Mechanized Bodies: Mechanized Visions
In this process lab we will look at various clips of influential film and video works that span from the dawn of the moving image to the present day. Our interests will be focused on the uses of cinematography and editing as unique types of physical explorations as well as documents of time. Along with watching clips, we will engage in some group exercises to further activate ourselves within the space and with one another (no dancing experience necessary – all abilities welcome!).

WORKSHOP: The Fastest Planet
**THIS WORKSHOP NOW MEETS FROM 5-8PM ON 9/28 INSTEAD OF 10AM-1PM** The workshop explores modes of experiencing dance through the format of creating a work. The group will, at the same time, do a workshop and prepare a presentation for Judson Church – we have eight hours. An impossible project especially considering how Judson Church consolidates not form or function of dance but modes of experience. Our task is not to critique or revolt but to bypass from within. Something we will do through the corruption of form and function.

RESCHEDULED
**THIS WORKSHOP NOW MEETS FROM 5-8PM ON 9/28 INSTEAD OF 10AM-1PM**

The Aftermath: A Discussion
Workshop participants, performance viewers, those interested in the discourse around performance – are all welcome. These two days will look at the performance that took place at Movement Research at Judson Church on October 5 as a jumping off point for discussion, readings, conversation, and dialogue, a bit like an aftermath or a live review. DROP-INS WELCOME.

Reflecting
This process lab is an opportunity for you to consider meta-cognition, or goal-oriented cognitive strategies and knowledge, as it pertains to your creative process. Navigating through a repeated process of reading, writing, testing, and talking, participants will 1) investigate a singular personal movement or conceptual interest, 2) consider meta-cognition as a proliferating reflexive web, and 3) create control factors as a container of form. Self-reflecting via language and dance-reflecting via movement, the last hour we will practice a durational group construction, following spontaneously constructed scores in a mindful dance experience. Open to all levels.

mini dances
This lab will be fun, hopefully. I am interested in our cultural obsession with short flashes of information on platforms like Instagram and how this does or does not relate to the necessarily subtle form of dance and performance in the non-commercial setting. We are going to work on small movement based videos taken on the iPhone. After having a good warm up, we will make phrases of movement and/or movement scenes, look at them together, try to crystallize the essence and then see how that can translate into a digital recording. Feel free to bring costumes and props if you are so inclined.

WORKSHOP: Shake/Walk
Taking two everyday forms of movement, we will allow these forms to disorganize within, and be disorganizing of, our bodies. Sensations that arise within this body matrix range from chaotic to cathartic, and disorienting to freeing. As the workshop unfolds, we will shift attention among sensation, function, and form, delving deeper into the creative potential within experiential states of disorder. Participants will perform a score sourcing these explorations at Movement Research at Judson Church on November 9.

The Switching
I like to imagine that this improvisation practice, The Switching, is a strategy in immediate evolution through transubstantiation. I began to practice The Switching in relation to dealing with my curiosities around a question I obsessed over: “Can I change myself?” Our practice will deal with essentialization - through the immediate design of creatures, or ways of being - and working with restrictions/limitations. For me, there is something deeply spiritual about it, something confusing, something humbling/humiliating about it. I feel like it has theoretical links to code switching, especially as it has to do with my Blackness and queerness, experiences of immediate compartmentalization/contextualization as a defense mechanism, as a means of survival. Please join me! I encourage all bodies, all gender expressions.

FESTIVAL | Clown Palace - a shared workshop
Beth Gill will share Memory Palace, an improvisational structure from her project Portrait Study. Together we will delve into realms of the imagination, build and inhabit autobiographical memory sites and use them as play spaces in which to improvise. Within this frame we will look more closely at the thought process behind our choice making and how our thinking impacts notions of presence and liveness in performance. Cori Olinghouse will share Clown Therapy, a performance practice exploring the relationship between humor and the unconscious. Based lightly on clowning as an imaginative key for humor, stream-of-conscious modes for excavating the unconscious, and aesthetic practices of collage, CT brings internal states to the surface and mines them as material–exaggerating and animating a series of shape-shifting characters and personas.

FESTIVAL | The Explosive Body - a movement practice
Abby Zbikowski is a choreographer who interrogates the functionality of aesthetics and cultural value systems through highly physical and relentlessly explosive dances. For this workshop, Zbikowski will draw from her distinct movement practice and research of African and Diasporic movement traditions. She has had the extreme pleasure of training with and dancing in the work of South African contemporary choreographer Vincent Mantsoe and has studied intensively at Germaine Acogny's L'École de Sables in Senegal (where she learned the Acogny technique). Her work is also influenced by her study of the practice of breakin' with Raphael Xavier and House-infused Afro-Contemporary choreographer, Charles O Anderson.

FESTIVAL | Self-Portraiture: Self-Prompt
Working with concepts from dance and drawing, we will practice self-portraiture as an approach to both warming up and preparing to work. Exercises are designed to improve your physical and visual concentration. We will explore line quality and rhythm via analytic and impulsive descriptions of our unique dancing bodies. This workshop is open to artists from any discipline.

FESTIVAL | Touch Color_Drawing Therapy
In TC_DT we will explore color and line via a series of exercises to activate the imagination, hand and body. We will journey through solo and group practices to experience color/vibration, line/weight and movement - observing ourselves and others in the process. Through drawing from our imaginations and from life, we touch aspects of ourselves that have been forgotten or unrealized. We can discover new ways of seeing, listening and being. TC_DT may include but will not be limited to: meditation, visualization, watching, drawing, before and after images, the brain-to body-to hand connection, visual journaling, drawn dances and rainbows. No previous visual art, drawing, movement or meditation experience necessary.

CREATIVE DIFFERENCES
In partnership with Abrons Art Center and American Realness* Criticism is art. It’s unruly—but also tethered to the art of others, and to whatever culture(s) it seeks to interrogate. These are my beliefs, anyway. What are yours? This workshop functions like a laboratory, open to individuals interested in understanding themselves and their world through art. *Participants will have access to discounted tickets to American Realness festival performances.

IDD Wkshp: Forsythe Phrase and Improvisation Technologies
Long time Forsythe dancer Elizabeth Corbett guides an exploration into working methodologies inspired by the creative processes of William Forsythe. In this workshop, dancers explore and develop improvisation approaches and deconstruction of Forsythe's phrase work toward accessing the inner logic and unfolding mechanisms in the work. 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 many evolving projects was the codification of Laban-based, 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 and ideas and concepts, toward accessing the inner logic and unfolding mechanisms in the work.

B3
The Body Breath Beyond Training (B3) is a unique and complete body-mind training system and voice practice. B3 is an absolutely relevant physical training method for dancers, body artists and movers from all sources. It is originally created by Korean dancer/choreographer Yanghee Lee with a synthesis of the Korean Traditional dance movements and further elements from The Suzuki Method for Actors by Tadashi Suzuki. The essential aim of B3 is to awaken the intelligence of the body, voice, and presence by experiencing our physicality in all its capacities and possibilities. I consider this practice as an "Embodied Philosophy" where the nature of human mind is totally connected and shaped by our body and the way we use it and explore with it.