Complementary Technique
We start with a simple straight forward standing warm up using body awareness and alignment. This warm up takes around 45 minutes. The dancing that follows draws from IHD repertory and encourages big, full dancing with attention to detail.

Contact Improvisations
CONTACT IMPROVISATIONS - "We have ignition..." Skills, practices, and investigations of pure contact improvisation using raw physics, reflexive exchanges and sensorial responses. For beginners who want to acquire basic knowledge of falling, rolling, catching, jumping, listening, and following flow and resistance; For intermediates who want to deepen their experience of transitions between horizontal and vertical play; and For the advanced who want to explore the subtlety of intention,touch and direction.

Developmental Techniqueâ„¢/Experiential Anatomy
This workshop presents developmental movement vocabulary and concepts of experiential anatomy applied to creating original dance vocabulary and physical acting. Developed by Wendell Beavers from Bonnie Cohen's Body-Mind Centering�� material, this technique forms a basis for somatic training in Naropa University's groundbreaking MFA program. Sessions will consist of working through the fundamental developmental vocabulary from cellular breath to pre-spinal and quadraped locomotion patterns to upright bipedal movement supported by all six limbs of the body(head, hands, feet and tail).

Volutes
Participants will learn Volutes, choreographed by Peggy Baker and Irene Dowd as a high momentum warm-up which especially mobilizes the eyes, spine, hips and shoulders. Practicing Volutes enhances flexibility for the ��œtight��� dancer and dynamic control for the ��œloose-jointed��� dancer. This choreography provides a very dynamic exploration of possible relationships between the rib cage and pelvis. This is quite physically challenging dance material.

This class seeks to prepare an articulate, alert and neutral body, ready for precise dancing with intricate coordinations that we will work on together. There is a simple, straightforward, continuous warm-up that relies on the use of release, alignment, momentum, weight and strength. Clarity, simplicity of movement, attention to detail and concentration will be our goal.

Composition
Known for creating a new movement vocabulary with each new work, Uchizono guides a composition class, delighting in ways to develop material from a specific idea while exploring how one looks at work. Sections from the company���s repertory relating to the ideas explored in the lab add to the experience.

Movement Practice
The class will begin with an anatomy focused warm-up, drawn from both traditional and recent techniques, aiming to align and re pattern the energy flow in the body in order to find support from the floor and our connection into space. We will begin with simple movements, improvisation scores, exercises and sequences gradually building in complexity. We will learn movement material, some from Jasperse's work and some created for these explorations. Our goal will be to integrate energetic patterning explored in the first portion of class and to play with different manners of experiencing and embodying the choreographic material.

Alexander Technique for Dancers
The Alexander Technique is a means of identifying mental and physical habits that interfere with ones ability to attend to the moment and make choices. Through observation, dialog and hands-on work, this workshop aims to introduce principles of the Technique and examine common assumptions (and their accompanying sensations) of such dancerly concerns as strength, support, stability, power and subtlety, opening the body and brain to new information and refining the organization of the performing body and mind.

Presence and Performance
Who are you in the act of performance? How is presence expressed in relationship to choreographic material, other performers and to the audience? What relational strategies might a performer choose to explore and embody onstage? Confrontation? Seduction? Compassion? How does the performer's body/mind state contribute to the creation of tone and meaning in the work? Participants will have a chance to address these questions through in-class improvisations and quick choreographic studies.