Morning Class
This class will dedicate itself to promoting spatial and corporeal awareness through clarity and precision. Inviting ourselves to observe, welcome, enhance, abandon and rediscover movement patterns, qualities, focal points, personal habits and preferences in order to stay alert in the present moment. Through a gentle warm up, using a series of set exercises, we will transition to a pre-conceived phrase to share experiences while encouraging individuality.

Morning Class
We will take the time to investigate different states of physical awareness by using a three-fold structure. We will begin with a guided improvisation to observe the body and its natural movements through awareness of breath, weight, tension and release, taking time to notice the body’s qualitative presence moment-by-moment. We will follow by dancing within technical forms to support our range and work as dancers. We will conclude with a phrase that integrates concepts of weight, lightness, initiation and intention. The merging of the unconscious life of movement through observation and improvisation and the conscious attention to physical direction is part of the energizing practice we will explore in each class.

Morning Class
We’ll ready our bodies for movement using guided improvisations and simple exercises based on my ongoing research in numerous somatic and energetic modalities. The intention is to create a maximally informed approach to dancing, a space of respectful and creative permission for everyone’s body, and a time to really let things move in all senses of the word. Class ends with the application of these ideas to choreographed phrase work. MIGUEL GUTIERREZ TEACHES ON JANUARY 29. JOHN JASPERSE TEACHES ON FEBRUARY 3.

Morning Class
Real techniques, invented techniques, practicing presence, practicing hope, “releasing”, sweating, thinking, feeling, moving for no reason and finding out how. I aspire to offer you ways of approaching dancing without fucking your body up. Each day will begin with a Feldenkrais Method® Awareness Through Movement ® lesson. Then standing things. Then a phrase. You know how this goes. Smart movers make good art. I am the teacher, and I will do what I can.

In pleasure
FEBRUARY 2 CLASS CANCELLED. CLASSES RESUME FEBRUARY 4. || We will practice being in pleasure and giving our bodies a voice. A practice of growing a new body, as one would grow a plant; a utopian body; a sensational body; a connected body; an anarchic body; a body full/filled with pleasure, with love and with magic…………. with a brain that melted down to the flesh, the bones, the guts, the skin ... and with eyes that see without naming and see without knowing.

Morning Class
TEACHING FOR MICHELLE BOULÉ. The class begins with an anatomy based warm-up aiming to align and pattern the energy flow in the body in order to find support from the floor and our connection into space. Beginning with simple movement sequences and somatic improvisations, the class gradually builds in complexity towards phrase work. Our goal will be to integrate energetic patterning explored in the first portion of class and to play with how we perform and embody that material.

The class begins with an anatomy based warm-up aiming to align and pattern the energy flow in the body in order to find support from the floor and our connection into space. Beginning with simple movement sequences and somatic improvisations, the class gradually builds in complexity towards phrase work. Our goal will be to integrate energetic patterning explored in the first portion of class and to play with how we perform and embody that material. MIGUEL GUTIERREZ TEACHES FEBRUARY 10.

Technique/Exercises in Composition
This class is designed to access multiple threads at once such as: greater range of motion and articulation, isolated and momentum-driven movement forms, sense of scale, rhythm, alignment, ascent and descent, and dancing that supports a balanced square orientation over a vertical axis while traversing through space and shifting off center in a mode that reflects a play between athleticism, performance, and a particular disposition.

We’ll prepare our bodies for movement using guided improvisations and simple exercises sourced from numerous somatic and energetic modalities. The intention is to create a maximally informed and creative approach to dancing, where everyone has space to honor their own unique systems for movement. We will let subtlety translate into fuller movement, and get things moving in all senses of the word. Class ends with the application of this information to choreographed phrase work.

Class is an opportunity to create the space to fully inhabit our bodies and integrate various approaches of embodiment into our movement and artistic practice. We usually begin slowly, with imagery and gentle preparation inspired by various somatic traditions to access our awareness of the senses, the organs, the skeleton, the cells, gravity, and other energetic forces. Class may also include technical exercises, choreographic structures (“phrases”), improvisations, extended movement investigations, and performance constructs. Through class I hope to nurture, challenge and further develop our collective and individual artistic practices.

This class will dedicate itself to promoting spatial and corporeal awareness through clarity and precision. Inviting ourselves to observe, welcome, enhance, abandon and rediscover movement patterns, qualities, focal points, personal habits and preferences in order to stay alert in the present moment. Through a gentle warm up, using a series of set exercises, we will transition to a pre-conceived phrase to share experiences while encouraging individuality.

The merging of the unconscious life of movement and the conscious attention to physical direction is part of the energizing practice we will explore in each class. We will improvise in order to expand our awareness of breath, weight, tension and release, taking time to notice our body's qualitative presence moment-by-moment. We will follow by dancing within technical forms to expand our range and awareness as dancers. We will conclude with a phrase that integrates concepts of weight, lightness, initiation and intention.

This movement class will develop from simple skeletal mobility sequences to full-out movement forms. Emphasis will be placed on the joints, examining how range of motion relates to alignment, support, weight, pathway and qualitative detail in the course of movement. We will consider the inherent lines in the body's anatomy as the basis for movement material in a full range – from natural to designed, pleasing to provocative.

The class will begin with an anatomy focused warm-up, drawn from both traditional and recent techniques, aiming to align and re-pattern the energy flow in the body in order to find support from the floor and our connection into space. We will begin with simple movements, improvisation scores, exercises, and sequences gradually building in complexity. We will learn movement material, some from Jasperse’s work and some created for these explorations. Our goal will be to integrate energetic patterning explored in the first portion of class and to play with different manners of experiencing and embodying the choreographic material. NO CLASS MAY 5.

Intended as both laboratory and technique class, we will delve into the design of the body and its potential within a given moment. Through stretch and placement, technique studies, and movement phrases, habits will be discovered, challenged, and seen through a new lens. A concentration on the forces through the legs will lead to finding more range in separate body parts and ways to use weight into the floor.

This class encourages dancers to increase their movement possibilities and take risks in dancing by maximizing the benefits of the warmed-up body. Moving smoothly from floor to standing with a strong focus on anatomy and a sense of fluidity in the joints, dancers will develop an understanding of the connections between their body and the floor, and will explore how to use momentum and breath and experience physically-full dancing with the least amount of muscular tension. PLEASE NOTE: No class on Monday May 25, Memorial Day.

JIMENA PAZ WILL BE TEACHING ON JUNE 8 AND 10. This class offers an open space to observe and experience our own particularity and range of mobility and fine-tune our own needs. Through directed exercises, we’ll focus on the breath, internal structure, weight, and the body’s articulations and organization. At the end of the class a collective phrase will be created as a frame for processing the information provided. My class is influenced by many years of work with Jeremy Nelson and my studies of several somatic techniques.

Class begins with systematically readying our bodies and minds for full-out and detailed dancing. Our goal is to increase awareness, articulation, technical facility and focus. The warm-up is simple and straightforward with an emphasis on alignment, physical mechanics, and space for sensation and feedback from our bodies as we work collaboratively to arrive at dancing. In doing phrase work, we hone our skills, apply our training and deepen the understanding and intelligence in our bodies.

Morning Class
TEACHING FOR LUIS LARA MALVACIAS This class offers an open space to observe and experience our own particularity and range of mobility and fine-tune our own needs. Through directed exercises, we’ll focus on the breath, internal structure, weight, and the body’s articulations and organization. At the end of the class a collective phrase will be created as a frame for processing the information provided. My class is influenced by many years of work with Jeremy Nelson and my studies of several somatic techniques.

We'll begin slowly with simple exercises and scores influenced by my ongoing studies in fascia and energetic and somatic modalities, then moving on to improvisations and set phrase material. We’ll consider methods and questions for ourselves around vulnerability, rebellion, ability and perceived lack of ability. This class is a supportive permissive space meant to deepen our practice and availability to our own work as performers. We will explore the body as our teacher and seek to better understand our choices, seeing the dancer as also a maker.

Morning Class
LUIS LARA MALVACÃŤAS TEACHING JULY 3 & 6. LEVI GONZALEZ TEACHING JULY 17 & 20. Intended as both laboratory and technique class, we will delve into the design of the body and its potential within a given moment. Through stretch and placement, technique studies, and movement phrases, habits will be discovered, challenged, and seen through a new lens. A concentration on the forces through the legs will lead to finding more range in separate body parts and ways to use weight into the floor.

Morning Class
TEACHING FOR JOANNA KOTZE JULY 3 & 6 | This class offers an open space to observe and experience our own particularity and range of mobility and fine-tune our own needs. Through directed exercises, we’ll focus on the breath, internal structure, weight, and the body’s articulations and organization. At the end of the class a collective phrase will be created as a frame for processing the information provided. My class is influenced by many years of work with Jeremy Nelson and my studies of several somatic techniques.

Morning Class
TEACHING FOR JOANNA KOTZE JULY 17 & 20. Class is an opportunity to create the space to fully inhabit our bodies and integrate various approaches of embodiment into our movement and artistic practice. We usually begin slowly, with imagery and gentle preparation inspired by various somatic traditions to access our awareness of the senses, the organs, the skeleton, the cells, gravity, and other energetic forces. Class may also include technical exercises, choreographic structures (“phrases”), improvisations, extended movement investigations, and performance constructs. Through class I hope to nurture, challenge and further develop our collective and individual artistic practices.

Ballet for Contemporary Dancers
As a veteran of the American Ballet Theatre, Janet Panetta also has a broad experience of contemporary dance forms. She has trained dancers in many of the major American companies such as American Ballet Theatre, New York City Ballet, Paul Taylor, Merce Cunningham, Trisha Brown, as well as many European companies such as ROSAS and Pina Bausch. Ms. Panetta is also available for private classes and coaching. NO CLASS MAY 25.

Alexander Technique
Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

C O R E M O T I O N Inner Structure
This class focuses on the inner structure of the body. The foundation of the structural focus is the alignment of the body and its relation to gravity. These principles are put into practice by means of a system of exercises using Qi Gong principles and forms. These exercises include deep release of the abdominal and visceral area with breathing and a simple succession of postures, and movements that allow the practitioner to progressively let go of extra tensions and activate the energy centers. As a result of this practice: - The tendons and psoas muscle soften and strength, enhancing an ease of connection between head, neck, back and limbs. - The nervous system relaxes and the individual can access the core of the body as well as the energy centers, gradually generating a sense of buoyancy. Once the student has understood the structural principles of these exercises they can be easily applied to any kind of movement or situation. C O R E M O T I O N is a movement and performing practice developed over thirty years of research by Daria FaÃŻn. It is rooted in Asian philosophy of the body.

Klein Technique™ with Barbara Mahler - for movers of all kinds
We are not just a body or a mind. We are unique individuals with spirit and intelligence. The work in class engages us in a process that facilitates change. We work to right the pelvis on top of the legs, with the deep connections closest to the bones, and free the upper body and spine to move with ease and expression. Working on the level of the bone, we can let go of unnecessary tensions and habits which hold our bodies and minds in misalignment and misconception. Here we find better function, creativity, and well-being. JOANNA KOTZE SUBS FEBRUARY 24&26, MARCH 10 | FARA GREENBAUM SUBS MARCH 3,5,12 | CLASS CONTINUES THROUGH AUGUST 20, 2015

Feldenkrais®
REBECCA DAVIS WILL TEACH JULY 15, 29 AND AUGUST 5. TASHA TAYLOR WILL TEACH AUGUST 26. The Feldenkrais Method® studies the works of our nervous system and our ability to recognize and create movement patterns that are both more efficient and more pleasant. The method emphasizes awareness, distribution of effort/action through the whole self, expanding self-perception and our ability to carry out our intentions. This class is ideal for dancers and people from different backgrounds interested in discovering more about their physicality in a pain-free way and enjoying a larger sense of well-being.

Skinner Releasing Technique™ (Ongoing level)
NO CLASS APRIL 1! SRT facilitates an enhanced awareness of our creativity. This imagery-based Somatic experience intuits ease and healing. Through improvisation and play, we delve deeper inside and shed our notions of style and aesthetics in favor of a more intense personal discovery. Students are encouraged to enter "feeling states" and explore the limitlessness of their multi-dimensional aliveness. SRT makes for a clear, concise, and subtle mover and nurtures an evolved sense of empathy and compassion.

C O R E M O T I O N Contemplative Action
Using the Chinese 5 Element Theory and other cognitive principles we will explore individually and collectively the correlation between the organs, senses, emotions, and the propriety of the material space that surrounds us. This practice implements the development of performative languages for improvisation and composition as it bridges physical, emotional, energetical and intellect awareness. All people involved in performance are welcomed. C O R E M O T I O N is a movement and performing practice developed over thirty years of research by Daria FaÃŻn. It is rooted in Asian philosophy of the body.

Qi Gong: practicing being and seeing
In this class I offer space for a self nurturing, awake state that enables this Qi Gong based work with principles of energetic and anatomic dynamics. We explore methods related to the Chinese 5 Element System through movement, image activation, sounding, meditation, theory and partner work. I approach the somatic, artistic and psychic as synergetic realms. Its a quest to expand possibilities of being and relating within our environment that can deepen our individual practice and ways. LAUREL ATWELL TEACHES 2/23 and 2/27. NO CLASS MAY 25.

Pilates Mat Class for Dancers
This class focuses on clear alignment, stabilizing the hypermobile body and a deep investigation of functional strength for dance. As dancers and somatic movers we need connected, consistent strength and support. We benefit massively from cross training, centering our minds and building an impeccable understanding of our vessel by balancing the extreme ranges of motion we perform on a daily basis.

In pleasure
classes will resume Wednesday February 4

Neuromuscular Preparation for Dance
ANASTASI SIOTAS WILL TEACH MARCH 3. Irene will teach selections of the material choreographed in response to her interaction with professional dancers and dance teachers in the past as well as new material she is creating now. These choreographies can be used as a very efficient warm-up for dance, as well as a musculo-skeletal conditioning program, neuro-muscular fine-tuning, and mental preparation for the greater awareness and expansiveness required of us all as creative performing artists.

Alexander Technique
FERNANDA S. MEYER TEACHING ON 3/25/15. Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Body, Mind and Image (teaching for K.J. Holmes)
Body, Mind and Image: Classes will investigate experiential anatomy through the lens of Body-Mind Centering®, developed by Bonnie Bainbridge Cohen, focusing on specific systems of the body (skeletal, organ, nerves, fluids, glands), and imagery and the physical imagination through Ideokinesis and the work of Mabel Todd (The Thinking Body) as learned from and with Andre Bernard. We will explore qualities, textures, thought processes and movement analysis applicable to creative expression, performance and healing modalities.

Contact Improvisation – The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics. MARGARET CO-TEACHES WITH SARAH KONNER ON FEB. 12. SARAH TEACHES ON FEB. 19 & 26.

Athletics of Intimacy (teaching for K.J. Holmes)
This class uses improvisation and conversation to explore Mabel Todd's work alongside a strand of process philosophy that looks at the self as a mobile, unsettled, only provisional center, and the possibility of using the ideokinetic and somatic techniques of entertaining images to dive into strange regions of physical intelligence. We will draw on developmental movement studies, the practice of Authentic Movement, and a seminarian attention to resonant written passages.

The Underscore
EVERY SECOND SUNDAY OF THE MONTH | Facilitated by Ilona Bito, Chisa Hidaka, Tamar Kipnis, Lucy Mahler, Charlie Mosey and Brandin Steffensen. The Underscore is a dance improvisation structure developed by Nancy Stark Smith. Based in Contact Improvisation, it comprises a spectrum of states, from quiet, internal activity to high-energy, interactive dancing. Undirected; for research and play. Open to all familiar with CI. Deepen your practice with a "talk-through". Underscore NYC offers “talk-throughs” to introduce Underscore's 50+ glyphs and concepts. Important Note: Stay from start to finish.

Body, Mind and Image
Body, Mind and Image: Classes will investigate experiential anatomy through the lens of Body-Mind Centering®, developed by Bonnie Bainbridge Cohen, focusing on specific systems of the body (skeletal, organ, nerves, fluids, glands), and imagery and the physical imagination through Ideokinesis and the work of Mabel Todd (The Thinking Body) as learned from and with Andre Bernard. We will explore qualities, textures, thought processes and movement analysis applicable to creative expression, performance and healing modalities. KARINNE KEITHLEY SYERS TEACHES ON FEBRUARY 4&25, MARCH 11&18, AND MAY 27-JUNE 24. | NO CLASS AFTER JULY 16 UNTIL SEPTEMBER.

The Athletics of Intimacy, Improvisations
Classes combine skills and applications of Body-Mind Centering® systems and patterns of development and evolution, practices of Contact Improvisation, and tunings of somatic approaches within solo, duet (strong emphasis on partnering) and ensemble dancing. I am interested in the very physical, sensorial and imaginative, and in discovering new challenges and risks within our movement, of both body and mind that unwind and weave improvisational and compositional processes. KARINNE KEITHLEY SYERS TEACHES ON FEBRUARY 7&28, MARCH 14&21, AND MAY 23-JUNE 27.

Contact Improvisation – The Basics
TEACHING FOR MARGARET PAEK FEB. 19 & 26. Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

practicing being and seeing:
TEACHING FOR MELANIE MAAR. In this class I offer space for a self nurturing, awake state, where we can explore and learn about principles of energetic and anatomic dynamics that can benefit people within their own practices and ways. I approach somatic, artistic and psychic as synergetic. We work with methods related to the 5 Element System like Iron Shirt, Sexual Energy Practices and Bagua Circling through image activation, sounding, meditation, floor and partner work. Expanding possibilities of relating and being ourselves and our environment.

Body, Mind and Image (teaching for K.J. Holmes)
Body, Mind and Image: Classes will investigate experiential anatomy through the lens of Body-Mind Centering®, developed by Bonnie Bainbridge Cohen, focusing on specific systems of the body (skeletal, organ, nerves, fluids, glands), and imagery and the physical imagination through Ideokinesis and the work of Mabel Todd (The Thinking Body) as learned from and with Andre Bernard. We will explore qualities, textures, thought processes and movement analysis applicable to creative expression, performance and healing modalities.

Contact Improvisation – The Basics
TEACHING FOR MARGARET PAEK FEB. 19 & 26. Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

practicing being and seeing:
TEACHING FOR MELANIE MAAR. In this class I offer space for a self nurturing, awake state, where we can explore and learn about principles of energetic and anatomic dynamics that can benefit people within their own practices and ways. I approach somatic, artistic and psychic as synergetic. We work with methods related to the 5 Element System like Iron Shirt, Sexual Energy Practices and Bagua Circling through image activation, sounding, meditation, floor and partner work. Expanding possibilities of relating and being ourselves and our environment.

Athletics of Intimacy (teaching for K.J. Holmes)
This class uses improvisation and conversation to explore Mabel Todd's work alongside a strand of process philosophy that looks at the self as a mobile, unsettled, only provisional center, and the possibility of using the ideokinetic and somatic techniques of entertaining images to dive into strange regions of physical intelligence. We will draw on developmental movement studies, the practice of Authentic Movement, and a seminarian attention to resonant written passages.

Neuromuscular Preparation for Dance
TEACHING FOR IRENE DOWD.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Contact Improvisation – The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics. BRADLEY TEAL ELLIS WILL TEACH FOR K.J. HOLMES MAY 21 AND 28.

Klein Technique™
TEACHING FOR BARBARA MAHLER We are not just a body or a mind. We are unique individuals with spirit and intelligence. The work in class engages us in a process that facilitates change. We work to right the pelvis on top of the legs, with the deep connections closest to the bones, and free the upper body and spine to move with ease and expression. Working on the level of the bone, we can let go of unnecessary tensions and habits which hold our bodies and minds in misalignment and misconception. Here we find better function, creativity, and well-being.

Body, Mind and Image (teaching for K.J. Holmes)
Body, Mind and Image: Classes will investigate experiential anatomy through the lens of Body-Mind Centering®, developed by Bonnie Bainbridge Cohen, focusing on specific systems of the body (skeletal, organ, nerves, fluids, glands), and imagery and the physical imagination through Ideokinesis and the work of Mabel Todd (The Thinking Body) as learned from and with Andre Bernard. We will explore qualities, textures, thought processes and movement analysis applicable to creative expression, performance and healing modalities.

Klein Technique™
TEACHING FOR BARBARA MAHLER We are not just a body or a mind. We are unique individuals with spirit and intelligence. The work in class engages us in a process that facilitates change. We work to right the pelvis on top of the legs, with the deep connections closest to the bones, and free the upper body and spine to move with ease and expression. Working on the level of the bone, we can let go of unnecessary tensions and habits which hold our bodies and minds in misalignment and misconception. Here we find better function, creativity, and well-being.

Athletics of Intimacy (teaching for K.J. Holmes)
This class uses improvisation and conversation to explore Mabel Todd's work alongside a strand of process philosophy that looks at the self as a mobile, unsettled, only provisional center, and the possibility of using the ideokinetic and somatic techniques of entertaining images to dive into strange regions of physical intelligence. We will draw on developmental movement studies, the practice of Authentic Movement, and a seminarian attention to resonant written passages.

Alexander Technique
TEACHING FOR EMILY FAULKNER ON 3/25/15. Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Alexander Technique
Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Contact Improvisation – The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

Klein Technique
Klein Technique is cancelled Thursday April 30, 2015. Class will resume usual Tuesday/Thursday schedule on May 5.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Contact Improvisation – The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics. BRADLEY TEAL ELLIS WILL BE TEACHING May 21 AND 28.

Athletics of Intimacy (teaching for K.J. Holmes)
This class uses improvisation and conversation to explore Mabel Todd's work alongside a strand of process philosophy that looks at the self as a mobile, unsettled, only provisional center, and the possibility of using the ideokinetic and somatic techniques of entertaining images to dive into strange regions of physical intelligence. We will draw on developmental movement studies, the practice of Authentic Movement, and a seminarian attention to resonant written passages.

Body, Mind and Image (teaching for K.J. Holmes)
Body, Mind and Image: Classes will investigate experiential anatomy through the lens of Body-Mind Centering®, developed by Bonnie Bainbridge Cohen, focusing on specific systems of the body (skeletal, organ, nerves, fluids, glands), and imagery and the physical imagination through Ideokinesis and the work of Mabel Todd (The Thinking Body) as learned from and with Andre Bernard. We will explore qualities, textures, thought processes and movement analysis applicable to creative expression, performance and healing modalities.

Alexander Technique
EMILY FAULKNER TEACHES JUNE 3. Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Alexander Technique
EMILY IS TEACHING FOR RACHEL BERNSEN JUNE 3. Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation – The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

C O R E M O T I O N Inner Structure
TEACHING FOR DARIA FAIN JUNE 16, 23 & 30. | This class focuses on the inner structure of the body. The foundation of the structural focus is the alignment of the body and its relation to gravity. These principles are put into practice by means of a system of exercises using Qi Gong principles and forms. These exercises include deep release of the abdominal and visceral area with breathing and a simple succession of postures, and movements that allow the practitioner to progressively let go of extra tensions and activate the energy centers. As a result of this practice: - The tendons and psoas muscle soften and strength, enhancing an ease of connection between head, neck, back and limbs. - The nervous system relaxes and the individual can access the core of the body as well as the energy centers, gradually generating a sense of buoyancy. Once the student has understood the structural principles of these exercises they can be easily applied to any kind of movement or situation. C O R E M O T I O N is a movement and performing practice developed over thirty years of research by Daria FaÃŻn. It is rooted in Asian philosophy of the body.

practicing being and seeing
[TEACHING FOR MELANIE MAAR THROUGH SEPTEMBER 15, 2015] Utilizing principles and exercises based in Qi Gong, we will see and sense into our own selves to identify and engage the systems of the body. Through the practice of forms, meditations, and visualizations, we will work to navigate the anatomical in order to enhance our relationship to the universe, creating a connection between the corporeal and the energetic. This class is an offering; a space created to give time to the cultivation of the inner life force, and an opportunity to create internal and external shift, balance, rejuvenation.

Global Underscore
The Underscore is a long-form dance improvisation structure developed by Nancy Stark Smith and practiced worldwide. The form includes contact improvisation and allows for a full spectrum of physical forms and changing states, often including periods of quiet internal activity and other times of higher energy and interactive dancing. The Underscore's undirected practice affords simultaneously a framework for research, a forum for play, and an opportunity to experience collective improvised composition. Global Underscore was originally conceived in 2000 and organized for a decade by French dancer Claire Filmon in collaboration with Nancy Stark Smith. Coinciding with the summer solstice, this annual event invites dancers at sites all around the world to practice the Underscore simultaneously and share their experiences with a global community of practitioners. Now in its 15th year, Underscore NYC proudly hosts Global Underscore 2015.

Qi Gong
In this class I offer space for a self nurturing, awake state that enables this Qi Gong based work with principles of energetic and anatomic dynamics. We explore methods related to the Chinese 5 Element System through movement, image activation, sounding, meditation, theory and partner work. I approach the somatic, artistic and psychic as synergetic realms. Its a quest to expand possibilities of being and relating within our environment that can deepen our individual practice and ways.

Alexander Technique
Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation
Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Contact Improvisation - The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

Klein Technique™ with Barbara Mahler - for movers of all kinds
We are not just a body or a mind. We are unique individuals with spirit and intelligence. The work in class engages us in a process that facilitates change. We work to right the pelvis on top of the legs, with the deep connections closest to the bones, and free the upper body and spine to move with ease and expression. Working on the level of the bone, we can let go of unnecessary tensions and habits which hold our bodies and minds in misalignment and misconception. Here we find better function, creativity, and well-being.

Pilates Mat Class for Dancers
This class focuses on clear alignment, stabilizing the hypermobile body and a deep investigation of functional strength for dance. As dancers and somatic movers we need connected, consistent strength and support. We benefit massively from cross training, centering our minds and building an impeccable understanding of our vessel by balancing the extreme ranges of motion we perform on a daily basis.

Adult Ballez
Adult Ballez is a dance class that explores the gender-binaried, Imperialist movements of Ballet, radically re-imagining those oppressive tools in a site of liberatory queer play. Shifting the focus away from traditional virtuosity, we explore the virtuosity of genderqueer embodiment, questioning the value-systems that are physically manifest within us, while we embody them. Starting with Authentic (fantasy) Movement, we then warm-up at the barre, and then move into center to turn, jump and practice partnering. MONDAY NIGHTS: ADVANCED ADULT BALLEZ | WEDNESDAY NIGHTS: BEGINNER ADULT BALLEZ

The Underscore
EVERY SECOND SUNDAY OF THE MONTH | Facilitated by Ilona Bito, Chisa Hidaka, Tamar Kipnis, Lucy Mahler, Charlie Mosey and Brandin Steffensen. The Underscore is a dance improvisation structure developed by Nancy Stark Smith. Based in Contact Improvisation, it comprises a spectrum of states, from quiet, internal activity to high-energy, interactive dancing. Undirected; for research and play. Open to all familiar with CI. Deepen your practice with a "talk-through". Underscore NYC offers “talk-throughs” to introduce Underscore's 50+ glyphs and concepts. Important Note: Stay from start to finish.

Feldenkrais Method®
Feldenkrais® TAKES PLACE EVERY WEDNESDAY 12:30-2PM, TAUGHT BY A ROTATING GROUP OF TEACHERS. The Feldenkrais Method® studies the works of our nervous system and our ability to recognize and create movement patterns that are both more efficient and more pleasant. The method emphasizes awareness, distribution of effort/action through the whole self, expanding self-perception and our ability to carry out our intentions. This class is ideal for dancers and people from different backgrounds interested in discovering more about their physicality in a pain-free way and enjoying a larger sense of well-being.

C O R E M O T I O N Contemplative Action
Using the Chinese 5 Element Theory and other cognitive principles we will explore individually and collectively the correlation between the organs, senses, emotions, and the propriety of the material space that surrounds us. This practice implements the development of performative languages for improvisation and composition as it bridges physical, emotional, energetical and intellect awareness. All people involved in performance are welcomed. C O R E M O T I O N is a movement and performing practice developed over thirty years of research by Daria FaÃŻn. It is rooted in Asian philosophy of the body.

Contact Improvisation - The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

Feldenkrais Method®
Feldenkrais® TAKES PLACE EVERY WEDNESDAY 12:30-2PM, TAUGHT BY A ROTATING GROUP OF TEACHERS. The Feldenkrais Method® studies the works of our nervous system and our ability to recognize and create movement patterns that are both more efficient and more pleasant. The method emphasizes awareness, distribution of effort/action through the whole self, expanding self-perception and our ability to carry out our intentions. This class is ideal for dancers and people from different backgrounds interested in discovering more about their physicality in a pain-free way and enjoying a larger sense of well-being.