Technique
Using improvisational and set warm-ups we will focus on the volume and weight inside the body and its relationship to the floor. Exercises that bring awareness to the sternum and pelvic floor encourage the feeling of release in the limbs from those places of support allowing us to fall and suspend off center. Using these physical tools inside technical patterns and phrase material, we will work towards a more grounded and direct approach to movement.

Klein/Mahler Technique
The pelvis is the keystone for both movement and support. In this workshop we will break down the deep connections within the pelvis to create a stronger, more facile moving body, whether in dance, sports, or life. These deep connections allow for an ease and freedom that working on the outer muscles cannot facilitate. The workshop is meant to create a dialogue and a challenge as to the definitions of ��œcenter,��� ��œcore,��� and ��œgrounded.��� This workshop is based on the knowledge and research of Susan Klein, whom I have studied and worked with for 30 years.

Composition
We will explore different aspects of creative process, i.e. making dance. I will be inquisitive about your work, and you will come up with many questions. These questions illuminate many tangents of our thinking to be considered and observed, and by revealing our actual thinking methods in some ways the questions will be more informative than the answers themselves. We will explore how we think and form ideas and identities, and how we might apply them for art making.

Technique
This warm-up and movement class will develop from simple skeletal mobility sequences to full-out, expansive movement forms. Emphasis will be placed on the joints, examining how their range of motion relates to alignment, support and weight in the course of movement. We will also focus on how the inherent lines in the body���s anatomy can offer movement material in a full range: from the abstract to the dramatic. The class will culminate in traveling sequences and longer movement phrases.

Horizons
Learn a warm-up choreography designed to enhance visual focus, hand-eye coordination, articulation of hands and feet, freedom of the spine, and the dancer���s own phrasing. In addition this sequence can be used as a physical and mental preparation for performance.

Composition
In this workshop we will research individual approaches to composition and form through perceptual experiments with space, time and energy. We will isolate improvisational activities such as making transitions, creating locations, and sustaining energetic states; and other strategies to bring a deeper understanding to our personal and intrinsic improvisational and compositional logics. From this process we will create small pieces and scores while looking at the potential of dance to actively engage contemporary issues through perception and embodied practice and form.

Technique
Class uses our experience and identity to inspire and influence the direction and way we move. Utilizing an array of influences and styles, from the known to the less traveled, we gather our experiences as both a community and an individual to create a cultivated culture clash. Leichter fuses a variety of stylistic approaches to movement, from traditional to urban to create a class that is one continuous and sensual web of form, dynamics, and flow.

Improvisation
This intensive will combine applications of Body-Mind Centering��, skills and practices of Contact Improvisation, and tunings of improvisational approaches in solo, duet and ensemble dancing. We will make the invisible visible, learning more about the interior of the body and our ideas, and find pathways to external space, time, and place. We will play with structures for improvising where we can both witness and participate, discovering new challenges and risks in our movement vocabulary. Body-Mind Centering�� (BMC) is an eclectic and dynamic approach to somatic training and re-education developed by Bonnie Bainbridge Cohen. Contact Improvisation is a duet dance form initiated by dancer Steve Paxton in 1972 that investigates balance, trust, momentum, gravity, stillness, and perceptual play.

Composition
RoseAnne Spradlin���s choreography workshop will use improvisation and short in-class studies to explore aspects of the creative process including: 1) how to free the instinct and deepen one���s resonance as a mover/communicator; 2) how to recognize potency in the material; and 3) how to imbed one���s frame of reference within the work itself, as a strategy of participation and communion with the audience. Workshop participants will be given feedback in class and encouraged to problem-solve in a way that expresses a personal edge.