Move to Heal
This class is for those struggling with health issues of their own or that of a loved one. We use movement and somatic practices to support healing processes. Sourcing from both western and eastern traditions, we will play with movement, breath, sound and imagery to encourage self-empowerment as it relates to our health and well-being.

Tuning Scores Laboratory - Composition, Communication, and the Sense of Imagination
A multi-sensorial approach to the questions: What do we ��œsee��� when we look at dance? What do we ��œsee��� from within the dance? The scores offer inner and outer communication tools and practices that make apparent the ways each of us sense and make sense of movement. Initiating a playful and rigorous dialogue-in-action about space, time, movement, and the innate desire to compose our experience. Performers/creators of all disciplines (dance, music, visual art, theater) are welcome.

Democratic Dance Session
This open level movement class draws from elements of social, folk, and contemporary dance forms, as well as from ordinary action and we will continuously activate our bodies through space, while discovering the kinesthetic sensitivity of a dynamic body-in-motion.

Body Mind World, Movement & Language Improvisation
Sometimes our words don't have access to what we know in our bones, while our dancing doesn���t have access to what���s on our minds. In this workshop we will explore the synergy between movement and language to engage with subject matter that interests us. The class will include warm-ups to awaken our kinetic juices, and focused stream of consciousness writing to put us in touch with our wild thoughts and observations. We will divide our class time between purely improvising with movement, talking together about whatever has been on our minds, and improvising combining moving and speaking.

Based on essential principles of impulse, control, opposition and rhythm, the workshop engages participants through a series of exercises developed over the past fifteen years. These physical actions function like a language to enable communication between us. We search for the honest smile, the smile that can release unnecessary tension and give the body its freedom. This work was developed to train the presence of the actor, but it may be useful for other artists and for anyone who wants to find greater awareness through the body. The precision of the exercises and their range of dynamic qualities help bring density to the performer���s body, fostering lightness and the ability to be decided in-the-moment.

This class is open to everyone interested in sharing movement experiences. We will practice listening to our instincts as movers and disregarding all preconceived ideas of how one "should" move in space. The participants will explore their own creative movement potential by releasing personal memories and perceptions of their own environment by utilizing the power of the group to build a collective experience. This class is about experiencing the joy for moving and dancing to become totally physical and present, yet connected to our internal states.

According to Chinese energetic, in October we are transitioning between the Earth and the Metal energy. The Earth corresponds to the Digestive System (stomach/pancreas/spleen), and the Metal to the Lungs/Large Intestine. It is about the energy coming back into the Earth and the ability to transform by letting go of what we don't need internally and externally. The session will include a warm up, and series of intuitive movement meditations to activate these energies taping into our immediate environment with our sensory apparatus and our experiential field.

Choreography As Expanded Practice/Dance As Autonomous Medium--FREE with RSVP to alex_sloane@moma.org
This seminar addresses, through open research and experimentation, the shifting contexts of choreography and dance in contemporary society. It considers dance and choreography as work engaged in specific modes of production and not primarily as expression or representation. The workshop drafts notions of choreography as expanded practice next to probing the grounds for the possibility of dance to again identify itself as an autonomous medium. The different sessions embark on excessive detours into economy, policy and politics, detecting the position of dance and choreography within the context of neo-liberalism and a society where subjectivity and time has been corporatized. It is, at the same time, an attempt to open a ground for dance and choreography in respect to composition, improvisation, expression, organization, interpretation and affect. The different seminars can be attended as a connected series to be finalized with a presentation at MoMA PS1 on November 4, 2012 but can also be attended as separate events. Participants need no dance background but should bring something nice to dance in, and a blanket is always good.

Creating Character Through Movement
By raising awareness of the physical possibilities in the body this workshop will encourage finding richer and more meaningful personal movement. Employing various processes used in dance theater practices we will search where movement starts and push the limits of where it can go.

June Ekman's Monday Morning Class
The workshop will be based on the Alexander Technique. There will be floor work with rubber balls, some "hands on", as well as exploration of standing and walking.

Body Mind World, Movement & Language Improvisation
Sometimes our words don't have access to what we know in our bones, while our dancing doesn���t have access to what���s on our minds. In this workshop we will explore the synergy between movement and language to engage with subject matter that interests us. The class will include warm-ups to awaken our kinetic juices, and focused stream of consciousness writing to put us in touch with our wild thoughts and observations. We will divide our class time between purely improvising with movement, talking together about whatever has been on our minds, and improvising combining moving and speaking.

Emotional Anatomy Workshop with Stina Nyberg
With Emotional Anatomy, you create a new anatomic system based on the features of your emotions. Is your love swaying like jelly in the belly, or is it a sticky point in your mouth? Is the envy pulsating somewhere in between your disappointment and optimism? Come and materialize your emotions in a free class at Eden���s Expressway on Monday, November 12, 3:30-4:30pm. Emotional Anatomy was developed in Sweden through methods of imaginative and experiential techniques and is for the first time presented in the US. The practice ignores scientific and anatomic facts in favor of speculation, and functions as a system for the materialisation of emotions through the drawing of a new anatomic map.

What if our attention is not on what we do onstage but how we can be continuously enlarging our experience of dance as we dance? Email info@movementresearch.org with your name, phone number, and email address to join the waitlist.

We are holograms where each part is a whole. We are quadratic when we answer questions with neither a yes nor a no. We are organized when we drop $200 on the complete Kvissle desk organizer set from Ikea including cable management casket, letter tray and ubiquitous box with cork lid, set of 4. Drawing on my extensive work with Anne Teresa deKeersmaeker's Rosas as well as a host of others, this workshop will take a look what we're doing with all of our dancing stuff. What's my material? What's a tool? Am I building something? Where can i put it? Does that make me a craftsman? Can all of it be laser rendered holographically, smudged in to so many shades of gray or finely dismembered and stored in sleek interlocking cork boxes, set of 4?

Improvisation / Field Dances
Led by Jon Kinzel and Robert Swinston, this workshop is designed to access multiple threads at once: generating raw material, trusting intuition, appreciating sensibilities, articulating particular movement modalities, and revealing historically relevant research. Participants will make original compositions using Merce Cunningham���s textual score for Field Dances (1963), in which he examines the concept of indeterminacy as an essential part of being a performer and dance-maker. $50 Full/$30 Drop-in.

Situational Choreography and Composition
This time together will be all at once a class, a practice and a performance without audience. We will play with the empathetic relationship between movement and sound and explore ways of engaging personal, energetic, kinetic, visual and sonic aspects in this given space and situation. With live sound. $25 Full/$15 Drop-in.

Courage + Rigor + Freedom
Finding conceptual & creative courage, freedom & specificity. Tools to access the subconscious as source and tool, to open the voice -- literally and figuratively -- to trust our inner world, to manifest ideas physically, to access technique as resource and find the courage to transcend it -- in presence, vulnerability, and ideological freedom. This workshop draws from Open Source Forms (OSF), instigated by Skura in 2009, & evolving from decades of continuing research & practice in improvisation & innovative composition techniques, & 14 years as core teacher & teacher-trainer in Skinner Releasing TechniqueTM. OSF focuses on cross-fertilizations and deep commonalities of releasing technique and creative process, with an ultimate goal of creative empowerment of individuals. [Bring paper & pens for some writing & drawing.] $50 Full/$30 Drop-in.

About Teaching / A Case Study
I���ll present a basic methodology I use when teaching choreography workshops as a point of departure for looking at questions regarding teaching and learning, asking participants to first try an activity from the student perspective, and then to critically evaluate the experience. Possible topics for consideration: the effect of subtle differences of language on the outcomes of a prompt or the presentation of information; grappling with one���s own aesthetic affinities while not wanting to inhibit other points-of-view, but still wanting to offer concrete information and a point-of-departure for student exploration; various methods of structuring student feedback (��œI liked it��� versus ��œI experienced pleasure when������).

Dancing Is
$307 FEB 8-MARCH 2 2013. This workshop introduces and explores the possibility of movement and moving and their relationship to ��œbeing." Together the group will explore dance as an existence independent of human consciousness. Does dance exist because of the dancer or is it instead something that exists on its own and activates the dancer? This workshop engages informal research into dancing that exists beyond signification, meaning, language, and knowledge. It addresses dance as an autonomous existence that carries the possibility of truth. The workshop functions parallel to a series of seminars at MoMA PS1 and will be strongly practice-oriented. It is a workshop for advanced dancers with professional experience. The six sessions will result in a public performance. Workshop locations vary: FRI February 8 12-3pm and TUE February 12 will take place at Avenue C Studio, all other dates (Feb 8 4:30-6:30pm, Feb 22, Feb 23, Feb 27, March 1, and March 2) will take place at Movement Research at Eden's Expressway.