Yoga & Rolfing - Yuri Korec
Over the years of daily yoga practice I created my own set of sun salutation, asanas and breathing exercises.
This set is a dynamic adaptable frame which interacting daily with how I feel, where I am, who I am, what do I
need. Rolfing brought some new aspects into it. The concepts of the breathing, of the contra-lateral movement
and the focus on the proprioception, all in gravity field, refine body awareness.
In class, we will all work with the same frame, but all of us according to individual needs, own explorations of
the beauty of accidents of perception.
Yuri Korec
Slovakian performer, choreographer, dance and yoga teacher finished his Master Degree and graduated from
the Academy of Music and Dance at The Comenius University in Bratislava. He worked with many
internationally recognized dance companies in Europe, eg. Ventura Dance Comp/CH, Retina Dance
Comp/UK/BE, Cocoondance/DE, Mouvoir/DE).
Since 2005 he is a member of cieLaroque/helene weinzierl Salzburg. His dance films (The Day 2004, Darkroom
2008, VoiceS 2010) has been presented on international film festivals. Besides him being a dance artist, he
works also as a certified Rolfing practitioner.
----Axis Syllabus II/III – Frey Faust
The Axis Syllabus (AS) is a movement analysis and training method that comprises a fund of clinical as well as
empirical knowledge and a symbol system for describing the body in motion in terms of orientation, anatomical
structures and physics. The information contained in the AS is expressed through an ethical approach to
teaching people how to move efficiently; namely the aspiration to convey physio-emotional principles of stressreduction, energy generation and conservation and encourage a process of scientific inquest and creative
endeavor without recourse to either physical or mental abuse. After receiving primary discipline and essential
experience under the tutelage of his mother from ages 8 to 15, Frey Faust went on to accumulate an eclectic
skill-set including contact improvisation, pantomime, capoiera, aikido, percussion, voice and several modalities
of dancing.
From his mother, Shekinah Mountainwater, Frey Faust (born in New York in 1960) received discipline as well as
the chance to develop a passion of his own choice. She is a well-known author and leading person in the female
spirituality movement in the US. From the age of 8 till 15 Frey Faust worked under her direction as a
pantomime dance actor in all possible circumstances, from the street to the theatre. Nita Little, co-initiator of
contact improvisation, brought him to his independent concept at the age of 14. At the invitation of Marcel
Marceau, he intensively studied for a year at the former School of Mimetic Drama in Paris. Then he returned to
California in order to further his personal education and practiced Afro-Haitian dance, Aikido, Capoeira and
drumming. In 1980 he decided to try his luck in New York. In a period of ten years he worked closely with some
of the best dancers, such as David Parsons, Donald Byrd, Randy Warsaw, Gina Buntz, Ohad Nahirin, Meredith
Monk, Merce Cunningham and Stephen Petronio. After these ten years he was given support for two years as
an artist in the Werkstatt in Düsseldorf (now Tanzhaus NRW). There, thanks to the generous support of the
German government, he had the opportunity to create six solos and three full-length programs and to
consolidate his pedagogic ideas. He is the author of the book and inventor of the Axis Syllabus, a method of
teaching movement, with which he endeavors to assist students to deepen their understanding and skills.
---Ear to the Ground – Contactimprovisation II - Mirva Makinen and Frey Faust
Our mere existence creates the necessity to enter into a dialogue with the forces that surround us, requiring us
to take in information and then act on it. The arcing, bowl-like shapes of the body establish reception and
processing stations where data is channeled and stored. If we leave these "listening" areas open, the quality
and rapidity of the dialogue can be enhanced. The ultimate challenge is to find agreement with the choices and
desires of your partner or partners without sacrificing your own. Faust and Makinen aspire to model this
collaborative synchronicity, and assist the student in finding their own solutions.
MIRVA MAKINEN graduated (MA) from the Dance Department of the Theatre Academy of Finland in 2000,
before that she acquired a masters in Physical Education in University of Jyväskylä. After that she worked in
Finland as a dancer, dance teacher and choreographer. This year she was chosen for PHD study-plan at the
Theatre Academy of Finland. Her thesis is about aesthetics of Contact Improvisation. During 2010 and 2011 she
received a Fulbright scholarship to choreograph and teach in the USA for 6 months.
From 2000 onwards she worked as dance teacher and choreographer at the Kallio Upper Secondary School of
Performing Arts in Helsinki. She also taught at different international dance and contact improvisation festivals.
As a dancer she worked in several different dance companies, at the moment in Karttunen Kollektiv, Circo
Aero, Zodiak and of course in collaboration with Frey Faust. The Balance Project is their first choreography
together. Premier was in August 2010 in Oulu, Finland.
“In dance I am interested in the feeling of flow and soft movement. I love to investigate movement, its rhythm
and different ways of inhabiting the body. A feeling of dancing is created by being able to switch the body from
total relaxation to extreme intensity and tension. I call this the body’s ability to breathe and create movement.
My ideal is total presence, which makes every moment true and meaningful.”
-----Improvisação Contemporânea G – Jorge Schutze
We will research the bodies before zero. Indoor we will try some techniques to start the movement besides
rationalism, besides social mind control: overstress, body silence, screaming, fictional death. Outdoor (if
possible) we will try to connect those researches to the everyday life.
Jorge Schutze
In the 80´s Jorge formed with a group of actors, dancers and musicians the collective B.Céu and Antancheuza to
research and perform on the street and in bars and restaurants. In the 90´s he worked in the USA with focus on
contact improvisation and release technique for instance with Donald Fleming and David Zambrano.
2000 he went to Japan and stayed there 2 years working with Min Tanaka (Butoh). Back in Brazil he met Telma
Cesar (Cia dos P´s) and created cia.ltda. to proposing performances for environments. From the first work of
cia.ltda. the direction was clear: ritualizing the body environment in order to provoke reflection,
understanding, a human condition.