Open Movement Practice
This open level movement class draws from elements of social, folk, and contemporary dance forms, as well as from ordinary action. Resisting the urge to transform ourselves into blank slates, we will abandon the term ��˜neutral��� and uncover our bodies��� inherent knowledge and history. By using sensorial, perceptual, anatomical, spatial and imaginative pathways, we���ll amplify, morph and direct our individual movement patterning. We will play with technical structures, improvisational concepts, choreographic frameworks and performing. Class will allow us to continuously activate our bodies through space, while discovering the kinesthetic sensitivity of a dynamic body-in-motion.

PROSODIC BODY Workshop: Choreoprosodia (the fusion of movement and prosody)
These six workshops focus on the sonic properties of language exploring the correspondences between energy centers, hormonal secretion, seed movements, sonic harmony, and emotional and neurological impact. Spending time with each of the different phoneme-harmonic-compositions developed for the Phoneme Choir, we will use a 'scientific methodology' to differentiate and name how each affects individuals and inform us of their healing and performative properties. This workshop only occurs Sept 18, Oct 16, Nov 20, Dec 18, Jan 15 and Feb 19

Forsythe Improv and Phrase Workshop
Long time Forsythe dancer Elizabeth Corbett guides an exploration into the working methodologies inspired by the creative processes of William Forsythe. In this workshop, dancers explore and develop improvisation approaches and deconstruction of Forsythe's phrase work toward accessing the inner logic and unfolding mechanisms in the work.

Writing Dance
Choreographer Jonathan Burrows leads a three day workshop investigating choreographic and compositional process, performance and philosophies, questioning how a dance or performance might be made and what it could communicate to somebody watching. Practical work will concentrate on short task-based exercises looking at how to define material and work with time, to hold the attention of an audience and invite them to care what happens next. Sessions will be punctuated also with discussion and viewpoints on other mediums and ways of working, asking all the time what dance can do and what it can't.

The Lost, The Found and The Fantasy: Urban Meditation
Through an interdisciplinary approach, participants will work with excavating found images, phrases overheard on the bus, movement studies from the street and found sounds and texts to develop their own response to the city and its current dialogue with us. These found materials are things that pulled you towards them, attracted your attention, even if you are not completely sure why. From this fieldwork material, participants will work in the studio with further writing, movement and installation experiments to explore re-enlivening our city-life. Informal, ��œinstant��� showings link what has been found with a larger vision of what could be possible. Participants are asked to come to the studio with a scrap of conversation overheard publicly, a picture of a specific place or person in the city, a gesture or series of gestures that they observed in their everyday walks, a torn piece of text found on the street.

WHAT IS THIS CLASS
Old school technique class with new school questions. This is a warm-up for being a contemporary dance artist whatever that means. Real techniques, invented techniques, practicing presence, practicing hope, ��œreleasing,��� sweating, thinking, feeling, moving for no reason and finding out how. Exercises are boring but sometimes important. Phrases are patriarchal but sometimes fun. Smart movers make good art. I am the teacher, and I will do what I can.

THREE DAYS IN SPACE
A workshop considering and practicing the essential nature of the space in which choreography and dance can be made and performed. Based in his experience as a performer and dance-maker, Julyen Hamilton's pedagogic work deals with the details of subjects such as time, space and dramaturgy and how it concerns both pre-set and immediate composition. Hamilton's ability to distill and convey essential principles allows dancers and performers from a wide range of backgrounds to engage in his methodology. His classes naturally enter the worlds of physiology, philosophy, culture, imagination and the future.

I AM ONE WHO
Developed during the past 21 years by Ra��na von Waldenburg and based on the physical acting training of Jerzy Grotowski and Stephen Wangh (An Acrobat of the Heart), this innovative approach to performance forces the performer to live inside of the moment with barefaced sincerity. In a series of presence exercises that require the performer to exist in the (power of) now, he/she is faced with judges, habits, blocks, quirks, and talents that he/she has pushed aside. By literally inviting these "undesirable" parts of him/herself into the work, the performer suddenly has access to impulses that are utterly alive, surprisingly truthful, and emotionally resonant. The performer learns to channel these impulses into performance that is open, creative, and precise. This class fosters an ensemble-based environment where actors learn to develop constructive vocabulary for giving and receiving critical feedback, and where peers are vital to the learning process. This is a non-linear approach to performance training. You are welcome to take ONE or BOTH workshops. Please come to class prepared with: loose, comfortable clothing; a water bottle; and a fully memorized/choreographed one-minute formal container (monologue, song, movement piece, poem, original material, etc.) to use for application.

ANATOMY OF PRESENCE
What is presence? How do we awaken presence in the body? How can we cultivate this intangible quality that draws people in and leaves an image burning in the mind? In this workshop we will learn to contact the energetic source of your creativity and cultivate inner presence. Develop an intuitive awakened body, by exploring practices drawn from Butoh, Indian Odissi Dance, Suzuki Method, and Yoga. Rest in the stillness, the emptiness, and that born in emptiness. Drink from the well of primordial presence, radiance, and shadow. Invite the dance to reflect the shifting inner landscape of your being.

Epilogue - Open Movement - Improvisation Jam
The final event of this year���s festival will be an Open Movement - Improvisation Jam. For all festival participants, and for those who have not had a chance to take classes, this Jam will be a framework for playing with time, space, movement, music, poetry, the unknown, the known. Facilitated by K.J. Holmes.

Practicing Performance--SOLD OUT
What if our attention is not on what we do onstage but how we engage in the billions of moments that come and go as we are dancing? We will practice using tools for noticing a more enlarged perspective of ourselves while dancing. (No drop-ins available) To join the waitlist, please email info@movementresearch.org with your name, email address, and phone number.

Tools for Dance Improvisation
Every joint of our body has its range of movement, there are countless possible combinations. The body contains a great practical knowledge far beyond what the mind is capable of processing, resulting in an ever-changing, fluid sense of orientation that can serve as a sensor for potential movement. Through (group) improvisation with one or more partners, exchanging information through touch, we will take advantage of this phenomenon to create forms, rhythms, movement qualities more sophisticated than our minds could invent.