Technique
This warm-up and movement class will develop from simple skeletal mobility sequences to full-out, spatial movement forms. Emphasis will be placed on the joints, examining how their range of motion relates to alignment, support, weight, and choices within your full out dancing. The class will culminate in phrase work and traveling sequences.

Poetics in the Presence Tense: Dance and Contact Improvisation
This workshop is for those interested in threading perception, imagination, touch, and movement together seamlessly. We will practice skills, question our assumptions and challenge ourselves to feel deeply. What is it that makes our dancing come alive? Where is our passion? How can we integrate intelligence and playfullness? How can we be free and caring for ourselves and others all at the same time? Can we pinpoint our awareness in one moment and radiate it out in another? What are we hiding from?

Composition
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. Some points of departure for investigation and discussion include: 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; how each artist creates consonance and dissonance; and participation, non-participation or transgression of existing traditions.

Technique
The goal of this class is to teach the dancer how to be an interpreter of movement, constructing a store of tools used to approach performing. The class 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 density of steps and inorganic step sequencing transformed into logic. Musically, the class concentrates on extreme tempo change and dynamic finesse.

Composition
In this workshop we will use several improvisation strategies to open a free flow of immediate, spontaneous and automatic writing, speaking and dancing. We will use the resultant dance and text to construct impromptu group pieces as well as a means toward broadening self-expression in solo work.

Movement: Implications and Uses
Uchizono, known for her ��œwit, spicy movement and rich invention���, will teach sections from two pieces of company repertory. The newest, Butterflies from my Hand, 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 anchored in the recognition of our human imperfections.

Technique
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.

Releasing
Class will open with a Skinner Releasing-based warm-up where a variety of images are designed to align our body/mind with the forces of nature. The teaching enables us to see into our bodies, preparing us for radical work with our personal images and scores. We will scan through a multitude of emotions and qualities in order to deepen our state and uncover hidden treasures. Finally, we will work on our personal scores emphasizing the exploration of social and personal taboos.

Composition
This workshop will concentrate on deepening a personal choreographic voice and reading the underlying message in one���s creative impulse. Through the daily creation of phrases, the artist will focus, developing an analytical eye for the fundamental metaphors of their 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.