This three-hour class will work in depth on developing awareness so that we may move with more specificity, focus, multiplicity and possibility. Particular attention is paid to the initiations of movement as a means of directing, sequencing, locomoting and surprising our bodies through space. Improvisational explorations and etudes based on simple, functional approaches to movement will be incorporated. Attention to detail will be explored through set material as the individual comes into his/her own way of seeing, translating and experiencing movement. Through phrase material, extending the boundaries of perceived technique will be explored through a balance of physicality, intention, expression, interpretation and necessary questioning

The purpose of this class is to re-educate the dancer���s body, interweaving theory and practice on a physical and organic level. From this comes the potential for students to discover a range of intelligence in their dancing, as well as to help them discover and develop their own choreographic vision. Initially inspired by the work of pioneer kinesiologist Dorothy Vislcoky, and then continuing for upwards of 20 years with Susan Klein, Barbara Mahler has learned to see, feel and teach each person/body individually to help their body function at its highest level of efficiency and function

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

In this class we will warm up our individual approaches to improvisation as a performance form through various processes influenced by Skinner Releasing Technique��� and Authentic Movement���.

In these classes, students will explore somatic approaches to fine-tuning the body as instrument and source for dance improvisations based on the eclectic and extensive experience of the three teachers. Investigations will vary each week depending on the teacher and may include: awareness and perceptual play; time and spatial elements of instant composition; experiential anatomy through Body-Mind Centering�� and the Alexander Technique���; and skills and practices of Contact Improvisation, martial forms and Chi Kung. All three teachers share interests in empowering the individual in relationship to self, others and the environment and in discovering new challenges and risks within movement and performance.

Contact Improvisation is a partnering dance form. Skills such as rolling, releasing, giving and supporting weight, expanding range of spatial concentration, lifting, catching and falling help one move with and through gravity, share weight in motion and use momentum and flow in physical contact. These weekly classes, open to adults of all levels of movement experience, are informed variously by the individual teaching artists.

The Affect of Perception on Performance: An ongoing experiment in creating means to apprehend langu
An ongoing experiment in creating means to apprehend language as performers This forum is addressed to participants in the performing arts interested in experiential and theoretical research in perception. It proposes a mind/body practice based on movement and internal ��œactivation��� of energy using Chinese energetics as a basic principal to develop sensory perception. By heightening sensory perception, the experience of one���s activity becomes multidimensional. The sessions will offer open improvisational situations and structures that integrate the senses, organs, body systems, emotions and directions in space. This work will immerse the student in an intra/extra-corporeal journey.

Strictly Technique: Expanded
This class starts with an anatomical warm up based on the body���s skeletal structure emphasizing flow, direction and perception. Continuing with repertory material from Fire Bird and Blue���s Yellow Shadow, this class concentrates both on the technical aspects and execution of movements, as well as how the details effect the final expression.

This class will start on the floor with a gentle thirty minute Feldenkrais Method�� Awareness Through Movement Lesson (CM) and will explore aspects of the lesson throughout the class such as: transmission of movement/force through the skeleton; a more developed kinesthetic sense as a means of learning and broadening one���s options of self use; functional aspects of coordinated action; more even distribution of effort; and increased overall awareness in action/dancing.

This technique class begins with approaching the body with simple, straightforward exercises that allow us to discover and notice the use of clear alignment, clarity of initiation, direction of energy and use of weight and momentum to help find an ease in the moving body.

Inhabiting Forms: Tools for Performers
This class will be an investigation in locating presence within choreographic and/or performative forms. Class will begin with imagery and gentle preparation culled from various bodywork modalities to find softness, ease and alertness in the body. From there we will investigate choreographic structures, improvisations and performance constructs, finding various ways to engage with the material with honesty, precision and absorption. We will dance with and for one another in an effort to further our own personal research on the meaning of performing dance.

Class will provide a framework within which we can increase anatomic awareness with an approach that is exploratory rather than corrective. Through action and impulse, we will also examine how we make decisions and how thoughts, perceptions, and breath support our choices and movement. We will use set movement, phrase work, improvisations, guided explorations, and partner work with influences springing from performance and multiple movement modalities, including yoga, the Alexander Technique���, Body-Mind Centering��, and Fitzmaurice Voicework.

The class will begin with a warm-up focusing on anatomy, drawn from both traditional and contemporary techniques, the goal of which is to align and re-pattern the energy flow in the body in order to find support from the floor and our connection into space. Movement material from Jasperse���s work will be taught concentrating on using our weight with the force of gravity to dance fully and clearly.

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.

Contemporary Technique
The classes are influenced by Nelson���s 20 years of continuing study in the work of Barbara Mahler and Susan Klein, and by more recent studies in Alexander Technique���, Contact Improvisation and Body-Mind Centering��. The focus of the class is to integrate this investigation and alignment work into a more formally structured dance technique class. We will begin with a warm-up which focuses on our skeletal structure to access the deep supporting muscles of the body, allowing mobility and suppleness in the superficial muscles and emphasizing the connection to and use of the floor. The class builds from simple exercises to phrases of movement that involve moving boldly, covering lots of space, taking chances off balance and finding a strength, specificity and ease in our dancing.

Contemporary Dance Technique
An experiential laboratory for movement, this class provides strategies for dancers to expand their range of motion to reveal their truest movement potential. Dancers will be encouraged to find the dynamics of stability and freedom in their bodies by modulating use of the muscular and skeletal systems as they move on and off-balance. Students will seek and acknowledge their habitual patterns by transforming them into dancing that is clear, intelligent and loaded with intention. Classes are informed and influenced by Casel's studies of yoga, Klein/Mahler Technique, anatomy, choreography and his students' spirit of inquiry.