She is a dance improviser, choreographer and a teacher oriented to contact improvisation and contemporary dance. She was born in Kishinev, Moldavia. She was educated at the High School of Culture, St-Petersburg. After graduation, she was a theatrical choreographer for 10 Years.
She created the yearly, nine day, International Contact Improvisation and Performance Festival in Moscow. She took part in different international festivals of contemporary dance, collaboration projects concerning improvisation and contact with teachers like Regine Chopinot (France), Mary Folkerson (Nederland), Eszter Gal (Hungary), Benno Vooram (Sweden), Denny Lepkoff (USA), Lisa Nelson (USA), Nancy Stark smith (USA)
Since 1999 she is living in Moscow, and teaching Contact Improvisation, Improvisation and Movement Development. At the moment her passion is to build the “Dans House” on the Nature in Russia.
Dorte Bjerre Jensen
is a dancer/performer, researcher, teacher and organizer, and she is deeply interested in bodily movement and expression as an art form both in practice and in theory. As an artist she creates, direct and perform.
Dorte holds a 2-year postgraduate education for professional dancers: Dance partnership; research, performance/dance and facilitation, at the Danish National School of Performing Arts. Her final research project was in the frame of process philosophy and contact improvisation.
Furthermore Dorte is an educated school teacher, yoga teacher, Rosen Method therapist, Conscious Touch therapist.
She teaches contact improvisation nationally and internationally, in dance and acting schools, at festivals and in open workshops. She offers her work to professional dancers, actors, people in leadership roles, and to the general public.
Dorte is the author of two chapters: Contact improvisation and Dance & fight, in “The Anthology of Dance”.
Dorte has also journeyed through life as a soccer player, material artist (Taekwondo) and as a circus artist.
began performing at the age of 8 with his family as a traveling troubadour. He is a second generation contact improviser and an alumnus of the 80´s New York dance scene. Some of his more important early influences came from: Shekhinah Mountainwater, Nita Little, Pavel Rouba, Rene Bazinet, and Janet Panetta. He has worked with and for a number of artists (order of appearance): Ohad Naharin, Donald Byrd, David Parsons, Gina Buntz, Howard Katz, Merce Cunningham, Meredith Monk, Randy Warshaw, Bob Een, Stephen Petronio, Danny Ezralow… to name a few. He founded or co-founded three dance companies, and has created or co-created over 40 choreographic solo and group works. Following an independent study of anatomy, biomechanics, and physics, he has been able to build a pedagogical approach that has made him a sought after teacher, personal coach and technical counselor. After fifteen years of research, he consolidated his findings in a book, ‘The Axis Syllabus – human movement lexicon’, which he continues to edit with the help of the Axis Syllabus International Research Network. Founded in 2009, the ASIRN is a rapidly expanding group of experts from many related fields in the human movement and education sciences. Recently, his work on the AS has been focused on the construction of a symbol set with the potential to streamline movement documentation and analysis. He also makes shoes, speaks 4 languages, continues to create and perform dances.
Axis Syllabus methode of Frey Faust
The Axis Syllabus is the fruit of an emergent, educational initiative to provide an accessible reference system for practical human anatomy and physics as they apply to training, rehabilitation and performance:
*gait analysis and re-education
*rebuilding motor patterns through the acquisition/re-education of falling responses
*kinetic energy generation and deployment of inertial laws
*management of gravitational and mechanical forces
Frey Faust – why I dance… why I teach dance
“Reality is so complex that it surpasses anything we could imagine.
It is so mysterious that there is no way of knowing everything.
Absolute certainty is therefore delusional, but to live in a permanent state of doubt is terrifying.
The AS is my navigator’s manual and dancing my way of embracing this contradiction.
Teaching the AS is a great pleasure and honor, as sharing what I have found benefits many others as well.”
Contact Improvisation fascinates me in itself, but I also love the fact that it can be approached from a variety of angles. In my way of facilitating this amazing form, I try to pay tribute to this by including somatic parts, technical elements, predetermined pathways, themed and also more open improvisation scores into my classes and workshops. I make sure the participants get some time for integrating and dancing on their own and for improvising in duets, trios and groups. I try to direct their focus to an array of aspects which each enriches and contributes to their dancing and practicing contact improvisation. In my life, this form has had such a deep impact because of this continuous adventure that it is for me, and in class I enjoy creating the space and the opportunities for the participants to experiment and discover the riches of contact improvisation for themselves.
teaches since 1985 Contact Improvisation and combines influences from Martial Arts with different body work techniques (Laban, BMC, Feldenkrais, Bewegungsevolution). He practiced aikido for 30 years and developted a series of workshops with different martial art teachers to create a dance training influenced by the principles of martial arts. After dancing with the company of tanzfabrik berlin he performed with his company in Bremen. For several years he conected improvisation structures with the intellectual understanding of concepts about dance and science. Besides this Matthias ist psychotherapist (EMDR, Traumaterapy, Hypnosis) www.matthiasfrueh.de