Collaborators

Carmelo Fernández, Choreographer, dancer and cultural agitator.
He began his dance training in Las Palmas in 1987 and moved to Angers, france to study the complete program of CNDC from 1993 to 1995. From 1995 to 1997 he became a member of the Company “Ultima Vez”, directed by Wim Vandekeybus, Brussels.
In 1997 he returns to the Canary Islands and co-founded the company “El Ojo de la Faraona” with Juan Benitez, During the next 15 years develops his own pieces and co-produces other artists´s works. At the same time he creates a new workspace "el hueco del ojo" and produces the festival " a ras de suelo ". Parallel, he collaborates with different workspaces and choreographers as Carmelo Salazar, Barcelona, Beatriz Fernandez, Barcelona, Rasmus Ölme, Stockholm, Orlando Ortega, Gran Canaria, Colectivo el Hueco, Gran Canaria, La Poderosa, Barcelona … In 2012 he dissociates himself from all this staff and he focuses on immediate and unpresentable projects, Madrid, Inromeria, Barcelona, Encuentros de cuerpo y performatividad, Tenerife, La Porta, Barcelona. Simultaneously, he develops the workshop “Taller de Mecánica y Conducción del Cuerpo” in different cities.

Yaara Dolev
Yaara Dolev is an established international choreographer, award winning performer and Gaga teacher. Currently based in Berlin.
Certified teacher of Gaga movement language developed by Ohad Naharin. Teaching and giving workshops around the world
As a Dancer: Batsheva Ensemble, Anat Danieli, Inbal Pinto, Barak Marshall, ‘Matanicola’, Rami Levi, Yossi Tmim, Michael Getman.
As a Choreographer: DeDe Dance Company, Co-founder, artistic director, choreographer and dancer.
Tel Aviv Dance Company, Co-founder, artistic director, choreographer and dancer.
The Maslul Advanced Dance Training Program, Co-founder.
Prizes & Awards, Adami Prize for Best Performing Artist at the Bagnolet International Dance Competition – Paris, France.
Ministry of Culture Prize for Young Choreographers – Israel
The Tel Aviv Rosenblum Arts Award
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WHAT IS GAGA?
GAGA IS THE MOVEMENT LANGUAGE THAT WAS DEVELOPED BY OHAD NAHARIN THE ARTISTIC DIRECTOR OF BATSHEVA DANCE COMPANY.
THE LANGUAGE OF GAGA IS DYNAMIC, EVER-CHANGING POWER OF MOVEMENT.
A DEEP LISTENING TO THE BODY AND TO PHYSICAL SENSATIONS. 
THE INSTRUCTIONS ARE DEPLOYED TO INCREASE AWARENESS, STIMULATING THE SENSES AND IMAGINATION. 
INVESTIGATES SOFT AND THICK TEXTURES, DELICACY AND EXPLOSIVE POWER.
PARTICIPANTS ARE ENCOURAGED TO CONNECT TO PLEASURE INSIDE MOMENTS OF EFFORT AND TO DAY DREAM TOGETHER WHILE BEING FULLY AWAKE.
THE PLEASURE OF OUR SELVES BEING FULLY AWAKE TO THE PRESENT MOMENT.

Claudio Conti
was born in 1967 in Turin, Italy. He is both a scholar and a passionate about martial arts since over thirty years. Claudio is studying continuously and his way of teaching is not just corporeal but mostly human. His method are more oriented towards philosophy than agression, a life style towards the physical and mental wellness. He is a humble Master who trains anyone keen too learn, from children to competition fighters. Claudio and Leif are developing pedagogical programs that link Martial Arts with contemporary dance and creative work. These are the various Martial Arts he holds a title for:

Kickboxing Instructor ( F . I . A . M ) Thai Box Instructor ( F . I . A . M ) Shoot Boxe Instructor ( F . I . A . M ) Kung F U Instructor - Hung Gar ( Sifu Paolo Cangelosi ) Kung Fu Instructor - Whing Chun ( Sifu Paolo Cangelosi ) Kung F U Instructor - Tai Chi Chuan ( Sifu Paolo Cangelosi ) Kung F U Kombat Instructor ( Sifu Paolo Cangelosi ) Kung Fu Instructor - Tao Yin - Chi Kung ( Sifu Paolo Cangelosi ) Jeet Kune D O Instructor ( Akea - Isam F . I . A . M ) Third Level Instructor of Pencack Silat ( Isam - F . I . A . M ) Third Level Instructor of Kali Arnis Escrima ( Isam - F . I . A . M ) Third Level Instructor of Close Combat ( American Military System ) ( Isam - F . I . A . M ) Krav Maga Instructor ( Israelian Military System ) ( Fikm ) Black Belt 3 ° Dan of Judo ( C . S . E . N . Coni ) Black Belt 1 ° Dan of  Ju Jitsu ( M . S . P Italy ) Black Belt 1 ° Dan  Judo ( Acsi - Coni ) Black Belt 1 ° Dan O F Aikido ( Acsi - Coni ) Black Belt 1 ° Dan O F G O J U Ryu ( Master Sergio Maina ) Pencak Silat Garis Paksi ' S Instructor ( Master Gending Raspuzi - Java ) Pendekar Mudo Madya of Traditional Pencak Silat - Harimau Singgalang ' S Style - Satria Muda - Bayang ( Minankabau ' S School - Master Syofyan Nada - Sumatra ) Indonesian Expert of South Asian - East Styles Such as Cidepok - Citembak - Sri Murni ( Indonesian Yoga ) - Cimande - Ulin Makao - Ulin Sera - Cikalong - Sabandar - Limbuhan - Satria Muda - Harimau Singgalang - Bayang ' S Style .
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Saïd GarbiSaid Gharbi is a dancer, actor, teacher and creator based in Brussels. Born in Tangier, Morocco, Saïd moved to Belgium with his family in the late '60s. He gradually became blind at the age of 14. He started his dancing carreer with Ultima Vez/Wim Vandekeybus with whom he did many creations. Alongside he founded Les BGM, a Brussels based dance company, and developed his own teaching methods in which the non-visual experience became a leading theme for research and potential development.
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JUMP INTO DARKNESS
How do everyday actions change on physical and emotional level when we don't see?  
We will experience our environment blindfolded - discover the space and different objects. Senses of touch, smell and  hearing will make each of us enter a particular sensory and human experience.
Through movement and experimentation we will discover ways and means of dancing blindfolded, we will observe how it influences the relationship to the space and to the others. We will create movements, strategies and structures permitting to move freely in space  blindfolded. We will create dance and movement material based on strongly engaged physical presence.

Leif Firnhaber: Bastard Techniques (see Bio)
Bastard Techniques helps you allow the bastard in you to collaborate instead of compete, act instead of react, learn instead of prove what you already know. The performative aspect is developed as regular practise, so that we don´t close off to who we are when surrounded by an audience. The practise of being a performer goes hand in hand with being a curious audience to your own stream of perceptions from your senses, including the other humans around you, the space between things, the time that our thoughts take to find direction and meaning through movement and stillness. This requires the capacity of fine-tuning our attention and senses, while being physically totally engaged and open at the same time.
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Our understanding of a divided work / pleasure relationship translates into less joy and efficiency, which is as counterproductive to the expansion of skills, as sitting down onto what we think we know is to comfort. Therefore, confusion is necessary to clear the mind when it tries too hard to intellectualise what it is not able to be yet, and let it be.
whisper words of wisdom, let it be... Games. Confusion Smile and sweat."

​JORIS BALZ: Acro-dancer / Circus Artist / Performer
​Ami de la danse, ami du cirque, ami du mouvement. Si tu danse vien faire du cirque, si tu cirque vien faire de la danse.
Je m'appelle Joris, formation cirque ! Mais j'ai dansé. Maintenant je sais pu trop ce que je fais. Certain l'appelle Acro-Danse.  

Mon travail consiste à vous donner des outils et développer vos repères dans l'espace. Partir d'un mouvement basique, ou un mouvement facile pour vous et ensuite le développer et le transformer vers ce que on appelle dans le cirque, "acrobatie".  Pour moi un bon acrobate c'est une personne que on peut balancer en l'air n'importe comment et il trouvera toujours un moyen de rattérir sur ses pieds.
Ce que vous les danseurs vous avez naturellement . Quand tu débloque ce reflexe, tu débloque une infinité de possibilité de mouvement. L'acrobatie est magnifique quand elle semble facile et légère. Une acrobatie qui fait aucun bruit, c'est une acrobatie sans choc et sans douleur et ça c'est très important pour moi. 

Mon cour est plus orienté pour les personnes qui pratique déjà le mouvement, danse, cirque, théâtre physique ...

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