contemporary dance artist
I am thrilled to share my workshop Composing Correlation at IMPRO-OST festival!
Flying, falling, rolling, manipulating - giving and receiving weight, guiding and following, accompanying each other and letting movements happen without wanting too much are key elements of this workshop. In a playful and exploratory way, we will approach principles derived from and inspired by contemporary dance, partnering and martial arts techniques, that will allow us to effortlessly transition from standing, to the ground and into the air, always in connection with a partner or the group. We will examine where we can reduce unnecessary tension in the body, in order to maintain a feeling of lightness even in fast and dynamic movements. Through a sensitive approach to touch we will experience a refinement of our own movement quality and in contact with another person. Working with principles rather than fixed forms will allow us to let our creativity unfold and find a natural dialogue together.

Key words in my current movement explorations are imagination, diversity
and playfulness.

The brief about Ale is that whatever he danced was from being danced, and wathever he teaches is from following the field of presence. Ale agrees so much with Steve Paxton when he says that "the dance is the teacher and the teacher points to that". And also that C.I. is not exactly possible to teach, but it is possible to learn. So, he is interested of being caught by the dance and lead to the mistery that touches us all. What is for sure crossing us all is gravity, he is interested on that in order to have the best playground for our sacred temples.

In my profession and passion, I work as psychologist and psychotherapist, founder of Moave - psychology in movement NGO. My background in movement comes from growing up being a semi professional handball player for many years. This sport tough me about momentum, ability to fall without fear, trust my instincts, trust my body intelligence to adapt, observe the space and have a felt sense perception of it, being fast, but alert etc. etc.
For me contact improvisation is about principles that need to be embodied, to be danced and they can be embodied if they are felt and experienced, rather than understood.
I have deep respect for this practice since in my perception it is a teacher of life and a playground for joy.

What i am currently interested inside CI is how subtle layers of perception can bring different qualities and facets to the dance. For me this dance is multilayered and hardly seperated from life. When playing with perception, I believe we can attune deeper not only to ourselves and the partner, but to everything that makes our dance movable, unstatic journey.

Synchronous events led Ben to his first CI jam around 15 years ago. It was love at first sight. Ever since he’s been following this path and feels blessed to feel part of the global community. I see CI as a practice that can reveal the embodied relational wisdom from the depths of the earth and time. Informed by gravity, the physic, energetic, sensual, sensuous, psychic, and emotional information travels within the shared movement of our bodies and the intelligence woven throughout can reveal our authenticity and a healing path.I try to bring the principles of CI into the approach of facilitation and teaching, forever grateful for the lineage of teachers who founded and continue to enjoy and explore the potential of the practice.

Mara lives in Switzerland, where she works as a freelance dancer, movement teacher and craniosacral therapist, and organizes Jams and research labs. She studied Community Dance at the Laban Institute in London and has worked in dance projects in many different countries. In Brazil, Mara fell in love with contact improvisation, on earth and in water. For her, CI is a way of encountering herself and her environment, of falling into presence, learning to act from a sensed reality and practicing the art of relating. For three years she has been part of an intentional community project based on the common practice of CI and Improvisation in Spain. Currently, she is working on a project around the quality of touch and the state of touchability, on the intersection of CI, body therapy and performance.

Contactimprovisation hat vor 22 Jahren meine Leidenschaft für den Tanz entfacht und mein Leben entscheidend geprägt. Von 2006-2009 habe ich dann zeitgenössischen Tanz in Finnland studiert. Seitdem beschäftige ich mich mit Improvisation und damit auch der Kunst im Moment zu sein, unterrichte Improvisation/Contact/Shiatsu. Mein Tanz ist beeinflusst von developmental movement, Shiatsu, den Menschen, die mich begleiten, der Natur und dem Leben.

Lu Sarmiento entdeckte schon als junges Mädchen ihre Begabung und Leidenschaft in Musik, Tanz und anderen kreativen Ausdrucksweisen.
Auf ihren vielen Reisen fand sie überall Inspiration, wo Melodien erklungen, die ihr Herz berührten, lernte bei unterschiedlichsten LehrerInnen und sammelte Erfahrung als Performerin und Musikerin.
In ihrem künstlerischen Ausdruck liegt ihr Schwerpunkt auf der Verkörperung des gegenwärtigen Moments in seiner Vielfältigkeit. Ihre Musik strotzt voll Zartheit und Wildheit und wird durchströmt von einer Kraft die ins Unendliche schießt.
Sie ist Lehrling ihrer eigenen Medizin und Mitschöpferin jener Räume der Selbstentfaltung, wo sich Stimme, Atem und Körper frei ausdrücken dürfen.
Mit ihrer Einfachheit wird sie uns begleiten, eine Öffnung im Rachen bei gemeinsamen Tönen, Singen, Atmen, Lauschen und Erinnern zu entdecken.

Ich sammel den Staub aus Schmetterlingflügeln, tanze mit der Stille. Ich höre in mich und den Raum hinein , was will gespielt werden. Ich lade das magische ein. Ich liebe es Musik zu machen für einen tanzenden Raum, da kann ich fliegen....
...Piano, Loop Maschine, Gesang, Percussions, Kalimba und andere Klänge...

Nach vielen tänzerischen Jahren kam ich mehr und mehr zum Spiel mit Sounds, in die ich mich immer aufs Neue hinein taste. Mit Gitarre, Cello, Stimme und Perkussion improvisiere ich Geräusche, Rhythmen und Harmonien