Performing a new solo, in process, loosely based on the works of Eadweard Muybridge Judson Memorial Church Monday March 19 as part of the Movement Research presenting series http://www.movementresearch.org.
Performances as part of the QueensboroDance Festival Summer/Fall 2019, dates and information to be announced. www.queensborodancefestival.com
Summer and Fall 2019 WORKSHOPS: Click here for Workshops calendar
Tanzquartier Wien, Vienna Austria April 15- 19, all day
Tanz Fabrik, Berlin Germany April 23-26 all day, Panel Talk Saturday April 27
Minneapolis, MN…May 2019
TAIWAN..June 26- July 9 2019 contact firstname.lastname@example.org: http://www.horse.org.tw
SUMMER MELT with Movement Research at St. Marks Church in the Bowery www.movementresearch.org, Dates to be announced
CHILE October 2019
queensborodancefestival 2018, photo Nicole Cordero
Minneapolis has been a consistent venue for workshops, almost annually, beginning with New Dance Lab 1993,- Linda Shapiro, and continuing with the University of Minnesota with a Sage Cowles Land Grant, “Dancing Feet” Rosy Simas, Zenon, and now with Wendy Rubles, Jennifer Arave, and Michele. Join us!
The time engages us, as a group, in an in-depth study of our bodies: the paradox of our movement possibilities and obstacles. The information is grounded in 30 years of perceiving, studying, observing and working with the body in motion. Students find the supports underlying the superficial muscles, deep within, lying closest to the bony structure of the pelvis, connecting the pelvis to the legs, connecting through the bones of the legs (sitz bones to heels) to the ground, standing the pelvis precisely on the heads of the femur bones. We use the hamstrings, the external rotators, (6), the pelvic floor (tail and pubic bone relationship,), and the psoas group. With grounded support, the spine, and the shoulder girdle becomes free for movement, expression; becoming articulate and clear, and the legs become both powerful and articulate.
The skeleton is our resource for imagery and physically detailed work; the bone being the deepest and densest tissue in the body, conducting the most energy (force).aligning us to the forces of gravity and movement in the simplest and most direct manner. Our movements in class are specific and simple, and at the same time, deeply changing. These movements are broken down, explored, and analyzed so that we can come to the beginning of an understanding of our own body stories. Basic anatomy, for the purposes of our work in class, is explored and worked on in depth and detail. As well, different “choreography’s ” are used to organize, move, and connect the body.
The goal of each workshop is to address the need for a deeper understanding of one’s body with self discovery, improved body function, efficiency in movement and attention to injuries, and utilizes major principles from connecting my own body in dance and in life; my own research teaching style and skills. I continue to explore and challenge my 40 years of practice and interpretations of Klein Technique™. A large component of the passions of Irmgard Bartenieff, Susan Klein’s teacher, Dr. Fritz Smith, – my zero balancing teacher and mentor, Dorothy Vislocky, – my very first initiation to dance and the possibility of changing ones’ movement, along with the brilliance of Susan Klein, are deeply interwoven into the work I have come to embody, and to love; my home. see Klein Technique page for more detail)
Professor Dorothy Vislocky, 1971-1981, was the creator of the Dance Major and it’s curriculum at Hunter College, NYC. She was my first initiation into thoughts of re-doing, letting go, the pelvis, alignment and space, re-learning. The reading material in our college dance classes were not the usual dance books. They were in the realm of “Zen and the Art of Archery,” all of the the Carlos Castenada stories; all books on how our perspectives affect our mind, movement, perception and moving selves in the world. She was a pioneer dance kinesiologist, choreographer, visual artist, dancer, creator of the dance major at Hunter College, NYC; a major and deep influence, inspiring me to pursue this world of movement, dancing, expressing and teaching.
These influences, along with movement of all styles and genres, perspective and information come into my classes and workshops; experiences I have gained from my own movement re-education; my 35 plus years of teaching, dancing, learning and changing.
Some Residencies for choreography:
Dance Place in D.C. in conjunction with a choreographic project for Adrienne Clancy and Dancers, Silver Springs MD.
New dance work for the students at Wilson College, PA
LIFT-OFF Residency with New Dance Alliance
Artist in Residence with Movement Research 2001-02, 2007-08
Artist in Residence at the Brooklyn Studios For Dance, NY
Bio Bio Festival, Conception, Chile
At the Iceland Academy for the Arts, and classes with the modern dance company, as well as research time for the creation of new solo.
CHILE – VALPARAISO and SANTIAGO
….see blog posts to read more about them……A return to Chile is in the works for Autumn 2016