Saturday, 3.3. I 20:00h I HAU Hebel am Ufer, HAU 1
As Holy Sites Go / Duet is a choreography by the American dance icon Deborah Hay for two of her long-time artistic collaborators, Jeanine Durning and Ros Warby. The piece is based on Hay’s score for the solo No Time To Fly, which was also adapted into the celebrated group piece Figure a Sea for Cullberg Ballet in 2016.
The two performers decide themselves which elements of the choreographic material from As Holy Sites Go and No Time To Fly they will use in the moment: “The dancers’ decision […] demands catastrophic acts of perception. The term ‘catastrophe’ is used here with reference to former methods from which the dancers have to detach themselves in order to implement my choreographic direction. It stands for a loss of monstrous proportions.” (Deborah Hay)
für AK|T-Mitglieder und internationale Gäste
Saturday, 3.3. I 17h – 18h30 I HAU Hebbel am Ufer, HAU 3
What is dancers’ and dance artists’ experience of rethinking their practice as they grow older and have more experience but a different sort of energy and flexibility? In what ways can choreography challenge socially constructed ideas about ageing? Other inheritances is a conversation about what dance can be, beyond mere physical virtuosity. The writer and performance scholar Adrian Heathfield, dance historian Ramsay Burt and choreographer Meg Stuart share their different artistic and cultural perspectives on the theme of dance and age.
Afterwards: Hugo Glendinning / Adrian Heathfield: “Spirit Labour” / Film with Janine Antoni, Anna Halprin and Hélène Cixous / in English
Saturday, 3.3. I 10h15 – 11h45 I Studio 11
The focus of the class will be on musicality, dynamics through movement and strength through coordination. With the special situation of the Biennale with mixed levels and just having the one class, hopefully the exercises will enable all participants to challenge themselves and really work on the given tasks, whether it be to learn new elements or to really refine and define how one approaches familiar elements with this focus in mind.
Jason Beechey is the rector of the Palucca Hochschule for Tanz Dresden. He was a soloist at London City Ballet and for Charleroi/Danses in Belgium. He was the pedagogical director of the National Choreographic Centre of the French Community of Belgium. Jason Beechey has been a member of the artistic committee of the Prix de Lausanne and a member of the jury for the Youth America Grand Prix since 2009.
Saturday, 3.3. I 10h15 – 11h45 I Studio 9
ROTATION is offered as a point of departure. A rotation is a movement in a circular motion, around a centre/point, or a line/axis. Is the axis of rotation going through the centre of the body, its periphery, or is it outside of the body? When I spin, is the space spinning around me? How about momentum, spirals, rolls, double helix, Round Robin and other cyclic changes? By exploring, experiencing and reflecting on rotation we might stumble across some edges. Hopefully questions will arise, and different perspectives will be discovered that will open up new paths of communication and feed our dancing.
Dieter Heitkamp is a professor of contemporary dance at the HfMDK Frankfurt am Main and director of the education department at the ZuKT. He is a founder and former collective member of Tanzfabrik Berlin, and was one of their artistic directors until 1995. His choreographies have been shown all over the world. For the last 38 years he has been working intensively on the study, teaching, documentation and performance of contact improvisation.
Saturday, 3.3. I 10h15 – 11h45 I Studio 6
Christopher Matt’s ballet class follows the rules of classical training with a keen eye for the individual needs of the dancers. His classes are characterised by musicality, an organic flow of movement, a strong connection to the floor and space shifting movement sequences. The class combines elements from the French school with Russian style and influences from the English training system.
Christopher Matt has been working as a teacher for different companies and training schools in Europe and the USA since 1995. He leads the classical training of the DANCE ON Ensemble in Berlin and has taught at the Alvin Ailey American Dance Theatre, The Ballets de Trocadero and the Kompanie des Tiroler Landestheaters, among others.
Saturday, 3.3. I 10h15 – 11h45 I Studio 8
Studio 8 is reserved for students who wish to offer training for and with their colleagues. You can decide together what kind of training it will be and announce it beforehand in Studio 12 or come up with it on the spot, and organise it accordingly. The floor is yours.
Saturday, 3.3. I 10h15 – 11h45 I Studio 3
This lesson unites different disciplines and dance styles to address body perception, coordination and aesthetics. Drawing from his eclectic background, David’s class aims to mindfully prepare the body for the rigours of being a professional dancer today. The class starts with gently warming up and softening the muscles and joints and develops from plain and pure body-work / work-out exercises, through short ﬂoor and standing combinations into more complex choreographic sequences, all of which prepare the body to move through space with an emphasis on coordination, healthy alignment and awareness. Some task based movement will challenge the senses before the class culminates with some seriously dynamic choreography designed to bring it all together, and have a bit of fun while we’re at it!!
David N. Russo teaches ballet and contemporary dance at the Ballet Academy of the Hochschule für Musik und Theater München. He has been a member of the collective ‘satellit produktion’ since 2013. After completing his training at the John Cranko School in Stuttgart, he danced as a soloist at the Saarländische Staatstheater and at the Staatstheater am Gärtnerplatz under the direction of Philip Taylor. Russo choreographs his own pieces, organises events in Munich’s freelance scene and collaborates with artists such as Jasmine Morand from Cie Prototype Status and Nina Radelfah
Saturday, 3.3. I 9h30 – 10h I Studio 14
For BA and MA students as well as AK|T members, international guests and workshop leaders.
This Morning Input looks into your future. Today, you’re a dance student in 2018, but what might you be doing 20 years from now? As a case study, Nik Haffner looks at the people he studied with more than 20 years ago. What are they doing today and how did they get there?
Nik Haffner has been the artistic director of HZT Berlin since 2009. As a dancer and choreographer, Nik Haffner realised projects that mostly emerged from collaborations with other artists (including Christina Ciupke and Mart Kangro). Between 1994-1999 he developed the digital publication “Improvisation Technologies, and went on to work on the online score “Seven Duets” for the platform MotionBank.org with Jonathan Burrows and Matteo Fargion from 2012-13. Nik Haffner is a member of the advisory board for Dance Congress Germany and the head speaker of the AK|T Dance Training Conference Germany.
Friday, 2.3. I 9h – 10h30 I Studio 6
Classical dance is technical, methodic and stylistically varied, and has influenced contemporary dance in many ways. Through my classes, I wish to pass on my experiences as a soloist, teacher and ballet master at many international companies and houses with different stylistic directions to the participants of the Biennial. The training is open to the varied dance styles and techniques of the Biennial participants.
Marc Boermans is a professor of classical dance at the Palucca Hochschule für Tanz Dresden. After training at the Koninklijke Balletschool van Antwerpen, he worked as a dancer at the Koninklijk Ballet van Vlaanderen, among others. He is the former ballet master at Dresden SemperOper Ballett and teaches all over the world.