Chi Gong into movement
This is a technical class using Chi Gong principles to undertake the basics of a potent and healthy approach to movement grounded in exercises that draw in internal forces.

Introductory Seminars in Chi Gong
A weekly seminar with a rotating schedule of topics. This class acts as both an introduction and practicing forum for Chi Gong fundamentals.

Spontaneous Chi Gong/improvisation
Using Taoist principles that connect organs, senses and emotions, Daria leads an exploration into the complex layers of our being. The activated internal forces are at play.

Moving, Sounding and Acting
This workshop intensive explores the integration of movement and voice by delving into the mind/body connection, sensations and experiences through structured improvisation. Each class incorporates a physical warm-up as well as a vocal warm-up with the group learning songs to be sung together in "rounds." This creates a great sense of community and unified purpose, from which we can move into explorations together and individually.

Emerging from flow, moving from the periphery and some speed games
With a releasing warm-up, we will practice utilizing imagery to transform our bodies to allow it to become an empty vessel for the work to come. Our first endeavor will be the thorough investigating of the universal power of flow. We will observe all the rhythms and qualities that emerge seemingly organically out of flow. With speed-altering games we will recognize patterns, break them down and see what happens if we let a score possess us. Finally, we will work on moving from the periphery, submerging us into the potential world of fancy arm and leg work.

Composition
Teaching from the point of view that making is an endless quest with ever shifting ground, Rethorst encourages an attitude of fueling work with one's questions, not regarding plans or themes as pre-requisites. Her interest is in the nature of movement and its communication, how it operates as phenomena. She presents composition exercises that propose ways of perceiving and proceeding that engage these ideas at the same time creating situations in which each student can locate her/his aesthetic and goals in the larger picture of dance's many mini cultures. She gives students the ability to recognize and access states necessary to making work; intuition, perception, cognition, interiority, emotional distance, spontaneity, pleasure, will, reflection, humor.

Composition
Teaching from the point of view that making is an endless quest with ever shifting ground, Rethorst encourages an attitude of fueling work with one's questions, not regarding plans or themes as pre-requisites. Her interest is in the nature of movement and its communication, how it operates as phenomena. She presents composition exercises that propose ways of perceiving and proceeding that engage these ideas at the same time creating situations in which each student can locate her/his aesthetic and goals in the larger picture of dance's many mini cultures. She gives students the ability to recognize and access states necessary to making work; intuition, perception, cognition, interiority, emotional distance, spontaneity, pleasure, will, reflection, humor.

Composition
Teaching from the point of view that making is an endless quest with ever shifting ground, Rethorst encourages an attitude of fueling work with one's questions, not regarding plans or themes as pre-requisites. Her interest is in the nature of movement and its communication, how it operates as phenomena. She presents composition exercises that propose ways of perceiving and proceeding that engage these ideas at the same time creating situations in which each student can locate her/his aesthetic and goals in the larger picture of dance's many mini cultures. She gives students the ability to recognize and access states necessary to making work; intuition, perception, cognition, interiority, emotional distance, spontaneity, pleasure, will, reflection, humor.

Composition
Teaching from the point of view that making is an endless quest with ever shifting ground, Rethorst encourages an attitude of fueling work with one's questions, not regarding plans or themes as pre-requisites. Her interest is in the nature of movement and its communication, how it operates as phenomena. She presents composition exercises that propose ways of perceiving and proceeding that engage these ideas at the same time creating situations in which each student can locate her/his aesthetic and goals in the larger picture of dance's many mini cultures. She gives students the ability to recognize and access states necessary to making work; intuition, perception, cognition, interiority, emotional distance, spontaneity, pleasure, will, reflection, humor.

Moving, Sounding and Acting
This workshop intensive explores the integration of movement and voice by delving into the mind/body connection, sensations and experiences through structured improvisation. Each class incorporates a physical warm-up as well as a vocal warm-up with the group learning songs to be sung together in "rounds." This creates a great sense of community and unified purpose, from which we can move into explorations together and individually.