, and is a faculty member of the European Dance Development Centre in The Netherlands. Eva’s teaching of dance has been profoundly influenced by her study of mindful body practices including T’ai Chi Ch’uan, Qi Gong, Alexander Technique and Ideokinesis. Eva is an established teacher of T’ai Chi and has led ongoing classes in New York and Arnhem, and as part of the International Workshop Festival amongst many others. Eva is also a certified teacher of Alexander Technique. 

Eva’s course focused on developing the discipline of a rigorous body-mind practice through exploring and clarifying body structure and patterns of use. Observation, touch and imagery were used to challenge assumptions about the mind and body in order to expand the availability of movement within a more articulated and skilled physique. Eva is a highly regarded practitioner who makes a long-awaited return to England. Make sure you book early, as places are strictly limited!  

Fin Walker: 20 - 21 January 2001 (part of "Under the Influence")

Fin’s workshop explored the thinking, moving body through the process of improvisation. She is interested in developing an awareness of now and how, and in addressing habitual holding patterns to facilitate free flow of energy throughout the body, connecting it and us to the moment. The workshop investigated methods of opening up our awareness to ourselves on a mental, spiritual and emotional level, allowing for less constricted movement and a fuller creative expression.  

Previous Summer Course - 28 August - 1 September 2000

This was a summer course for professional dancers with  Paul Douglas teaching aikido, Sasha Roubicek teaching release-based dance and Sarah Warsop teaching yoga.

The idea of the course was to explore how aikido and yoga can inform and enrich our experience of dance.

Aikido
Paul's classes focused on centering, respiratory control and postural alignment, and how an understanding and development of these fundamental in aikido may enhance their application in dance. The sophisticated vocabulary of aikido was explored with a partner, examining a broad spectrum of qualities with which one may colour movement.

Dance
Throughout the course, Sasha's classes considered how articular and sensory information may be transferred from aikido and applied to dance. In particular, the classes examined how an understanding of "ki" (energy) may enhance our dance experience. A pragmatic approach was used to address problems arising from the complexity of dance phrases, utilising knowledge gained in the aikido sessions.

Yoga
Sarah's yoga classes were based on the Sivananda series which consists of 12 postures that strengthen, tone and create flexibility through concentration on the breath. The classes focused on the development of relaxation techniques and meditation to encourage dancers to increase their mental and physical awareness.

The day ran from 10am - 6pm at Moving East.

This was the third such course we have held and was open to everyone with a minimum of two years vocational training. No previous aikido experience was needed. Some previous attendees came again.

Paul Douglas is Director of Tetushinkan Budojo and Artistic Director of Moving East. He has performed with London Contemporary Dance Theatre, Rambert and Siobhan Davies Dance Company, before establishing Small Bones Dance Company. Paul has taught aikido for over fifteen years and holds a 4th Dan.

Sasha Roubicek is a member of the Siobhan Davies Dance Company. She has taught release-based technique to many dance companies and schools throughout Europe. Sasha has visited Japan many times in order to pursue her study of aikido in which she is 2nd Dan.

Sarah Warsop trained at the Laban Centre London, gaining a BA (Hons) in Dance. In 1991 she joined Rambert Dance Company and became a member of Siobhan Davies Dance Company in 1997. Sarah has an FRYOG teaching qualification in yoga, and she has taught for Siobhan Davies Dance Company amongst others.

29 November - 3 December 1999

This was a five day course for professional dancers. The schedule consisted of three classes, each of two hours. Each day began with an Aikido class, taught by Paul Douglas, followed by a dance class taught by Sasha Roubicek. The day concluded with a Shiatsu-based session of Eastern Concepts of Health and Energy taught by Linda Gannon and Nicola Endicott.

The teachers were chosen for the knowledge and experience they have in their respective fields and also because of their shared background in Aikido. Each of the four teachers involved is a holder of a black belt in Aikido, denoting a high level of skill and a grasp of its fundamental principles and concepts.

The teachers met before the course to discuss its contents and aims. It was agreed that the principle aim was to bring about a shift of perception in the participants, about themselves and about the way they might approach their own development in the future. It was also agreed that the participants should feel they had been given the tools with which to achieve further development.

As Director, Paul Douglas stated that he wished the course to be intellectually challenging as well as intensely experiential. He thought it important that participants grasped an understanding of the Eastern concepts of health and energy which are fundamental to Shiatsu and Aikido and which have informed his and Sasha Roubicek’s understanding of dance. Participants would then be encouraged to explore how they could apply this understanding in a tangible way to their approach to dance.

During the course the teachers kept each other informed of what they had done during the course of the day and of what response they had from the participants. Whenever possible, the teachers watched or participated in each other’s classes. The teachers monitored and assessed the progress of the course on a daily basis, conferring with each other on the approach to be taken on the following day. Paul Douglas watched at least part of every session, observing the participants listening to their comments and assessing their reaction to the day’s activities.

Participants were encouraged to ask questions during all sessions and at any time. Teachers were expected to clearly explain the activities and their purpose. The teachers were directed to point out how activities in one session might relate to other subject areas of the course. The participants were encouraged to draw parallels for themselves.

As all of the teachers had shared knowledge of Aikido they were able to easily discuss issues such as posture, respiratory control and “Chi” or “Ki” amongst themselves and present a consistent language to the participants. The same ideas could then be delivered in a variety of forms serving to reinforce central issues.

Teachers raised philosophical questions during their classes encouraging participants to reconsider why they were dancers, what had been their motivation for coming on the course, and what direction they wanted to take their future development. Exercises were given which required intense physicality or acute mental focus or both, which acted as catalysts for such discussions. Participants were encouraged to acknowledge and express their reactions freely and to then place them in the context of their previous experiences and perceptions.

The faculty aimed to establish and manage a safe, focused atmosphere throughout the course, within which participants could experience and explore a range of inter-related subject matter. The intention was to present a cohesive methodology with components that could be selected and rearranged by each individual to suit their own developmental needs.

Authentic Movement Sunday Group

One Sunday every month the Authentic Movement Sunday Group gathers for a day to explore this practice and share insights, and to enjoy the sharing of food in a studio space.

The form of this work put simply is one person witnessing another person moving in space. The witness is
'listening', bringing a sensitive quality of attention to the experience of the mover. The mover works with eyes closed to expand their experience of listening to the deeper levels of their kinesthetic reality. The mover and witness usually speak together about the material that has emerged, and their individual perceptions of it, bringing the unconscious process into consciousness.

We have been exploring this work as a group since September 1999. Everyone involved brings their own contribution and experiences to the practice, and with this awareness of individual and collective diversity we are able to support one another in a very non-judgmental, open, and sensitive atmosphere.

If you have "a curiosity about the unknown" or are interested to find out some more about this work, please contact Nonie: .

The group meets at Moving East and the Chisenhale Dance Space. 

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