schedule & Classes
The Winter Intensive schedule is designed to challenge you technically, creatively, and intellectually in a unique and collaborative group learning experience. More than a series of classes, the ADF Winter Intensive is a cohesive curriculum that gives you the opportunity to move, make, research, discuss, and form relationships with other dance artists that last far beyond the eight days we spend together.
- Daily class in contemporary movement forms and techniques
- Classes in additional techniques and practices: composition/creative process, hip hop, improvisation, somatics, or studio-based research
- Community discussions to process our experiences and reflect on the critical lens
- Informal lunch conversations with faculty
- Attendance at a NYC performance
NEW THIS YEAR: Select your own repertory, research, or creative process class!
Choose two, in-depth four-day sessions, one for each half of the Intensive. Each daily session lasts 2 hours. There will be a brief informal showing for Intensive participants at the end of each four-day session. Participants must pay the deposit in order to confirm your selections.
- Artists for Session 1: January 3-6, 2020
- Kyle Marshall
- Jesse Zaritt
- Artists for Session 2: January 7-10, 2020
- Netta Yerushalmy
- Urban Bush Women
*Students will be divided in two groups. Groups will be assigned on the first day.
Learn more about the faculty here.
2020 CLASS DESCRIPTIONS
This Vinyasa Yoga class will engage the dancer in movement sequencing designed to prepare the body for a long day of dancing. Clear cueing of alignment, breath work and a rigorous physical practice will provide each student a platform in which to deepen their individual practice in a collective environment.
The imaginative psyche: Dancing selves
Who dances? Who makes? Voice Dialogue, a process for self-awareness, proposes that we are composed of innumerable selves, each complete and complex, and each with its own good intentions of what’s best for us. Becoming more aware of the selves we work from when we perform, create, and collaborate allows us to understand the parameters we put on ourselves, and bringing in new selves to these various modes of dancing opens up the possibility for fresh perspectives and greater insight into who—and how—we are. Using the principles of Voice Dialogue, we’ll engage in exploratory movement sessions, discussion, imaginative play, and spontaneous writing to explore the many selves that guide us in the studio and tap into new ones. The end result will be greater self understanding and the possibility to marvel at ourselves as completely perfect just as we are. Humor and wonder will be our good companions in these playful and potent dives into our dancing psyches.
Can how we’re moving be what we’re making?
Can we organize, reorganize, and disorganize ourselves in order to arrive in our dancing? We’ll wildly move through space, mess with time, destabilize our habitual patterns and make room for risk taking and aliveness. We’ll shake and shake it up. Let’s value being in it together while simultaneously listening to our responsive/responsible selves. Let’s make something and give it away simultaneously. Let’s experiment, like children playing scientist, who mix ingredients together just to see what will happen. Or, like alchemists, making something common into something magnificent. Let’s practice generosity. I like to imagine the dance class as a space of negotiations. In these negotiations, we attempt to be honest about the divergent ways that we experience and imagine time, space, energy, motivation, intention, relationship, and propriety. As elusive as the concept is, I imagine the dance class as a place in which we can practice embodiment together and let that generate a beauty that we may not understand right away, and that we will consistently need to reevaluate. We will share, we will be together, we will make mistakes and offenses, we will apologize earnestly, we will check ourselves, we will keep going.
Eric Geiger (in pink) has been part of a spontaneous dancemaking practice called LIVE since 2008.
This class continues the study of practices and principles of contemporary dance, as informed by my particular experience and performance history. A general focus is to help students find a connection to the floor from which they can stretch and move out into space. Attention is given to educating the body to move with specificity; to sharpening each student’s rhythmic, spatial and energetic acuities; and to augmenting each student’s range of qualitative possibilities. This class can help students experience longer center floor sequences, while also fostering students’ ability to self-direct as movers. Love’s Contemporary Modern class also called “Modern Roots” focuses on the ever-expanding power of the Africanist presence in modern movement. The engine of the class is the syncopated and poly-rhythmic body. Exhilarating crisp and sharp release, rounded drop-n-stack gestures and agrarian movement sensibilities powered by polycentrism and initiated by core and distal sensibilities. Afro-Beat, Blues, Butoh and Funk landscapes are harvested and become identifiers that contextualize the power and force of the urban gait, the grounded pulsations, the flick, ‘wack’ and head-bobbing gestures that underscore the notion of trans-global movement. This class will equip the 21st century dance artist’ tool box into a more equitable conversation about the linages of contemporary modern post modern dance, improvisation and the avant-garde.
The Play In/Between: Fluidity and Tension
Class will be a layering process; finding our obvious physical support systems, noticing what influences our choices, and allowing everything to inform the moment as opposed to distracting us from it. We will be readying both mind and body to find a genuine awareness from moment to moment as well as permission to play within the given structure. The class will culminate with a phrase using various movement qualities of momentum and fluidity as well as tension, bracing, bound energy, gesture and subtlety. Let’s work in AND between these states to find our vulnerability and power. We will improvise and work on set material to harmonize with these ideas and wake up, whatever the outcome.
johnnie cruise mercer
Improvisation: Interventions on Invention
If energy is never created, never destroyed, but instead constantly shifting and transforming from one state to another, what lessons can we glean from this process in our dancing and dance-making? We will examine and challenge the premise that improvisation requires individuals to “invent” movement- alternatively, we will search for ways we can listen to and spontaneously direct, play with, and transform the movement that is always already happening in and through our bodies. Instead of inventing something “out of nothing”, can we invite in the idea that we are always in collaboration and always in conversation with each other and with the environments we dance in, even if we are dancing solo? Through action, we will collectively employ our physical imaginations, and use our embodied knowledge and histories to transform how we occupy and take up space. Exploring improvisational scores that mine our anatomical and physiological processes for their poetics, nuance of sensation, communicative possibility we will awaken and excavate our subjective internal landscapes as source material for moving in conversation with each other.
urban bush women
Repertory: Women’s Resistance
Women’s Resistance is an excerpt of Les Écailles de la mémoire choreographed by Germaine Acogny and Jawole Willa Jo Zollar. Women’s Resistance fuses power and grace in a call to collective action around truths that bind us all.
Photo Credit: Antoine Tempe
Christian Von Howard
Contemporary Dance Technique
This class is a highly physical movement experience that explores many diverse movement vernaculars. The warm-up will consist of exercises that spiral in and around a contracted and released core, as well as polyrhythmic movement phrases that push across the space. Movement material will call for dancers to transition in and through inverted positions and challenge their ability to take on dense phrase material that investigates the many pathways of the body. The instructor’s goal is to promote an in-depth understanding of alignment, skeletal awareness, stretching, strength building, movement efficiency, and injury prevention.
Authentic Movement and Improvisational Forms
We will dive into the deep end of our own great unknown with Authentic Movement and improvisation. Authentic Movement is an expressive improvisational movement practice that allows a group of participants a type of free association of the body. It’s a seemingly simple form of self-directed movement, usually done with eyes closed and attention directed inward, in the presence of at least one witness. Movers explore spontaneous gestures, movements, and stillness, following inner impulses in the present moment. Witnesses gain attunement to their expectations and to how and what they see. Both enter a space of generosity, care and vulnerability. Then working in this newly opened inter personal space, more formalized directed improvisational exercises push our boundaries of awareness, creative power and how we all can do, think and see. This is a friendly space to meld feeling, knowing and moving and re-assign hierarchies between expertise and honesty.
Deconstructing Dance History: A Studio Practice
This workshop follows in the footsteps of my Paramodernities project. It is about meeting ourselves a new, through re-embodying what I refer to as the “geological” layers that comprise our trained dancing bodies. In the first half of the week we’ll spend time studying and dancing movements that we in some sense know, that we take for granted, or that we deem “old school” and naive. Like trying on a period-costume and allowing it to change our behavior, we’ll reverently (if temporarily) commit ourselves to the physicality, meaning, and ideologies that these movements hold. The second half of the workshop will be about manipulating that information with a variety of irreverent methods. These deconstructive methods aim at generating new perspectives for workshop-participants about our individual and shared past-present-future moving bodies.
Physical Propulsion is a training method of engaging the body through space using floor, standing and aerial techniques rooted in sacro-cranial alignment and awareness. The training method is built to functionally and tactically use physicality as an artistic conduit while testing the limits of movement across dimensions, especially across the usually forgotten transverse plane – the “z-axis”. The aim is to achieve greater dynamic range across many levels while maintaining maximum efficiency in the body. Movement is generated and activated through the pulsating spine like a coiling bedspring. The class works from the ground-up to align the body to connect phrases with energy that coils and recoils akin to the spring. The movement variations are based on modalities from Flying Low technique – codified by David Zambrano, Laban, Límon and Capoeira. The growth and development of the Physical Propulsion is facilitated dually by personal inquiry as well as the exchange and input of movement practitioners from around the globe. The goal of each class is to gain more comfort and courage using the body into and out of the floor with dynamic range of motion, a sense of togetherness with class takers and musicality throughout the space.
How can solo practice be a means of engaging relationship – a way to link ourselves in complex association rather than a means of setting ourselves apart? What are ways of engaging research and creation that re-imagine/extend/open rather than replicate our realities? In this workshop we will move and draw and write and speak together. We will study the works and methodologies of contemporary artists and thinkers (Sara Shelton Mann, Adrienne Maree Brown, Deborah Hay among others). We will identify/clarify/amplify the pressing questions, curiosities and desires that fuel our making. We will build solo research practices that emerge out of engagement with our questions and fantasies. In sharing our practices with each other – we will move into deeper dialogues that reckon critically and imaginatively with contemporary social and political existence. It is my hope that we’ll develop practices that will activate and sustain us over time, feeding us creatively beyond a singular workshop or choreographic project.
Students attending the NYC Winter Intensive will attend one performance (ticket is included in tuition cost):
American Dance Platform: Urban Bush Women and Dayton Contemporary Dance Company
January 7th at 7:30pm