Sunday Process Lab
As dance artists I feel we are particularly familiar with the flow and the friction between conscious content and sub-level imagery, between concept and embodiment, thinking and sensing, between the external and internal. Much of the pleasure and meaning in performing, relating and creating for me comes from there. In this process lab I would like to share and explore with you further methods of differentiating within these realms. We shall improvise. Bring your notebook please. PART OF: Sunday Process Labs

Sunday Process Lab
How to learn rigorous physical and vocal actions while practicing presence? How to be present during the breaks and the breaths between those actions? We will work with exercises developed in almost 20 years of Balduzzi�s practice that focus on impulse and stop, rhythm, opposition. This training allows participants to become more deeply connected to their own intuitions and impulses and better able to respond to them truthfully, fearlessly, and joyfully.

Sunday Process Lab
Archiving the present. This workshop considers movement-based performance as a tool for broadening ones own artistic practice. Starting from �now� we will explore the myriad understandings of presence. We will look to the sensorial, relational, personal, political, seasonal, annual etc. to uncover the layers of what constitutes �this moment.� Bringing the outside in and the inside out we will make a piece together in 3 hours. We will construct, compose, dismantle and play, coating layer upon layer to investigate the idea of �dance as a document� of our time spent together.

Sunday Process Lab
Joanna Kotze and Shelley Senter will come together to share their ideas, practices and processes in this collaborative lab. Joanna delves into the design of the body and its potential within any given moment, looking at the forces through the legs to access a wide range of movement, challenging habits and discovering new performance possibilities. Shelley's interests include critiquing sensation, spatial support, looking at movement as behavior as well as architecture, and addressing un/sub/consciousness, particularly in �the use of the eyes (notice I did not say �gaze.�)� Through both movement and dialogue, Joanna and Shelley will exchange information with you and each other about how movement, specificity and potential in the body play important roles in their teaching and creative process.

Open Source Forms: Freedom + Rigor + Courage
Cross-fertilizations and deep commonalities of releasing technique and creative process, with an ultimate goal of individual creative empowerment. Tools to navigate the subconscious, open the voice -- literally and figuratively -- trust our inner world, access technique as resource and find courage to transcend it. Skura instigated Open Source Forms in 2009, drawing from decades of research and practice in radical composition techniques, and 12 years as core Skinner Releasing teacher. [Bring paper & pens for writing & drawing.]

Sunday Process Lab
This Sunday Process Lab is concerned with my working methodologies that identify, multiply, and disrupt meaning in the moment. Using whatever faculties most readily available to the practitioner in real time--movement, speech, vocal toning, song, writing--we will research the ways in which forms can be in dialogue, competition, and support of one another. MULTIPLY YOUR MAKING CAPACITY OUT OF THIN AIR BY STAYING INSIDE THE EXPERIENCE AND SQUAWKING! Using my (non) fictional improvisation methodology, the Star Crap Method, we will place perception, action and meta-commentary on a horizontal plane and then bust out some hot material on that plane, like it's a stage, tailored to the practitioner's exact specifications.

Sunday Process Lab
As dancers, how do we actively participate in a choreographic process? How do we care for it and ourselves? On what systems and herstories/histories do we build our own processes both inside and outside of a particular work? In this lab, we will consider how to develop tools, systems, and methods for ourselves towards openness, vulnerability, transformation, rebellion, ability and perceived lack of ability, and questions and curiosity. We will also examine ways in which participation and problematic "good behavior" as dancers might keep us from making deeper, more curious and wild choices that go against ideas of a corporatized body that aims for symmetry, homogenization and historical ideas of dancer.

Workshop A: BODY of SOUND
Where sound meets silence, movement meets stillness guided by Ziji Beth Goren. Join a lively and nurturing time focused on voice-movement principles and practices: How do breath, vibration, toning, rhythms, melody, sound/word/story-play, and touch stir us to our deepened cellular resonance? Choice structures and intriguing prompts inspire new life in voice-movement improvisation. From inner explorations to partnering, sound circles and small composing groups, we find a true way to reveal our unique stories of all dimensions. What unfolds? Voice-movement vignettes, gateways to personal balance, and the ground below horizon and performance reach.

Workshop B: IMMUNE RHYTHMS
Voice-Movement applications with Ziji Beth Goren The Immune System is a nomadic system which includes parts of many systems. How do we reach the core of our immune system through our own voicing and mobilizing? FIND NAME TOUCH EMBRACE SOUND/MOVE How does our fluid-membrane interaction enliven and inform our immune rhythms? What mythic archetypes influence both structural dynamics and emotional immunity? We explore the relationship of optimal health, sustainability, and creative flair within the layers of immune function. Come ready to explore, learn, recognize, and embody this powerful system!

Energetic Bodies
In this workshop I will share my practise of experiencing movement which goes beyond our imagination and expectation. We will search for movement that we cannot plan because the body takes over and our mind follows. The body will be ready to surprise our mind. We will start to find pleasure in arriving at our physical limits and not be afraid of entering unknown fields where the energy of movement is more important than the form. We will work on my concept of �pleasure chaos�, �strong instabilities�, �spreading vibes� and �the flow of duration�. We will have fun in sweating, shaking, and letting explode all our physical power. The motto is: Not holding back. We will take the word con-temporary literally - we fill the present with our energetic physicality and feel what it means to dance contemporary, to dance in the present and move the present. *With support from Austrian Cultural Forum New York

Forsythe Phrases and Improvisation Technologies
(Part of Janet Panetta's International Dance Dialogues) William Forsythe's vision has opened new dialogues in dance. As artistic director of an extraordinary collection of dance artists, Forsythe, Ballet Frankfurt and The Forsythe Company have blazed a trail for contemporary dance for more than 20 years. One of his evolving projects was the codification of Laban-based (among other), real-time movement analysis systems called Improvisation Technologies. These concepts and methodologies are employed by the dancers not only to generate set phrases of movement but also as a tool for performed improvisation. Under the direction of longtime Forsythe dancer Elizabeth Corbett, you are invited to explore some of Forsythe's choreographed phrase work, ideas and concepts, toward accessing the inner logic and unfolding mechanisms in the work.

Sunday Process Lab
In this laboratory, my current research around butoh scores and internal landscape as well as some of my somatic practices around nuanced forms and movements will be shared and practiced with participants. After a brief introduction to butoh and butoh scores, how to use actual butoh scores in your own creation process will be explored and discussed. Drawing and writing are involved in the process of exploration.

I AM ONE WHO
Developed during the past 21 years by Ra�na von Waldenburg and based on the physical actor training of Jerzy Grotowski and Stephen Wangh (An Acrobat of the Heart), this innovative approach to performance teaches artists to embody the present moment with barefaced sincerity. A series of physical presence exercises trains the performer to literally bring all parts of him/herself into the work, generating impulses that are utterly alive, surprisingly truthful, and emotionally resonant. Performers learn to develop constructive vocabulary for giving and receiving critical feedback in an ensemble-based environment where peers are vital to the learning process.