Talking Bodies Collective
Dávid Mikó
After Budapest Contemporary Dance Academy (BCDA) David furthered his studies in Salzburg at SEAD (Salzburg Experimental Academy of Dance).
He has been working with choreographers such as Matej Kejzar,DiegoGil, Eleonore Valere, Jonah Boaker, Mate Meszaros, Jozsef Trefeli and Ferenc Fehér.
David has given workshops in Hungary, China, Germany and Austria, the pure physicality,
dynamic partnering, intensive floorwork, and precise armwork – due to the 4 years of
practicing Kung-Fu – what inspires him most.
Adrienn Acs, Peter Juhasz, and David created the Budapest based SUB.LAB Collective in
2012. They are the organizers of IDW Budapest, where David works as a co-founder and
teacher.
SpiralWave
The aim of the workshop is to create a motional vocabulary in which we create a passage to manage our energies, transferring them symmetrical and asymmetrical way. We use the energies of the whole body. The emphasis is on the soft body in what the impulse goes through in a spiral way. It helps to coordinate the arms and to create dynamism over softness. During repetitions, we create a homogeneous flow quality in what we also are able to change the force level. With vibration, we coordinate the pace and dynamics.
Foto: Fedor Ilka
Dorottya Podmaniczky
Dorottya graduated from the Eötvös Loránd University of Fine Arts where she studied Hungarian literature, grammar, theater and cultural studies. Her artistic experience was increased by being a member of Central Europe Dance Theater and the co-operation with many hungarian choreographers.
Contemporary Class
The main research is about to move on the ground and to use the energy from it. We learn tools to get to and leave the ground through fixed and free exercises. At the end of the class, a short choreography helps us to practice the new materials.
Foto: Fedor Ilka
Kinga Szemessy
Kinga Szemessy is a dancer and researcher in the field of contemporary dance with a particular interest in models and concepts of participation. As a dancer, she was trained in various dance techniques at the Budapest Contemporary Dance Academy (BCDA), which corporeal knowledge she intends to marry with the theories and methodologies she learnt while studying Anthropology and Theatre Studies. Thus, in the frame of a few scholarships (Fülöp Viktor, CEC ArtsLink etc.) she tried to map out what hybrid practices and approaches exist on a wider international scale. As a long term project she has been researching the notion of the body as a living archive that resulted in performances in London, Helsinki, Columbus (USA) and Budapest. Currently she is a Dance Studies lecturer at BCDA, and a PhD student at the University of Theatre and Film Arts in Budapest.
DANCE, BODY, TECHNOLOGY WORKSHOP by
KINGA SZEMESSY, URVI VORA
This workshop will focus on the effects of technology on humans in general and their (dancing) bodies in particular. Through historical and current illustrations, counter-examples and experiments, we will think about how technology (e.g. a smart phone) can be seen as an extension of our bodies, how its continual use fragments our images of the body, and the ways in which technologies come to dominate our daily lives. With discussions and participation, we will try to raise questions such as is it possible to regain agency? How do bodies in turn control technology? And where could we go from here?
Participants should bring along a SMARTPHONE with enough SPACE on the memory card for some videos and photos
Eszter Gál
​is a dancer, teacher, works at the University of Theater and Film Arts in Budapest, where she also leads the movement training program. She is a certified Skinner Releasing Technique teacher, co-founder of Artman MM Association (www.artman-hu) and member and co-leader of Co. Tánceánia, the only mixed-ability company in Hungary since 2002. She has been creating her dance performances, performing solo and group improvisation since 1993, has been a guest teacher at Master workshops and International Festivals since 1998 and organizes national and international events, projects (Kontakt Budapest, ECITE, PORCH, Ponderosa Tanzland, IDOCDE, LEAP, ImPulsTanz). She is the co-founder of IDOCDE (www.idocde.net), and the project coordinator and one of the researchers of the EU funded International project on documentation of Contemporary Dance Education REFLEX EUROPE (2015 – 2018). She has been teaching CI for 23 years.
„The dance is the teacher”
Contact Improvisation Workshop
During this one day workshop we are going to study the basics of CI, and by listening to our inner and impulses as well as responding to the outside ones will find ourselves in the unfolding dance.
The focus will be on:
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working on the floor in order to find safety when dancing with a partner
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bases for communicating through touch
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sensation of weight and going off the vertical
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movement exploration with guided focus in solo, duet and group dances
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sharing weight to enhance the dance
Contact Improvisation is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion— gravity, momentum, inertia, friction, etc. To open to these sensations, the body learns to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement. Practice includes rolling, falling, being upside down, following a physical point of contact, and supporting and giving weight. Alertness is developed to work in an energetic state of physical disorientation and to trust one's basic survival instincts. Contact improvisations are spontaneous physical dialogues that range from stillness to highly energetic exchanges.
Spanicsek Valentina
In 2015, I graduated from the Faculty of Modern Dance of the Hungarian Dance Academy (Magyar Táncművészeti FÅ‘iskola). During my studies, I worked together with the physical theatre students of SZFE, and as a dancer I participated in several performances and projects as creator and as performer, too. After graduation I started teaching modern and contemporary dance at the Imre Eck Art School (Eck Imre Alapfokú Művészeti Iskola) in Pécs, and I’m teaching there at the moment as well. Meanwhile, I attended numerous times the physical and motion theatre trainings of Péter Uray, the contemporary dance and music mentor trainings lead by Csaba Horváth, and the workshops of Joe Alegado.
My classes are characterized by varied trainings, combining several modern dance techniques. Soil use is intensely present, and I often draw inspiration from motion and physical theatre exercises. The training continuously builds and expands in order to reach a real dance experience by the end of the class, starting from a warm-up, through different training-exercises.