Move, Funk, Quiet, Breathe, Move
We'll begin with a warm-up to energize and align the body's motor and energy systems and technically prepare us to move, with an eye toward dynamic rhythm and flow in space. We will also work with material derived from recent repertory. In the context of funk, we will explore how expression is conveyed through our own unique rhythmic language.

Spirals
Learn an eight minute warm-up for dance, which mobilizes all the joints and exerts all major muscle groups from the most elongated to the most shortened lengths. Spirals also involves moving through arcing pathways within the body's volume as well as those surrounding the body in all spatial dimensions equally.

Repertory
Donna Uchizono, whose work is known for its "wit, spicy movement and rich invention," will teach work from two company pieces of Donna Uchizono Company's repertory. Recently acquired by the D-9 Dance Collective, the Wayne Brothers is an intense energetic work with movement passages infused with speed, split-second directional changes and peppery movement. With its breathtaking opening, State of Heads creates a world of odd, yet endearing characters with movement that has a subtle wit anchored in the recognition of our human imperfections.

Technique
This class begins with a warm-up that draws from various sources including Kelin Technique and Alexander Technique. It focuses on alignment, the use of the deep postural muscles for support, and the connection to and use of the floor-all in the service of freeing us to move with ease, specificity, and strength. Class phrases focus on traveling in the space, moving easily in and out of the floor and taking chances off-balance.

Poetic Sensibility
In this workshop we will examine how the mind and body work together to allow us to sense ourselves and the world around us. How we perceive is intimately tied to how we imagine and how we express ourselves creatively. We will work on ways to create bridges between our perceptions and our poetic sensibility so that our dances are not simply about the body, ideas or compositional forms, but are about being in the world with eachother.

Choreography
This workshop is for choreographers and others interested in dance-making processes, with the goal of exposing, distilling and magnifying each artist’s individual voice. Participants will be asked to collect palettes of movement and movement ideas via directed improvisation, then experiment to find methods to organize the material so that it has the greatest potency to the dance-maker. How the audience builds a theory while watching a dance; what constitutes dance-events in each artist's work; how events are framed within a dance will all be discussed. Greenberg will open his own choreographic process for study, revealing varied influences such as his experiences in the Cunningham company, Klein Technique and other somatic approaches as movement liberators, and methods of presentation form experimental theater and film.

Technique
Concepts of body architecture, locomotion through space, and body centering are explored. The focus is centered on O'Connor's dance language, which incorporates ballet, modern, ethnic, and historical forms, both real and invented. Concepts of body architecture, locomotion through space and body centering are explored. These are combined with a unique system for phrase structures derived from a physical stream of consciousness. This is characterized by an exaggerated desity of steps and inorganic step sequencing transformed into logic. Musically, the class concentrates on extreme tempo change and dynamic finesse.

Choreography
This workshop will concentrate on how to deepen a personal choreographic voice and on how to read the underlying message in one's creative impulse. Through the daily creation of phrases, the artist focuses his or her attention on developing an analytical eye for the fundamental metaphors in the work. The process involves locating, through a hyper personal investigation, the seeds of a universal voice. I want the artist to internalize a system of problem solving based on his or her thought process and develop the ability to bring it into the realm of theater. The goal is to gain the objectivity necessary to scrutinize a work; and bring clarity to its thematic center.

Contact Improvisation
Contact Improvisation, initiated in 1972 by Steve Paxton, is a dance between two bodies sharing points of balance. In this workshop, we will focus on building skills and a shared language through practicing techniques developed by Paxton, including body puzzles, anatomical release explorations and forms that shape the body with odd timings, unusual perspectives and surprising weight exchanges. We will also explore musicality and phrasing, how the senses influence and motivate our movement choices, learn specific lifts and rolls as well as how we craft time and space in spontaneous choreographies of solo, duet and ensemble dancing.

Moving with Momentum
Material will range in styles from release-based work connecting with the floor to an eclectic standing modern class. Concepts such as a weighted and grounded approach to movement, harnessing the body's momentum and force, varying approaches to contact and partnering, emphasis on intent and focus, and compositional choices through improvisation may be included. We will have fun!

Advanced Repertory
The concept of collaboration and group process will be explored in a deep way as the class works collectively with material from the recent company dance, To Lie Tenderly. The class will create their own dance during the week, which will include simultaneously strong doses of humanity, and theatrical and kinesthetic excitement. Issues such as the creation of the delicate balance between meaningful form and and meaningful content will be investigated as we make a dance which will incorporate movement ranging from highly technical to pedestrian and utilize partnering and text generated by the class.

Reconsidering Creative Process
The intent of this course is to encourage expressiveness in the most communicative manner possible. While breaking down boundaries of disciplinary classification, a merging of movement, text, visuals, and music will be stressed. To facilitate growth within a group, a system of humane, honest, and critical dialog will be developed and practiced.