In pleasure
We will practice being in pleasure and giving our bodies a voice. A practice of growing a new body, as one would grow a plant; a utopian body; a sensational body; a connected body; an anarchic body; a body full/filled with pleasure, with love and with magic����. with a brain that melted down to the flesh, the bones, the guts, the skin ... and with eyes that see without naming and see without knowing.

Morning Class
This class offers an open space to observe and experience our own particularity and range of mobility, and fine tune our own needs. Through directed exercises, we�ll focus on the breath, internal structure, weight, and the body�s articulations and organization. At the end of the class a phrase is provided as a frame for processing the information provided. My class is influenced by my many years of work with Jeremy Nelson and my studies of several somatic techniques.

Morning Class
Class begins with systematically readying our bodies and minds for full-out and detailed dancing. Our goal is to increase awareness, articulation, technical facility and focus. The warm-up is simple and straightforward with an emphasis on alignment, physical mechanics, and space for sensation and feedback from our bodies as we work collaboratively to arrive at dancing. In doing phrase work, we hone our skills, apply our training and deepen the understanding and intelligence in our bodies.

Morning Class
Class is an opportunity to create the space to fully inhabit our bodies and integrate various approaches of embodiment into our movement and artistic practice. We usually begin slowly, with imagery and gentle preparation inspired by various somatic traditions to access our awareness of the senses, the organs, the skeleton, the cells, gravity, and other energetic forces. Class may also include technical exercises, choreographic structures (�phrases�), improvisations, and performance constructs, with a focus on precision, ownership, and play. Through class I hope to nurture, challenge and further develop our collective and individual artistic practices.

Sub for K.J. Holmes (Althetics of Intimacy)
This class uses improvisation and conversation to explore Mabel Todd's work alongside a strand of process philosophy that looks at the self as a mobile, unsettled, only provisional center, and the possibility of using the ideokinetic and somatic techniques of entertaining images to dive into strange regions of physical intelligence. We will draw on developmental movement studies, the practice of Authentic Movement, and a seminarian attention to resonant written passages.

Morning Class
Intended as both laboratory and technique class, we will delve into the design of the body and its potential within a given moment. Through stretch and placement, technique studies, and movement phrases, habits will be discovered, challenged, and seen through a new lens. A concentration on the forces through the legs will lead to finding more range in separate body parts and ways to use weight into the floor.

Morning Class
This movement class will develop from simple skeletal mobility sequences to full-out movement forms. Emphasis will be placed on the joints, examining how range of motion relates to alignment, support, weight, pathway and qualitative detail in the course of movement. We will consider the inherent lines in the body's anatomy as the basis for movement material in a full range � from natural to designed, pleasing to provocative.

Morning Class
This class will focus on encouraging the inherent dynamic and organizational logic of the moving body to become more present in our dancing. We will coax our instructive and directive intentions to succumb their influence to a listening and responding/responsible self. Our warm up will help us become familiar with our range of effective force, momentum, coordination, weight and balance. In turn, we will dive into phrase material that emphasizes kinetic and energetic simplicity within complex and multilayered forms.

Technique/Exercises in Composition
This class is designed to access multiple threads at once such as: greater range of motion and articulation, isolated and momentum-driven movement forms, sense of scale, rhythm, alignment, ascent and descent, and dancing that supports a balanced square orientation over a vertical axis while traversing through space and shifting off center in a mode that reflects a play between athleticism, performance, and a particular disposition.

Morning Class
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.

Morning Class
Class begins with systematically readying our bodies and minds for full-out and detailed dancing. Our goal is to increase awareness, articulation, technical facility and focus. The warm-up is simple and straightforward with an emphasis on alignment, physical mechanics, and space for sensation and feedback from our bodies as we work collaboratively to arrive at dancing. In doing phrase work, we hone our skills, apply our training and deepen the understanding and intelligence in our bodies.

Advanced Professional Ballet
As a veteran of the American Ballet Theatre, Janet Panetta also has a broad experience of contemporary dance forms. She has trained dancers in many of the major American companies suchas American Ballet Theatre, New York City Ballet, Paul Taylor, Merce Cunningham, Trisha Brown, as well as many European companies such as ROSAS and Pina Bausch. Ms. Panetta is also available for private classes and coaching.

Skinner Releasing Technique™ (Introductory level)
Skinner Releasing Technique� facilitates an enhanced awareness of creativity. This imagery-based movement experience intuits ease and healing. Through improvisation and play, we connect with the energy of others and the universe. We delve deeper inside and shed our notions of style and aesthetics in favor of a more intense personal discovery. Students are encouraged to enter "feeling states" and explore the limitlessness of their multi-dimensional aliveness. SRT makes for a much more clear, concise, and subtle mover and nurtures an evolved sense of empathy and compassion. Students are encouraged to write and draw at the end of class as a way of further discovering their process.

Ballet for Contemporary Dancers
As a veteran of the American Ballet Theatre, Janet Panetta also has a broad experience of contemporary dance forms. She has trained dancers in many of the major American companies such as American Ballet Theatre, New York City Ballet, Paul Taylor, Merce Cunningham, Trisha Brown, as well as many European companies such as ROSAS and Pina Bausch. Ms. Panetta is also available for private classes and coaching.

Klein Technique™
We are not just a body or a mind. We are unique individuals with spirit and intelligence. The work we do in class engages us in a process to facilitate change. We work to right the pelvis on top of the legs, to free the upper body and spine to move with ease and expression. We work on the level of the bone, to let go of unnecessary tension, and habits which hold our bodies and minds in misalignment and misconception. We work to find better function, creativity, and well-being.

Contact Improvisation
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 all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

The Athletics of Intimacy, Improvisations
PLEASE NOTE: No class on November 29 and December 27. Karinne Keithley Syers will sub on October 11, 18 and 25. || Classes combine skills and applications of Body-Mind Centering� systems and patterns of development and evolution, practices of Contact Improvisation, and tunings of somatic approaches within solo, duet (strong emphasis on partnering) and ensemble dancing. I am interested in the very physical, sensorial and imaginative, and in discovering new challenges and risks within our movement, of both body and mind that unwind and weave improvisational and compositional processes.

The Underscore
Facilitated by Zena Bibler, Julie Goldberg, Chisa Hidaka, Elise Knudson, Lucy Mahler, Charles Mosey and Brandin Steffensen. The Underscore is a long-form dance improvisation structure developed by Nancy Stark Smith and practiced worldwide. The form includes Contact Improvisation and allows for a full spectrum of physical forms and changing states, often including periods of quiet internal activity and other times of higher energy and interactive dancing. The Underscore�s undirected practice affords simultaneously a framework for research, a forum for play, and an opportunity to experience collective improvised composition. Open to all, familiarity with CI and the Underscore suggested. To familiarize new participants, Underscore NYC offers �talk throughs� to introduce the language, glyphs and structures of the Underscore. Stay from start to finish.

Neuromuscular Preparation for Dance
Irene will teach selections of the material choreographed in response to her interaction with professional dancers and dance teachers in the past as well as new material she is creating now. These choreographies can be used as a very efficient warm-up for dance, as well as a musculo-skeletal conditioning program, neuro-muscular fine-tuning, and mental preparation for the greater awareness and expansiveness required of us all as creative performing artists.

Contact Improvisation
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 all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Contact Improvisation - The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty and will be especially directed towards developing basic skills and practicing foundational CI techniques. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

Qi Gong: practicing being and seeing
In this class I offer space for a self nurturing, awake state, where people can learn about principles of energetic and anatomic dynamics that can benefit their own practices and ways. I approach somatic, artistic and psychic as synergetic. We work with methods related to the 5 Element System like Iron Shirt, Sexual Energy Practices and Bagua Circling. Through movement, image activation, sounding, meditation and partnering we explore possibilities of being and relating self, environment and universe.

C O R E M O T I O N Inner Structure
This class focuses on the inner structure of the body. The foundation of the structural focus is the alignment of the body and its relation to gravity. These principles are put into practice by means of a system of exercises using Qi Gong principles and forms. These exercises include deep release of the abdominal and visceral area with breathing and a simple succession of postures, and movements that allow the practitioner to progressively let go of extra tensions and activate the energy centers. As a result of this practice: - The tendons and psoas muscle soften and strength, enhancing an ease of connection between head, neck, back and limbs. - The nervous system relaxes and the individual can access the core of the body as well as the energy centers, gradually generating a sense of buoyancy. Once the student has understood the structural principles of these exercises they can be easily applied to any kind of movement or situation. C O R E M O T I O N is a movement and performing practice developed over thirty years of research by Daria Fa�n. It is rooted in Asian philosophy of the body.

C O R E M O T I O N Contemplative Action
Using the Chinese 5 Element Theory and other cognitive principles we will explore individually and collectively the correlation between the organs, senses, emotions, and the propriety of the material space that surrounds us. This practice implements the development of performative languages for improvisation and composition as it bridges physical, emotional, energetical and intellect awareness. All people involved in performance are welcomed. C O R E M O T I O N is a movement and performing practice developed over thirty years of research by Daria Fa�n. It is rooted in Asian philosophy of the body.

Pilates Mat Class for Dancers
This class focuses on clear alignment, stabilizing the hypermobile body and a deep investigation of functional strength for dance. As dancers and somatic movers we need connected, consistent strength and support. We benefit massively from cross training, centering our minds and building an impeccable understanding of our vessel by balancing the extreme ranges of motion we perform on a daily basis. The Swan provides rotating instructors: Julia Edwards, Eleanor Hullihan and Johanna S. Meyer.

Alexander Technique
Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Feldenkrais Method®
Experience the Feldenkrais Method� through a series of Feldenkrais Awareness Through Movement� classes. The Feldenkrais Method� studies the works of our nervous system and our ability to recognize and create movement patterns that are both more efficient and more pleasant. The method emphasizes awareness, distribution of effort/action through the whole self, expanding self-perception and our ability to carry out our intentions. This class is ideal for dancers and people from different backgrounds interested in discovering more about their physicality in a pain-free way and enjoying a larger sense of well-being.

Contact Improvisation
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 all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Contact Improvisation - The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty and will be especially directed towards developing basic skills and practicing foundational CI techniques. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics. Classes continue in December 2014 with K.J. Holmes.

Contact Improvisation
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 all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.

Alexander Technique
Alexander Technique looks at the way we carry out our intentions. Often we use a process that is habitual, unconscious, and counterproductive. The technique offers a practice of staying open and alert in the moment, observing our familiar tensions and choosing to move without them. Beginning with the assumption that we are perfectly designed for movement and balance, we engage our mind to undo layers of interference, creating opportunity for change.

Contact Improvisation - The Basics
Contact Improvisation, initiated by dancer Steve Paxton in 1972, is a dance practice that plays with the physics between bodies and gravity. Using partnering skills such as rolling, releasing, weight exchange, falling, lifting and catching, and expanding range of spatial choice, the practice helps one move within sensation and disorientation, access moveable supports and tune to the use of touch, momentum, resistance and flow in physical contact as well as in solo play. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty and will be especially directed towards developing basic skills and practicing foundational CI techniques. This is an introductory class for those with little to no experience with Contact Improvisation or those who would like to revisit the basics.

The Underscore
Facilitated by Zena Bibler, Julie Goldberg, Chisa Hidaka, Elise Knudson, Lucy Mahler, Charles Mosey and Brandin Steffensen. The Underscore is a long-form dance improvisation structure developed by Nancy Stark Smith and practiced worldwide. The form includes Contact Improvisation and allows for a full spectrum of physical forms and changing states, often including periods of quiet internal activity and other times of higher energy and interactive dancing. The Underscore�s undirected practice affords simultaneously a framework for research, a forum for play, and an opportunity to experience collective improvised composition. Open to all, familiarity with CI and the Underscore suggested. To familiarize new participants, Underscore NYC offers �talk throughs� to introduce the language, glyphs and structures of the Underscore. Stay from start to finish.

Contact Improvisation
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 all help one move with and through gravity, share weight in motion, and use momentum and flow in physical contact. These weekly classes, open to people of all levels of movement experience, are informed by the individual artist faculty.