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Feb 6-10 | How to Fail, part Two with Alanna Kraaijeveld (MTL)

hyphy1How to Fail, part Two with Alanna Kraaijeveld (MTL)

February 6-10, 2017.

Dancemakers Centre for Creation, Studio 313
10am-12pm
Costs: $75/week or $15 to drop-in
Discount opportunity: $70 for whole week with pre-registration by emailing tolove.in@gmail.com. Our prices include HST.

 

This workshop is for MOVERS with a physical practice!

How to Fail, part two: Alanna Kraaijeveld at the Love-in

Alanna Interviews herself in lieu of submitting a class description

A: Why are you teaching?

a: Connecting with other practitioners is important to me.  I am so curious about what other people are working on.  I want to know how their questions manifest, on the ‘manual labour’ end of things.  There is performance, yes, but what are artists studying on the day to day, in the studio?  Can we, literally, play off of one another in class, to nurture our development, our understanding of ourselves and of others, in a meaningful way?  Can this daily learning then cross over, inform and be in dialogue with the other things we do?  (We are all engaged in so much; this work in studio has to be about more than dance, being fit, excelling, performance, myself, you, etc. etc.)

A: What are you teaching?

a: I have a great curiosity for the work of Linda Kapetanea and Jozef Frucek, co-developers of Fighting Monkey movement research.  I have been travelling to study with them since March 2015.  The approach is full of contradictions:  the tasks give you immediate feedback about how you’re working, but it is clear that a practice of deeper work and understanding take time (years).  (I used to leave their workshops with boatloads of indications and ideas to apply to my training, but now I return home and work on one main thing for months before I see them again.)  The material is formless, but demands a great deal of specificity, and deliberate effort.  Speculation is given value; it somehow accelerates performance and outcome (it does not hinder or slow down).  There is much about imagination, and image, that emerge, but the work is also so concrete.  In short, a great complexity of things to contemplate and to respond to, offered in a most compelling, straightforward and accessible way.  

A: All right, but what will do in class?

a: With the above in mind, I propose material consisting largely of work in partners.  Task-based games that focus on:

 

  • Coordination – where does movement potential come from?  How is movement sustained (stamina)?  Adapted?
  • Time (hours, minutes, seconds) – what impacts our sense of time?
  • Our weight – how are we directing it?  Engaging it?
  • How do we notice these things as events fluctuate and change?  As our attention dilates and contracts?  

 

There is much emphasis throughout on ‘trial and error’ as an approach.  (Hence ‘How to Fail’ as the name for this series of classes.)

We will conclude each day with a phrase of movement.  Discussion (anecdotes, questions, etc.) will (likely) occur throughout.

A: If I am concerned about the maintenance of my physical fitness, and I do these classes instead of going to them gym / Pilates / yoga, have you got me covered for the daily sweat?

a: You know it.

End of interview.

Dancer, teacher and improviser, Alanna Kraaijeveld is interested in playfulness, endurance, timing and rigour. This season, she is working with Louise Bédard Danse, Dave St-Pierre, Justine A. Chambers and Marie Claire Forté. Her quixotic movement style, humour and adaptability have supported her in diverse projects, working with Susanna Hood to l’Opéra de Québec.  Alanna’s point of view is greatly inspired by her time as a member of the now defunct Le Groupe Dance Lab under the direction of Peter Boneham. Her study of movement and teaching is ongoing. She trains with Linda Kapetanea and Jozef Frucek, co-developers of Fighting Monkey movement research, and runs a weekly practice group in Montréal where she explores less traditional approaches to training.

Thank you to Dancemakers for supporting this workshop.