Cursusprogramma voorjaar 2018

donderdagavond 20.00 tot 22.00 uur, zaal open vanaf 19.30
Danslab, De Constant Rebecqueplein 20b, Den Haag
Maak het cursusgeld over op rekening nr NL 26 TRIO 0390 5115 79, tnv Dansdrift en meld je aan via het inschrijfformulier.



Ana Leonor Ladas

januari 4, 11, 18, 25;
februari 1, 8, 15 en 22
€ 105


Where does movement come from? How does visible and invisible intertwine and re-create one another? Is dance different from life itself?

‘States of Presence’ is an invitation to dive within, to get closer to our original body and to move and dance from it. A Body before language, ‘Like a child before he/she was taught to be grown up’ (Fernando Pessoa).
The workshop focuses on the creative process itself and it evolves organically in direct relation with the individual and group dynamics. Situations are created stimulating sensorial awareness and a deep exploration within the inner landscapes of the Body and its interactions with the external environment. Inner landscape ∞ outer landscape, a Dance in between…
Based on improvisation and instant composition we integrate individual and collective experiences within a performative context.
Dance is often associated to action and ‘doing’. Is it possible to dance from a ’Non-Doing’ state of mind? How does ‘action’ and ‘non-doing’ relate to one another in the process of dance and life itself? Which physiological systems sustain these states of mind?
The workshop is for adults and open to everyone with a genuine curiosity and interest in the moving body.

Ana Leonor Ladas is a Portuguese freelance dancer, teacher, movement coach and shiatsu practitioner resident in Amsterdam. She studied Psychology at I.S.P.S in Lisbon and later she graduated from the HKA – Dansacademie Arnhem in 2001. For many years she worked with different companies and independent choreographers in the Netherlands and abroad until she started created her own work as a way to understand the very nature of the human condition.
Driven to find a deeper connection of Body ∞ Mind ∞ Spirit and Dance as an art form she sets on an intuitive journey to find out what really makes sense within Dance and life in general. This led her to get in deep contact with the Oriental approach of the Body and Movement. For long periods between 2006 and 2010 she had the privilege to work and shared the life style with the master Min Tanaka at the Body Weather Farm in Japan.
Her work is based on Improvisation and (Instant) Composition and it has been developing, already for several years, as a result of the integrated Western and Eastern’ fundamental principles serving as common ground both in performance as in teaching.


Hillary Firestone

maart 1, 8, 15, 22, 29,
april 5 en 12
€ 95


‘We build traps for poetry’ said writer and filmmaker Jean Cocteau, speaking of the artist’s work. It’s an intriguing statement. But what are these ‘traps’, and how exactly can we build them? What conditions support the emergence of poetry in our dance?
We can see the ‘traps’ as open forms, and the ‘poetry’ stemming from a state of inspiration. This series of classes will explore how to get there. In order to expand the range of possible ‘traps’, each lesson will focus on a specific tool or layer available to us: space, sensation, image, objects, writing, voice, touch, text and visualization. Using these practices, we will trigger our imagination and study our own ways of working. We discover a repertoire of starting points for improvising and creating, and meanwhile learn what supports a state of inspiration.
Each lesson will move step-by-step from a concrete, task-based exploration of that week’s subject, towards an open-score improvisation practice which concludes the evening. In both individual and (small)-group research moments, progressing from structure toward openness, we zoom in on a specific aspect of the work and then apply what has been discovered in a free space.

Hillary Blake Firestone (USA) studied Contemporary Dance and Literature at SUNY-Purchase in New York and as a guest student at the Amsterdamse Hogeschool voor de Kunsten. Since 1999, she has been based in Amsterdam, where she is active as a free-lance choreographer, performer and teacher.
Her work evolves through dialogue with artists from other disciplines, including composers, musicians, visual artists, filmmakers and writers. With a fascination for ritual, scores, durational performance she has created performances for theatres and work for locations, seen in festivals, music venues, factories, cathedrals and museums; as well as choreographing for film and theater plays. She often works with text, as well as simple objects that create sound, motivate action or build image.
As a teacher of Contemporary Technique, Contact/Improvisation, and Composition, Hillary has taught professional dancers, university students and dedicated amateurs in the US, Europe, and the Middle East. Since 2010, she has been on the faculty of the BA Dance program at ArtEZ Hogeschool voor de Kunsten, where she teaches Improvisation/Composition and guides student choreographies and interdisciplinary projects. Since 2008, she has been a core member of NB projects, directed by choreographer Nicole Beutler. There she acts as a performer, rehearsal director and choreographic assistant; and stages existing works outside the company.


Manuela Tessi

Instant movement composition

april 19, 26 en;
mei 3
€ 42


What is the motivation to move? Where do we move from? Defining the detail can make a difference in how movement can communicate.The starting point of the study is the body in motion. The warm up is an exploration of different tones in the physicality and movement qualities that refine the readability of movement and intention. Through exercises that explore the relationship to the floor, the space and the other bodies, we will widen the range of movement access, gaining more ease and reaching a fine tuning needed to generate movement material.

This material will be instantly composed with special attention on the phrasing and musicality of the body.In the composition and the focus will be on:

  • How do we read the space and what is happening?
  • How do we place our choices in relation to what we sense will happen next?
  • How to refine a sense of what’s happening next in the piece of movement and music?

Manuela Lucia Tessi is a dancer, teacher and maker based in Amsterdam and Berlin. She holds a degree from the Modern Theatre Dance department at AHK in Amsterdam and has spent the last several years performing and touring her work. Live music, whether composed or improvised, plays an important role in her performance work.
Since 2004 Manuela has studied and worked with renowned dancer Katie Duck, who has been one of her greatest creative influences alongside the many dancers, musicians and light designers who have inspired her direction in work.
She curates two platforms for dance and live music performance in Amsterdam and Berlin.
Manuela has regularly thaught children and adult technique dance classes and improvisation workshops in the Netherlands . As a teacher she worked many years with the Russian School of Arts and Dansschool Mieke Roetman, Buitenkunst and Katie Duck’s Improvisation Summer Course.


Sebas van Wetten

mei 17, 24, 31;
juni 7, 14 en 21
€ 83


Hoe kun je Leiden en Volgen in je dans gebruiken?
In deze cursus onderzoeken we verschillende aspecten en vormen hiervan. Bijv. gradaties van leiden: van suggereren tot manipuleren. Of manieren van volgen: precies opvolgen, vertalen, ombuigen. Een heel pallet.
We gebruiken hiervoor vormen uit Contact-Improvisatie(*): fysieke impulsen leiden tot allerlei reacties. We leren ons lichaam meer ontvankelijk te maken voor de soms heel subtiele input en hoe het daar steeds makkelijker op kan reageren. Met deze gevoeligheid wordt ook het leiden subtieler en rijker.
We gebruiken dit alles in onze dans; vaak in duet, maar soms ook andere aantallen.
En daarmee krijgen onze improvisaties een extra diepte.
*) Contact-Improvisatie: reageren op elkaars bewegingen via het contact – meestal via aanraken. Er ontstaat een heel directe en fysische interactie.
Het meest zichtbare (meest bekende?) van Contact-Impro zijn allerlei acrobatische bewegingen (balanceren, rollen, vallen, etc.). Van wezenlijk belang hiervoor is o.a. de subtiele uitwisseling in het “contactpunt” – nauwelijks zichtbaar, maar voor de dansers heel goed voelbaar.
In deze cursus ligt daar de nadruk op.

Sebas van Wetten:
“Wat ik aan Contact-Impro zo leuk vind is de speelsheid en diversiteit van deze dans. Ik geniet van de ruimtelijke ontdekkingsreis van een dans en van de rijke en subtiele communicatie in het contact van waaruit onverwachte bewegingen en bijzondere ontmoetingen ontstaan.”
Sebas danst al meer dan 20 jaar Contact-Impro en leerde van vele internationale docenten en andere dansers. Hij geeft al zo’n 15 jaar hierin les (afgestudeerd als docent dansexpressie, Amsterdam). Daarbij wil hij graag anderen inspireren om nieuwe mogelijkheden en expressie in hun dans te vinden. Daarbij gebruikt hij vaak beelden uit de natuur en zoekt naar muzikaliteit in de beweging.
Daarnaast is hij fysiotherapeut en gebruikt zijn kennis van het bewegende en genezende lichaam om op een veilige en gezonde manier te leren bewegen. Inspirerende beelden om het lichaam van binnen te ervaren helpen om de dans lichter, rijker en verfijnder te maken.