90 minutes in length. Instructors will have the opportunity to present a focused learning experience in a studio or outdoor setting to participants on a subject in which they have knowledge and expertise.
Dr. Linda Caldwell, Professor
Texas Woman’s University, USA
Dr. Caldwell will discuss important issues shared in conversations with differing dance journal editors and when reviewing graduate and postgraduate student submissions to the WDA publication of the Journal of Emerging Dance Scholarship (JEDS). Since JEDS’s mission is to highlight scholarship emerging from post/graduate students or those within 5 years of graduating from a master’s or doctoral degree, many submissions are rewrites of major projects, theses, or dissertations undertaken while a student. Moving from writing for the needs of graduate study to writing for the needs of a broader audience will, therefore, be the crux of this workshop. The workshop will be divided into two parts held on differing days of the WDAA conference. All are welcome to participate in both or either of the workshops. In the first workshop, participants will be introduced to general themes of best writing practice, differing journal guidelines, and insights concerning the publication process. In the second workshop, participants will work individually with Dr. Caldwell on creating research purpose statements and writing abstracts that include: developing a research purpose that is clear and jargon-free, as well as specific to the stated needs of the publisher; presenting the research process as emerging from the unique research purpose and in which the author’s conclusions are fully supported; and creating a strong statement about the importance of the research to the field of dance.
Linda Caldwell, Ph.D., C.M.A., is coordinator of the low-residential dance doctoral program at Texas Woman’s University while serving on the World Dance Alliance Executive Board as co-chair for Research and Documentation. She is the co-editor of the Journal of Emerging Dance Scholarship highlighting current research by emerging dance scholars (www.jedsonline.net). Her publications include: “Pieces of the Past Swimming into the Present” in Creating Dance: A Traveler’s Guide, “Riddle Me This” in Perspectives on Contemporary Dance History, “ The Act of Dance-Making is an Act of Philosophy-Making” in the Korean Journal of Dance Studies, and past publications concerning her 15-year exchange with Poland ‘s contemporary dance company, The Silesian Dance Theatre. Dr. Caldwell’s choreography has been performed in dance festivals in Lyons, France, and Krakow, Poland, as well as chosen twice for the National College Dance Festivals in Washington, D.C., and Tempe, Arizona.
“Exploring Space and Weight Configuration in Contemporary Dance Techniques”
Tues 7/28 @ 11:00 am – Music 118
Hsin-Yu Kao, Dancer
KÄFIG Company, Taiwan
As a teacher, Hsin-Yu,Kao focuses on the connection between music and dance while exploring ways of experiencing space. He uses varied aural and rhythmic stimuli to help students explore their musicality while simultaneously challenging each dancers’ agility, physicality, and mental landscape by pushing their coordination in hopes of discovering and developing movements outside of habit. Kao’s technique which incorporates leaps, slides, spins, and flow are a developed from a combination of contemporary dance, ballet, martial arts, and hip-hop. The progression of this class will include a warm-up, strength training, and a final combination.
Hsin-Yu Kao graduated from Taipei National University of the Arts. Currently he is a dancer of Compagnie Käfig. and teaches at the Dance Division of Kaohsiung Tsoing Senior High School where he teaches contemporary dance, martial arts, improvisation, and yoga. Hsin-Yu has also taught at dance studios throughout Taiwan and offered workshops while touring with Compagnie Käfig. He has participated in Steps Dance Festival (2014), Huayi-Chinese Festival of Arts (2014), Alliance Française de Hong Kong (Le French May 2013), Dance Inversion in Russia (2013), The Internationale Maifestspiele Wiesbaden (2013), Bregenzer Frühling Dance Festival (2013), Croisements Festival (2013), Biennale de la Danse (2012), and Montpellier Danse (2012).
Tanya Kane-Parry, Professor
California State University, Los Angeles, USA
My work in dance and movement-based performance is informed by the postmodern tools of The Viewpoints, as articulated by Obie-Award winning choreographer Mary Overlie. The primary focus of The Viewpoints is space. Taking the study and exploration of space out of the studio and into the environment as a means towards creating site-generated performance has been the focus of my work with my company, Opera del Espacio, since 2010. In this workshop, participants will be guided through structured improvisational investigations, working solo and in groups, engaging directly with the architecture and the locale, discovering and exploring the lines of the space, as well as the textures and emotions; that reveal personally connected movement leading towards composition. All levels of training and experience are welcome.
Tanya Kane-Parry is a Professor of Dance and Theatre at California State University, Los Angeles (CSULA). She is the Director and Choreography in dance, theatre, and opera; and Artistic Director of Opera del Espacio. Recent credits include: premiere of Private in Public at the SoCal Dance Invitational Concert, Huntington Beach; The Barber of Seville with the Bakersfield Symphony Orchestra; remount of Shredded at the 2015 ACDA Baja Region conference; semi-staged concert version of Phillip Glass’ CIVIL warS (Rome) at the LA Phil; Don Giovanni with the Bakersfield Symphony, The Wall: A Musical Misdeed, an avant-garde multimedia opera composed by John M. Kennedy in collaboration with Opera del Espacio and The Chamber Players of Los Angeles; choreographer at Long Beach Opera for The Man from Atlantis, The Clever One and Moscow, Cherry Town. Recent guest workshops include ACDA Baja Region, Original productions with Opera del Espacio include I’ve Fallen/Clap Off! at Highways Performance Space; The Way Of Water by Caridad Svich Bootleg Theatre, Cal Poly Pomona, Hollywood Fringe 2012 and South Coast Rep’s SCRamble; Meet Me @ Metro II and III; Space: The Final Frontier at SOSE Company Creation Festival 2013; multiple site-specific performances at the Downtown Art Walk, Brewery Art Walk, Echo Park Art Walk, The Series at the Standard and more. www.operadelespacio.org
As baby-boomers age, it seems reasonable to expect that demand for suitable dance classes for seniors will also boom. Most teaching of dance courses tend to focus on teaching to children, youth and young adults. Teaching dance classes that are suitable for older adults and that meet their needs can be quite different – for example, older adults tend to be more concerned about improving their health than about executing dance movements expertly. In this workshop, whatever style of dance that you specialize in, you will learn methods that have been trialed with 40 dance teachers and evaluated over a 2-year period with over 865 older adult participants in community settings — participant satisfaction and attendance rates were high. Additionally what typically happens with older adult classes is that people of all abilities and levels are lumped together into one class. Knowing how to lead a class that addresses multiple levels and varied abilities in the same class is possible — we will explore some techniques. We will also explore how to progress participants as their skill and knowledge increases, and how to evolve class content if you are successful in retaining the same participants term after term, year after year. Workshop participants, if they desire, will have the opportunity to lead a portion of their warm-up or teach a combination for feedback. Beginner through seasoned teachers are welcome — the workshop leader invites participants to share their practice knowledge and perspectives. Ideas and experiences from other “places” are invited.
April Nakaima straddles the worlds of dance and health. In recent years she has focused on dance for health promotion, primarily working with older adults and with children with developmental delays; she co-led the course Dance for Special Populations at York University in Toronto, Canada. She currently works as a research coordinator at the Evaluation Centre for Complex Health Interventions in Toronto. She holds a Master of Fine Arts degree in Dance – Choreography from the University of California Irvine, Bachelor’s in Theatre Arts – Dance from the University of California Santa Cruz, and is a graduate of the Kamehameha Schools in Hawaii. She has performed with several modern dance companies in California; choreographed for the University of California Davis, Monterey Peninsula College, Salisbury State University Maryland, Northern Virginia Community College; was Dance Director at a San Diego district high school; and taught movement exploration for ages 5-7 in Edinburgh, Scotland.
“Inspired Space: Pedagogy in Creative Dance”
Thur 7/30 @ 11:00 am – Outdoors (Next to Kennedy Theatre)
York University & Canada’s National Ballet School, Canada
This is a pedagogy workshop for teaching creative dance to all ages. The benefits of creative dance will be presented, as well as tools, theories, and best practices. During the workshop I will explain the several aspects that encompass creative dance; namely time, space, and energy concepts and how these interact. A short lecture will be complemented with physical practice in the form of a demo class and collaborative group work. This workshop is appropriate for everyone and is not limited to dance teachers and students. This may be an excellent opportunity for professional dancers to think deeply about process with regards to deconstructing the elements of dance. Participants of all technical abilities are encouraged to attend. In a creative dance context the studio becomes a space for inspiration and exploration of new movement.
Gdalit Neuman [BFA (Hon.), B.Ed, MA, NBS TTP (dip.)] is a proud alumnus of York University’s BFA and MA programs in dance. Additionally, she holds a B.Ed and is currently studying towards her PhD. Ms. Neuman is a graduate with distinction from Canada’s National Ballet School’s Teacher Training Program. There, she received her teaching credentials with the Imperial Society of Teachers of Dancing and The Cecchetti Society, and was the recipient of the prestigious Carol Chadwick Award for Teaching in 2004. Since graduating, Ms. Neuman has been on faculty at Canada’s National Ballet School and York University. Most recently she taught an upper year undergraduate course in dance pedagogy at York University and continues to teach creative dance to 6 year olds at Canada’s National Ballet School. In addition to her teaching accomplishments, Ms. Neuman has performed and choreographed extensively in both Canada and abroad.
Dr. Fatima Wachowicz
Federal University of Bahia, Brazil / University of Western Sydney – The MARCS Institute, Australia
The Viewpoints principles were first articulated by choreographer Mary Overlie and expanded upon by directors Anne Bogart and Tina Landau in New York, USA. The training consists of awakening a consciousness of specific qualities of presence in time and space, usually in a more improvisatory way. Most of the exercises are done in groups and seek to enhance the practice of “listening with the whole body.” This practice develops the senses to respond quickly to surrounding stimuli, highlighting attention and awareness by building the perceptual awareness of self and the connection with others around, improving the sense of aliveness on stage, developing the responsibility to create a group dynamic, and increasing the sense of kinesthetic response that leads to experiencing the connections created with others in the room. Participants can expect to experience an exciting and versatile ensemble environment by exploring different ways of dance improvisation, creating dance engagements between the body in Space and Time, and experiencing dance through modes and lenses that allows the group to function together spontaneously and intuitively. This workshop is for dancers, choreographers, and artists and does not require previous knowledge of Viewpoints.
Fatima Wachowicz is a Brazilian teacher, dancer, and performer. During her lifetime she has studied ballet, Laban Movement Analysis, modern and contemporary dance, contact improvisation, choreographic composition, and drama. She studied with Leda Muhana, Regina Miranda, David Zambrano, Frey Faust, Alito Alessi, Martin Keogh, and Donnie Mather. Wachowicz has been teaching dance at universities in Brazil for 7 years and is currently teaching at Federal University of Bahia, School of Dance. Since 2009, she has been using the experimental methods of Viewpoints and CI to investigate cognitive processes in creating and performing dance. Recently, she performed in SINTONIA in São Paulo; Performática (2011), Mexico; 1st. Arte ao Vivo Rio ao Vivo (2011), Rio de Janeiro; The Story of Creative (2013), New York; and Scope Miami Beach (2013), Miami. She is currently a Postdoc fellow at The MARCS Institute, University of Western Sydney, Australia.
Sophie Williams, Assistant Lecturer
The University of Auckland, New Zeland
This workshop will draw on diverse understandings of Contemporary Māori performance and movement. Focusing on performative outcomes informed by culturally located knowledge and learning preferences or Taonga tuku iho (a principle of cultural aspirations). Participants will experience specific Māori movements such as toroparawae (foot movements that imitate the footsteps of birds). Such techniques were used in preparation for co-ordination and strengthening for warriors who would go into battle. Participants will also practice mahi a ringa (hand movements), trained to supple and strengthen wrists and flexibility. There is also a strong focus on shared narratives as a means to discover new ways of knowing and doing within performance and performance research, through experiences of movements, language and the incorporation of Māori cultural values and practices. These notions will be explored through choreographic tasks, drawing on the Māori concept of tūrangawaewae (places where we feel empowered and connected, foundation of home). This workshop will provide opportunity’s for participants to draw on there own narratives and experiences through movement, guided by Māori cultural ways of understandings and connecting to place and environment, whenua (land) and belonging. The workshop is shaped for participants to explore embodied experiences to become more conscious of Māori cultural performance and its relevant socio-cultural contexts.
Sophie Williams is a professional Māori dancer, Kaihaka, and choreographer. She completed her bachelors with honours degree in Dance Studies at The University of Auckland, graduating with first class. Sophie is currently an Assistant Lecturer at The University of Auckland, while continuing to complete her Ph.D. research which explores indigenous performative knowledge within contemporary dance contexts. Sophie is also a company member of Hawaiki TŪ Haka Theatre and has been a long-standing member of Tūhourangi Ngāti Wāhiao Kapa Haka group in Aotearoa. Her involvement within these particular communities and specific interest in indigeneity helps to create the foundation of her performance practice and influences her beliefs, values, and ideas from which indigenous performance stems.
“Ballet Technique – The Old Space (classical ballet) in a New Place”
Tues 7/28 @ 3:30 pm – Dance Studio
Lisa A. Fusillo, Professor
University of Georgia, USA
This ballet class is a fusion of traditional ballet technique and incorporates concepts, philosophies, and modifications of exercises from the S.A.F.E.™ methodology/technique created by Alexandre Munz in Paris. “S.A.F.E.™ is based on the activation of neuromuscular reflexes that allow muscles to generate their contraction and relaxation simultaneously (reciprocal innervation reflex). With this interactive relationship, everyone feels and strengthens the entire body, and enhances its perception in space (interoception and proprioception)” (www.thesafeproject.net). This class will present a new perspective on how to use their muscles efficiently and effectively in ballet technique. This class is particularly relevant for ballet dancers in the 21st century, to expand their technical understanding of ballet and approaches to technique training in order to be prepared for the new demands of 21st century professional ballet careers. After working with Alexandre Munz, Fusillo has developed this class with a fusion of her own professional background in ballet with rigorous and thorough training at the Royal Ballet School (London), the Royal Danish Ballet, the Vaganova Ballet Academy (Russia), and the Cecchetti Method (Italy), which relates in a literal way to the conference theme of Spaces and Places. She has also incorporated her scholarly study of ballet pedagogy, including many years of embodied practice and teaching. Addressing the alternate lens on ballet technique, this class particularly embraces practical and scholarly experience in the S.A.F.E.™ method as learned directly from Alexandre Munz.
Lisa Fusillo began her professional ballet training at the Washington School of Ballet in Washington, D.C. and later trained in New York, London, Russia and Denmark. She holds the Professional Teaching Diploma from the Royal Ballet School in London and certifications from American Ballet Theatre National Training Curriculum and the New York City Ballet Education Department. Her choreography has been presented in Austria, Belgium, Germany, Amsterdam, Paris, Thailand, Taiwan, and at the International Ballet Competition in Jackson, Mississippi. Her WDA affiliation began when Fusillo was teaching at the National Institute of the Arts (now Taipei National University of Arts) in Taiwan. Fusillo is a Fulbright Scholar and has published articles in dance history. Currently, she is Professor and head of the Department of Dance at the University of Georgia.
“Reawakening Sensation; Hawkins Technique Class Experienced in Nature”
Tues 7/28 @ 11:00 am – Outdoors (Next to Kennedy Theatre)
Shay Ishii, Lecturer
Texas State University, USA &
Katherine Duke, Artistic Director
Erick Hawkins Dance Foundation, USA
Hawkins technique sends students on an inward journey towards more efficient movement, a wider range of dynamics, and a conscious interplay of rhythm to enhance their clarity and intention. The session will be taught in an outside alternative space with unconventional surfaces. Taking class out of the studio shifts us from a less mindful, less connected repetition of exercises and reawakens our experience of sensation. Performing exercises on surfaces of varying textures, densities, and inclines informs movement patterns and provides tactile feedback about where we hold tension or if we are insufficiently supporting weight through vivid sensations retained and recreated by muscles and mind. Performing floor work on grass or sand one can truly feel what it is like for the floor to soften beneath us. “Going into” the floor is no longer a metaphor, but a genuine experience. Students begin with a wide range of exercises sitting on the floor (ground), moving to standing work, then applying new-found strategies to movement phrases. Erick Hawkins defined and codified what he believed are universal principles of movement that physically challenge the body, mind, and spirit. This class is taught with 2 instructors so that students receive hands on attention allowing direct input for initiation of movement, correct alignment, and proper use of strength. Accessible to dancers of all skill levels and backgrounds.
Jamake Highwater wrote, “there is little doubt that Katherine Duke represents the idealization of Hawkins’s four decades of creating dance. ” Duke began studying with Erick Hawkins in 1983, becoming a teacher and principal with the Erick Hawkins Dance Company. Her mercurial grace, purity of presence, and focused phrasing, noted by Anna Kisselgoff, brought her critical acclaim. She became Artistic Director of the Erick Hawkins Dance Foundation in 2001. Her passion is to share the beauty of the technique, the unique approach to choreography, and the principles of this legacy through intensives, workshops, and master classes. Ms. Duke facilitates reconstructions of classic repertory for universities and professional companies preserving and perpetuating the work of both Lucia Dlugoszewski and Hawkins. She continues to bring the Company into the present with archival research that has enriched the Company’s repertory through unexplored works by Hawkins and Dlugoszewski, commissioned choreographers, and her own work.
As a choreographer, Shay Ishii seeks to bathe her audience in an aesthetic experience of movement, light and sound. As a teacher, she seeks to guide her students to a more profound connection to their own bodies. This philosophy springs from her somatic and dance heritage, deeply rooted in the works of Erick Hawkins, Bonnie Bainbridge Cohen, Joseph Pilates and numerous body-mind oriented practitioners and mentors. Ms. Ishii is passionate about creating new work through her company (Shay Ishii Dance Company) and her Texas State University professorship. She is dedicated to perpetuating and igniting interest in the Hawkins’ legacy by restaging repertory, hosting and teaching intensives and choreographing works that reflect her dance lineage. Shay has been honored to contribute her work to the Erick Hawkins Centennial at the 92nd Street Y in 2010 and the 2011 International Body Mind Centering Conference.
Jazmyne Koch, Instructor
This class represents Jazmyne’s vision to introduce her explorative style “Urban Cultural Dance” to the traditional form of Hawaiian hula, unifying it with other styles, such as modern dance, jazz funk, and hip-hop inspired movement. Starting from Jazmyne’s roots in the Hawaiian Islands, dance practices from Hawaiian hula, hula kahiko (traditional) and hula ʻauana (modern), will be introduced and explained. The teaching approach will be to introduce students to the lineage of influences— learning about the Hawaiian culture starting with music and basic movement vocabulary from the traditional hula kahiko in Hawaiʻi. Students will then explore the development towards hula ʻauana,” shifting away from tradition to a style shaped by foreign cultures impacting Hawaiʻi history. With some traditional basis and understanding of the culture, students will explore how the hula can be influenced by broader diverse settings, cultures, and lands, adapting the movement to more cross-cultural music rhythms and choreography sequences as a fusion form influenced from, but very different than, the traditional. We will look at how space and place of the hula outside of Hawai’i has affected the dance. The intention of this class is for students to acquaint themselves with the diverse elements that make up Hawaiian culture and the beauty in the traditional style of dancing; and with this knowledge bring in the hula’s strength and grace into play with “Urban Cultural Dance.” Dance experience recommended, but beginners are welcome.
Jazmyne Koch has collected a wide variety of cultural dance styles from regions of the Pacific, Asia, South East Asia, and South America, adding to her training in Western forms of dance techniques. Jazmyne taught and choreographed for students from The Colorado College, The Colorado Academy of Music and Dance, National Taiwan University of Physical Education, International School Bangkok (as a guest assistant teacher), WDA/daCi Summit 2012 (Taipei, Taiwan), and WDA 2014 (Angers, France). She currently lives in Hamburg, Germany where she founded her own artistic platform StudioJaz, choreographing and collaborating on projects and performances within Europe, as well as teaching dance workshops and courses on her style “Urban Cultural Dance” to students through her own studio programs.
Lamaiya Lancaster, Lecture
Co-Founder/Choreographer of L-Theory Collective, USA
Urban Modern explores traditional modern dance technique fused with the African aesthetic and the syncopation, percussive, and polyrhythmic characteristics of hip hop dance. This class will incorporate concepts of dynamic athleticism through floor work, inversions, and “fast-twitch stealth” movements that illustrate the choreographic aesthetic of the instructor while maintaining the integrity of traditional modern dance technique.
Lamaiya Lancaster has over twenty years of training in multiple disciplines including modern, jazz, tap, ballet, hip hop, various Latin styles, Polynesian, African, and Capoeira. Her early years were spent training at San Diego School for Creative & Performing Arts and Fort Wayne Dance Collective. She earned her B.A. degree in Cultural Studies at Columbia College, Chicago. Currently, Lamaiya is adjunct dance faculty at The College of Lake County, Co-founder/Choreographer of L-Theory Collective, and is working towards her graduate degree in Adult and Community Education at Ball State University.
“Where the hand goes there follows the eyes; Where the eyes go there follows the mind; Where there is complete involvement/focus of mind there is expression (mental and physical) ; Where there is expression there is aesthetic enjoyment for both the dancer and the audience.”
-The Treatise of Natya Shastra by BharathaMuni
Based on this encompassing basic principle of “BharathaNatyam” (dance), this class will introduce an invocatory dance piece called “Pushpanjali” in an attempt to teach the participants by giving them an overview of the ancient art form from Tamil Nadu, South India. This class will also introduce the elements of the art form “BHA” (exploring facial expressions and hand gestures used in narrating a story or tool to communicate with an audience), “RA(GA)” (the use of melody or the music which goes hand in hand with the dance style), and lastly “THA (LA)” (the rhythmic elements and the pure dance techniques and the associated mathematical permutations and combinations.) These elements utilize very unique features from other dance forms/methods. Combining these elements together through “BharathaNatyam” adapts, expands, and produces a beautiful piece exploring elements of space, time, and place by producing vibrant energy called “Sharmadayini”, giving joy to both the dancer and the audience. A basic knowledge of any dance form, interest and enthusiasm to learn dance is enough to participate in this class.
Suhasini Muthukrishnan is an Indian classical dancer specializing in BharataNatyam. She graduated from the world renowned college Kalakshetra, Rukmini Devi college of fine arts, India . A staunch believer in lifelong learning as an artiste, she continues to hone her skills under Mastero Professor C. V. Chandrasekhar. Her experience and association with a Sanskrit theatre group has further enhanced her dancing and choreography. She has worked with many leading choreographers in the field from the great maestros to emerging artists, and has performed in many countries including United States, Canada, Mauritius, Reunion Islands, and UAE. Over the years all this experience has only made Suhasini enjoy what she does best – dancing. As the artistic director of Sharmadayini Natya Academy, she teaches other dance enthusiasts with the dedication and conviction with which she learnt, loving every second dancing and never compromising on quality. Suhasini currently lives and teaches in Atlanta, Georgia.
Elizabeth Sexe, Lecturer / Pilates Instructor
University of Wisconsin–Madison / Pilates Central, USA
Everyone on Earth dances with a constant partner, gravity, but every person’s intentional and unintentional responses create a diverse range of movement patterns. In this open level Pilates class, fundamental exercises will be explored in different planes and cued with different qualities of effort. By shifting the body’s relationship to gravity exercises can become more easeful or more challenging. The participants will be given space to explore how their inner landscape responds to movement. Many little shifts, spirals, engagements and releases will be noticed and then played with to find mobility and stability. The participants will also play with adding various effort qualities to change the experience of the movement. These methods are utilized in Sexe’s open level mat classes allowing for the elite athlete and those just starting Pilates to get a fulfilling workout and have an energizing practice together.
Note: Please bring a towel, blanket, or extra shirt for cushion during exercises for comfort.
Liz Sexe is a dance educator, performer, and choreographer. In 2009, she received her M.F.A. in Performance and Choreography from Mills College in Oakland, CA. Currently, Sexe is a lecturer at UW-Madison, and Pilates instructor at Pilates Central. She has been called a “clean and efficient mover,” performing works by Rachel Berman, Alyce Finwall, Li Chiao-Ping, and Marlene Skog. As a choreographer, Sexe uses a collage/assemblage of various movements and gestures to construct her work. Her own work has appeared at Danceworks in Milwaukee, WI; Frank Lloyd Wright’s Taliesin in Spring Green, WI; and University of Wisconsin-Eau Claire, where she was an artist in residence in 2013. In class, Liz loves to merge her knowledge of anatomy and intentional movement in a deep and playful way where the student/client feels empowered in their own body.