Тренинг для начинающих и Мастерская для учителей по контактной импровизации в Тайланде/ beginners trainig and CI teachers training in Thailand

* * * ENGLISH BELOW * * *Тренинг будет проходить на английском языке,Полное описание программы здесь:
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19 дней Тренинг по Контактной Импровизации для начинающих и для учителей/начинающих учителей с Анжеликой Доний.

КИ для начинающих и опытных участников + ведущих.
Река контактной импровизации течёт и расширяется.
Все больше новых вдохновленных людей хотят танцевать эту практику и учиться.
И есть берега, те кто уже начинал, учился и может стать вдохновляющей силой для свежей энергии, бережно направлять стремление воды слиться с океаном.
Этот тренинг про расширение границ сообщества.
Про связь с источником и стремление к чему-то большему, к тому, что зовёт на джемы, вдохновляет падения превращать в полёты.
Мы соединили начинающих и продвинутых в одну команду, где каждому есть место куда стремиться, постигать, исследовать себя в среде единомышленников.
Этот котёл, лабораторию КИ мы задумали как поддержку танцу.

• Напитать среду КИ в Азии
• Дать шанс стремящимся начать с основ
• Создать почву для опытных танцоров и учителей проявиться, стать опорой процессу обучения, исследования, осмысления того танца, который мы практикуем
• Позволить практике забрать нас в путешествие на одном корабле
• Отразиться в других, узнавать себя во многих.

ВРЕМЯ: 27 февраля - 16 марта 2024

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Beginners and Teachers study program with Anjelika Doniy

27 February - 16 March 2024 Koh Phangan, Thailand
Contact improvisation for beginners, experienced practitioners & facilitators

The study program simultaneously consists of 10 days intensive workshop for beginners and 19 days laboratory for teachers and emerging teachers.

More and more new inspired people are willing to dance and learn this practice. And there are shores, those who have already lived through the initial stages, studied and can become an inspiring force for the fresh energy, carefully direct the desire of water to merge with the ocean. This workshop is about expanding the limits of the community. About the connection with the source and the desire for something more, for something that calls to jams, inspires to turn falls into flights.
We are bringing together beginners and advanced dancers into one team, where everyone has something to strive for, to learn, to explore in themselves among like-minded people. We conceived this cauldron, CI laboratory, as a support for the dance to:

• Nourish the CI environment in Asia
• Give aspirants a chance to start from the basics
• To create a platform for experienced dancers and teachers to act, to become a pillar to the process of learning, research, understanding of the dance form that we practice
• Let the practice take us on a journey on the same ship Reflect ourselves in others, recognize yourself in many.

for complete beginners, for beginners, and for those who continue to practice contact improvisation and want to return to the beginning.

This course will be a gradual collection of the secrets of movement, education of taste, understanding of principles.
Touching the source of movement. Feeling compassion that is disarming. Recognition of your fire. Courage to accept yourself dancing. Ability to adapt physical touch. Gifts and losses as we surrender to the movement. Expedition for the secret that is on the other side of the dance.

What do you need to be ready for?
There will be a lot about efficiency and intuitive following of what is happening right now. Work with the body in pairs, trios, in the form of bodywork. Exercis- es with alternating roles of leading, following and releasing that lead into the dance. There will be fairytale-like, imaginative invitations with precise, physical- ly understandable instructions. We will learn to move from the state of student training skills to losing these skills for the sake of poetry that does not require the sense of completeness.

What will be happening?
Some fundamentally important aspects of CI, persistently and often trained, such as:
• Soft contact with the floor.
• Building your body through touch, bodywork, body integration system and early patterns of movement development.
• Practice skills of falling and spinning.
• Somersaults, rolls on the floor by yourself and with a partner.
• Moving the body up and down, inverted positions and technical secrets.
• Basic positions for contact lifts. Slowly, as if we were learning to drive a car, we will be exploring the boundaries of our understanding of lifts. We will learn to flow through, pour, and move the weight. Manage weight through tone and relaxation.
• Use of spherical space (360 degrees). Three-dimensional motion trajectories, spiral, curved, rounded lines of motion of the body. These trajectories are closely related to the physical tasks of lifting weight and falling with minimal effort.
Through all of which we will try to meet Contact Improvisation.
Exercises are important, but they cannot be more important than contact, flow, interaction of forces, inertia, that is already happening right now. By practicing "Small Dance" we will learn to focus our attention on the inner space of the body.

We will meet with moving, rolling, sliding off the point of contact, when contact of two bodies gives importance to the search for mutual spatial trajectories. The secrets of dance are revealed in space. Pauses, back space, entry into and exit from the dance, beginning and end, emptiness and fullness. We will learn to change states. And those states will be many. Behind the form there is always substance.
My strengths as a teacher come from research of movement and conscious- ness. I use an optical view of the world and dance. I like to look from a big, juicy dance onto the small world of events. To see a dance from a large, spirit-filled living space of vital forces flowing through me. I like to create a place where they—life and dance—meet, spirit and matter mix their qualities, and we come to know what is not always available in words. As if we have one secret for all. And I go every time to discover this secret, to learn it together with those who are starting for the first time, to plunge into love, honesty and breathe, breathe, experience this meeting to the fullest.

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TEACHERS LABORATORY 27 February -16 March 2024
For those who came to study in order to theach, to teach in order to learn.

My way. I teach dance from experience, by what I am, by the way I think, joke, look at things, love and fear love, inspire and get inspired, by what I read, what poems I write and what I study myself at the moment.
Teaching flourishes when there is willingness to share with others. When it is impossible to resist the flow of movement of the body, thought, energy. When you need those with whom you can completely surrender to this force.
I discovered in myself an incredible will to give CI lessons during the years when I was learning it myself, when I was on the quest to discover who I am. I was like a magic bucket of fish. You put in one fish—and a dozen jump out of there. Understanding was becoming alive and complete the moment I passed it on to others. There is exhaustion and delight in this process, there is satisfaction when you put out everything you know leaving nothing behind.
Those who have tried have no way back. We become better, cleaner, happier, we encounter something bigger, and our dance blossoms.
Since 1997, I have been continuously sharing my experience as an educator and teacher of Contact Improvisation, inspiring creative growth in others, and since 2010 I am one of the invited teachers in my field at the international level.
I have experience as an organizer, visionary and teacher team builder in the context of the development of CI as a discipline, a social movement and a field for expanding body culture and art in Moscow and Russia.
In 2006–15 I led the project "Workshop for teachers of contact improvisation in Moscow". It was created to support and create an environment for teaching CI, share experiences, identify common values, put things in order in the historical stages of CI development, consider one's place in time and space.
My goal was to create a community with clear goals that would be shared and cultivated together.
Experience has shown the value and importance of this step.
This year, inspired by the community, projects and jams on Koh Phangan, I felt an impulse to return to this amazing path of teaching in order to learn. Learning in order to teach.
Our laboratory is a shift to enter another zone and become a stalker, to meet with some questions for yourself, to clear the source, to reach clarity. It will inevitably be about inner strength, inner vision, embedding your next steps. Dance, heal and move on along the path of your destiny.

For whom?

We invite to the group of Contact Improvisation Laboratory:
• those who have experience in teaching CI
• those who have started teaching contact improvisation and have some teaching experience

• exchange of experience
• dance and teaching research laboratories
• learning the ways to guide
• viewing and analyzing video materials
• questions that drive us to reveal the material for teaching • material that raises questions
• teaching and feedback

Workshop preparation:
• Register and fill out the Laboratory participant form.
• Answer questions about yourself, about big goals and personal tasks.

You will be taking a beginner course again. It is a big part of learning and practice.
Going through the basic principles of CI will become the ground for experience, questions, doubts, coming across the old and new patterns.
You will have an opportunity to participate in the basic course in three roles:
• Participant
• Assistant
• Observer.
As a participant, you can totally immerse yourself in the material, be only for yourself, give yourself a break, get out of the processes and take a break from the training.
As an assistant, you will practice keeping some of your attention on the group, on each other, being available to me (follow my instructions).
And also, be ready to dance with the participants of the training and share your experience.
As an observer, a witness of the facilitator, you can take the position of the facilitator being a by-stander, use your notebook to write and give feedback to the facilitator, while being in the context of the process and giving attention to
the group.
Roles can be fluid and change. You can change them intensively and intentionally, choose what is most interesting for you for the whole day or for an hour.

Based on this basic course, we will be able to speak in detail about:
• the logic of building classes
• choice of material for each new day
• understanding of how to support beginners, not to let them lose their sense of the process because of body experiences and fatigue
• Teaching as a holistic approach. Learn to make room for technical skills, poetic images, labs and just dance in the classes
• Topic of the flow of a class, of a many-hours workshop and of a long training session. We will see how the ability to lead participants through the void, the pause, the letting go of the group, the trust in the breaks, gives its needed effect to the assimilation of the material. And also, the leader's speech as a flow can consciously include these aspects of speaking and listening.

We will consider complementary practices such as bodywork, Somatic approach, Bartenieff movement, contemporary dance in the context of teaching.
We will discuss and review each day's material in order to see our own material and form our own vision and values.
We will study in the laboratory format. To study, search, create, offer, discuss what is interesting and incomprehensible to you. Try and become sure. We will select and explore topics that relate to teaching, practice, performance, and structures that support CI.
We will watch videos of the beginnings and origins of CI, get to know the teachers of the first generation and those who continue to inspire the CI community today. Draw from the experience of those who have walked the path of CI and were at its source. Connect the experience of the first contact dancers and the values of those years with your own history through what has already been written, said, seen.
We will consider the structures that support dance in the classroom. We'll get in touch with the structure of Nancy Stark Smith through Underscore.

We will look at dance on several levels:
• As pleasure, passion, fulfillment
• Area of study and research, meanings, images, metaphors,
• As an aspect of the spirit, the growth of consciousness, education
• Value and purpose
Our mission is to go through the "map of ourselves", where there are traced landscapes, empty spaces, shadow zones and places of power. For this journey, we will need dance, meditation, feedback, notes and field records, circles of support and attention.

I have a passion and ability to help people discover in themselves what they are already strong in and where they are ready to guide others. I can charge with a healthy sense of fullness of possibilities and inspire with the right to be yourself and share yourself. I can see how something valuable in you wants to be open for realization.

27 & 28 February - Teachers Laboratory
29 day off
1 - 12 March - Beginners Workshop (6 & 7 days off)
13 & 14 days off
15 & 16 March - Teachers Laboratory
For Beginners workshop it will be one 4 hour session per day. With 2 days off during the 12 days.
For Teachers, additional sessions during the beginners workshop for 3 hours per day.

Beginners workshop THE SOURCE KOH PHANGAN
There are 20 Beginner places and 15 teachers places.
Registration is open.

Low income 450 EUR / 17000 THB (beginner 10 places / teacher 5 places) Regular 550 EUR / 21000 THB (beginner 10 places / teacher 10 places)


There will be some scholarship opportunities for dedicated emerging practitioners/artists who are unable to pay the low income price.

For more information contact: towards.contact@gmail.com
Rivers and Shores is co-organised with TOWARDS — a center for the practice and research of Contact Improvisation in Thailand / Asia.

About Anjelika
Anjelika Doniy is a dance improviser, choreographer and teacher focused on contact.
After 5 years of formal studies of choreography, ballet dance and other stage disciplines at the Higher School of Culture (St-Petersburg), she worked for 10 Years as a theater choreographer. Until...
In 1997, I was at the Impulse Dance Festival in Vienna. There, I saw a wonder of CI, watched Steve Paxton on stage, flew into Andrew Harwood workshop where some 70 dancers were rolling over each other. This was unbelievable, the earth was be- coming alive. I saw a realization of my dream of the world growing from connection, interaction, harmony between one and many.
It was love from the first sight. From 2002 I started facilitating first jams and CI workshops in Russia and initiated International Contact Improvisation and Performance Festival in Moscow in 2006–2010.
My path in CI as a teacher began as long journey of workshops for beginners. I love to guide people into the dance, inspire them with their own body, and awaken to what is already there. I love to surprise long-time dancers with secrets of the body as little keys opening a familiar dance into new spaces. This year, I am following a program of the Institute for Integrative Bodywork and Movement Therapy to go deeper into the body and its anatomy, to touch the cells, to breathe through the navel, and to use this resource in my practice.
My special interest in contact improvisation is clarity. Clarity towards the practice. Honesty towards how I move my weight in the space of Gravity. Attention towards clearing the dance from the personal. Letting things happen as they go.
I am grateful to have met and studied with such teachers as Regine Chopinot, Steve Paxton, Nancy Stark Smith, Danny Lepkoff, Benno Voorham, Lisa Nelson, Esther Gal, Yaniv Mintzer, Martin Keo and many others.
Anjelika taught over 200 workshops all over the world for all levels from complete beginners to professional dancers. Her teaching is rooted in many years of work of acquiring and transmitting technical skills and equally long path of meditation and mindfulness practice. She blends them into a life dance, contact improvisation.