WholeSome Body - C.I. and somatics Workshop by Xenia Isaeva and Alessandro Rivellino

WholeSome Body Keys and Doors of CI by Xenia Isaeva(RU) and Alessandro Rivellino(BRA) . . . 28 to 30 of March, KPG. From 10am to 14pm. Price: 3500 THB for 3 days, 1200 for 1 day Welcome !!! For information and Registration: write to Xenia on Fb or whatsap: +7 925 869 0538 ... There are some wide paths to the practice of Contact Improvisation, and there are some specific keys to enter. Maybe "keys" are more technical, and "doors" are more about the state of the dancing body. Both of these parts — physics and lyrics — are needed for the alchemy of C.I. 🌅 The key themes of this workshop will be: 🦥 Weight Flow. This is about the fundamental characteristic that distinguishes CI from everything else. Understanding vectors of weight and the ability to anticipate movement trajectories in space is what allows the dance to fly, jump, connect in support, roll, crawl, and fly with others. 🐉Free Neck. This is a key that opens many doors. A free neck allows us to use three-dimensional trajectories and upsidedown positions. When it becomes an alive extension of the spine, it enables us to feel that the pelvis and head are interconnected vessels through which weight flows. 🪸 Embryological Images. Inspiration drawn from the emergence of the human body. Our movement and comminication are certainly influenced by our childhood – meaning as well the parts before birth. The experience of tissue transformation that each of us has gone through, "underwater breathing," movement within the layers of a greater body than our own, total personal metamorphoses – the invitation is that we turn there for an understanding of movement. These are images that are already embodied within us; we just need to unpack them. . 🌅 The doors themes within this Workshop will be: 🎑Integrated brain. Over cognitive layers, we dive into a process that is not about work, mainly exciting the cognitive realm, or getting better than what you already are. But further, going along with what is about having and creating space and time, offering the integrity of a body where learning is a natural consequence. We will offer the nervous system it's hammock, going beyond the control of the movement. By losing the sense of doing through an effort that keeps habitual patterns, we increase the possibility of new pathways that unfold from the sensitivity of a body being and meeting into the dancing field. 🔥States of Playing, Researching, Creating In the inner stages of experiencing fully, loosing the fear of being wrong, being totally surrendered to the moment (the kid), the study and attention for details and collecting information of research (the scientist), and inhabiting the process of decision making from the perspective of the body in itself (the artist), we have the direction of diving into Contact Improvisation in its source. 🎍 Contact Improvisation as one vast field with specific and clear frames. A practice where there is no attack or defense, and instead of protecting our centers, we offer them for a sharing mutual research within movement, which basically relates to gravity as main force that impulses the organization of the bodies through the physical connection and movement, through the connection with the ground, and through the connection with another dancers and spaciousness in the shared space-time. A ongoing research of how all the parts of the body are relating with all the forces entangled in each single moment. The support of somatic studies and research adds to it the presence or intelligence of a body in itself. Where the improvisation happens from the decision-making of the parts of the body, in themselves: such a clarity opens the field where somatics brings the awareness of the body through itself in relation with gravity and other bodies. The awareness, consciousness, integration or presence of the body or experience of the body within the consequent actions of rolling, falling, jumping, gathering and following momentum, creating space and time and inhabiting it and letting the body surprise itself. . 🌅 Whatever is a jump to someone, from the feet, or from a finger, rolling the whole body in the floor or the small surface of a tiny part of the leg, lifting the center above the earth of other or lifting the corners of the mouth, we aim that whoever you are in each moment will be possible by sharing the same base, container and ground to play and pray, or better saying, to practice and be danced together by Contact Improvisation re-source. . . . KSENIA ISAEVA (Russia, Moscow) I dance contact improvisation since 2010. Step by step it became my main practice of dance and life. Also, I include in my work and appreciate a lot: Authentic Movement, bodywork, Improvisation and meditation. I am based in Moscow, I teach workshops of CI, organize and support CI-festivals and different kinds of contact events in Russia and abroad. I was quite a lot traveling around the world, meeting different CI communities. I was lucky to dance and teach in some international festivals of Europe (France, Italy, Romania, Germany, Moldova, Northern Ireland), and Latin America (Argentina, Brazil, Peru). I feel that maintaining of international dancing web is very important for my contact improvisation practice. I want to name some great teachers and dancers, with whom I studied, collaborated and whom I admire a lot: Anjelika Dony, Sabine Parzer, Stephen Batts, Chris Aiken, Angie Hauser, Martin Keogh, Andrew Harwood, Danny Lepkoff, Benno Woorham, Scott Wells, Otto Akkanen, Mirva Makinen. In january 2020 I participated in the long Workshop of Nansy Stark Smith, and her work and clarity inspired my practice deeply. . ALESSANDRO RIVELLINO (Brasil) I have been living dance and contact improvisation in a surrendered way as a dancer for 20 years and as a teacher for 15 and I had the opportunity to travel to at least 30 countries, offering and having classes, intensive courses, workshops, residencies and Jams with different and experienced colleagues, which probably gave me a good “floor” to start with ‘not knowing with certain quality’… I have studied some of: BMC, Feldenkrais, Alexander Technique, Antigimnastics, Craneosacral Osteopathy, Modern Dance, Contemporary Dance, Anthropologie, Philosophie, Choreography, Performance Studies, Sitespecific, Butoh, Authentic Movement, Zen Buddhism, Ancient Technologies of the Sacred; and a lot of Contact Improvisation. I am passioned by the Contact Improvisation practice and I am engaged in organising retreats for it to receive its depth, with different containers, either in silence or within a somatic approach, bodywork research or getting inspiration on nature, the biggest pleasure is to offer space and time to the practice in itself. I come from different dance schools at the somatic level and movement research, I have the luck of having a masters degree and different awards and nominations as a dancer and choreographer. Today I see that I have danced and taught for big part of my whole life and yet I feel that I have just started. In my practice I have been integrating various techniques and bringing the potential of dance to life. If I ask myself between my name and my body, the second one is the dearest, and if you ask about my deepest interest in dancing and teaching the answer would be around living questions related to dance itself, to the presence and to the Big Mystery. I hope through this illusion of you and I being separated, we can drop it, and go beyond our hanging names to explore the in-between field of existence to dance and be danced with and through the visible and invisible forces entangled at each single moment and find the way to be at the arch of beauty.