Class DESCRIPTIONS

Photo by Giulia Ferrando
Chloé Beillevaire
Ultima Vez / Backsteinhause Produktion
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Through the workshop we will travel from improvisations, choreographic materials to partnering exercices. We will focus on the search for a strong and available center in order to let go, unbalance and accept taking risks. Observing the breathing/respiration, we will try to dance as we talk. Using silences, playing with rhythm, dynamics, switching tones, qualities and going through different emotions.
I will try to guide you to understand better your qualities, recognise what can be felt as a weakness and transform it into a force, to go beyond your limits with respect and to find the pleasure of dancing.

 
Attila Rònai
HOFESH SHECHTER COMPANY
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The class will focus on connecting to our senses and finding different energies, dynamic qualities, and total flow through improvisation. Because music is very important to me I like to use it as a tool to inspire students to let go and find themselves in a different physicality connecting to groove. Class will consist of improvisation, set exercises, and a phrase.

 
Bérengère Bodin
LES BALLETS C DE LA B
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If « Fada » is a pretty word to describe someone crazy, « Fada » means as well in south of France someone « touched by the fairies ».
This workshop is for those who are eager to experiment with and by the group a singular language, with the ambition to question our common frames...
My path where I started dance only when I was 15 years old is full of different inspirations. I always continued to try to nourish my dance by these different influences like clown, climbing or even Chinese Medecine (...) We will explore various entries to create and exchange
about a new topic world, where « normality » sounds like a no sens !
Let’s create a sweet madness full of dignity and respect.

Photo by Fotograczia
Pèter Juhàsz
EMANUEL GAT DANCE
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The first part of the class focuses on floorwork through a short series of improvisation tasks and various excercises, aiming to reach moments when we can use our own SOFTNESS and SILENCE. Applying these principles a floor sequence will be taught as a closure of the first part.
In the second part we put emphasis on SPEED and DYNAMIC CHANGES, awakening and facilitating awareness of the power and skills related to them. Class ends with learning a longer dance phrase combining the principles mentioned above.

Photo by Daniel Dömölky
Csaba Varga
ANTON LACHKY COMPANY
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I’ve been encountered many different moving forms. I aim to apply those principals of these movement languages which I find the most significant. I’m interested in movements which are dynamically diverse, specific in coordination or rhythmically unique. For dancers it is essential to be in excellent physical condition to be able to execute whatever their imagination asks from their body, so the goal of my training is to give physical and technical base to be able to perform the things we work on later.
First we start with a warm up: a leaded improvisation in which we gradually increase the size, speed and difficulty of the movements, using the floor, the air, the space, the tension of the body. We continue with a physically challenging training which strengthens and prepares our body for the following technical (floor and aerial) part. Finally we take time to learn a complex phrase and work on the subtle details; mechanics, coordination, logic, links, dinamic and more.

Photo by Herbaly Judit
Eszter Gál
KONTAKT BUDAPEST
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The daily warm ups are preparing the whole self for experiencing and learning movement with
awareness. It is about getting ready for exploring the wide range of the dances through the day. A delicate arrival into our bodies, attention games and playful scores are serving a purpose of letting go of all unnecessary tension, finding our own movement vocabulary and becoming available for receiving information from outside and from within. The practice of simple moves directed into diverse dances is aiming on generating heat and coming to alertness!

Photo by Judit Herbaly
Máté Mészáros
OneManCrowd
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Our body is the same in every movement and in any style but the possibilty to change is essential. We focuse on these principals through different excerises and ways of approaches. We explore floorework and partnering based on the material of creations from my performances. Dinamic and powerful material where we only deal with physicality that defines the essential movements.

Photo by Daniel Dömölky
Gyula Cserepes
CIE PHILIPPE SAIRE
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Rhythm is a universal language that every living being is able to understand. Yet, in general dance education this essential element gets little or almost no attention. Learning the “words” of this language, the beats, can reach beyond just dance practice – we can apply it in almost every segment of our everyday life.
Lizard Beats – a method developed by Gyula Cserepes, which is rooted in his rich dance background ranging from ballroom- through traditional- to contemporary dance – aims to enrich our movement vocabulary. Working with various tools to embody rhythm, we develop certain neural connections in our brains, which help to fine-tune our motoric system, coordination skills and physical articulation. It brings a higher body-awareness; as well it improves our cognitive skills, ability to focus and the control over our physical bodies. Above
all, attending a Lizard Beats class could easily shift our mood and we end the day with a big smile and feeling better in our skin.
The first class will be a simple introduction to the technique of Lizard Beats. We will learn and practice basic body-percussion principals. Using jumps and coordination exercises we will begin to gain an understanding of basic rhythm patterns and apply them into our bodies.
The second class is going to happen in a more free form. We will enter a guided improvisation in couples and smaller groups. This is going to help discover the dance within us. Each participant will get the chance to get in touch with her/his personal dance, discover and develop it. The introduced tools will help us to get more relaxed about the way we move and could be applied in further dance practice, as well in any sort of social situation where we would feel like dancing – let it be a party, a wedding or hearing a beloved tuned on the radio while cooking in the kitchen.

Photo by Daniel Dömölky
Jenna Jalonen
COLLECTIVE DOPE
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Exploration of continuous and infinite moving. How to travel through different movement qualities from standing upper level all the way gradually to the floor within one trip. Waving,
bouncing and floating into a very concentrated and relaxed state of mind. Without stopping after each exercise and re-entering for a next one, we try to continuously stay in physical exploring mode with our body and understand how this effects the movement itself. We will work on set movement patterns inspired by house dance, footwork, acrobatic elements and floor technique combining them with improvisational qualities of isolation, liquiditiy, release and your own personal style and flow.

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