5 DAY CI INTENSIVE TRAINING
WITH LILIANNA KANE + ALESSANDRO RIVELLINO | NOVEMBER 11 - 16
SAVE THE DATES: REGISTRATION OPENS IN JUNE!
layers of listening
5 days of deep practice and study of Contact Improvisation with Alessandro Rivellino and Lilianna Kane
Classes | jams | home cooked meals | rest | wood fired sauna | river dips
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This workshop will be a focused container for the study and practice of Contact Improvisation. Classes will range from slow, subtle, and meditative material surrounding presence, listening techniques, and somatic exploration, to dynamic, playful and athletic dancing scores. We will review foundations for dancing with weight in motion, and entering into and out of touch. We will meet the ground as it meets our feet. We will pay attention to detail and patiently attune to each other and ourselves. We will also liberate ourselves to play and run like silly foxes in the snow. We will investigate the sensational experiences of falling, flying, rolling, and stillness. We will dance a lot.
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Example schedule:
7-8:30 open morning / morning practices / meditation
8:30-9:30 breakfast
10-12:30 morning session
12-2 lunch
2-4 rest / sauna / quiet time
4-6 afternoon session
6:30-7:30 dinner
8:30-10 (or later) jam
SCHOLARSHIP | WORK TRADE | PAYMENT PLAN
We offer 3 full scholarships for Black, Indigenous and People of Color [BIPOC] folks in each session. As well as 5 Work Trade spots in each session. If interested please select 'BIPOC Scholarship' ticket OR 'Work Trade' ticket when registering via the link below. For more information about the work trade exchange, please see Work Exchange.
CLICK HERE to register with a Payment Plan.
REFUND POLICY: Full refunds available up to 10 days prior to the event. Please inform us if you cannot attend an event up to 10 days prior [including Scholars and Work Traders]! Refunds within the 10 days prior to the event may be available on a case-by case basis, please reach out to communications@thefieldcenter.com
ABOUT THE FACILITATORS
LILIANNA KANE
I am an improviser, primarily invested in the dance practice of Contact Improvisation. I am committed to improvisation as a physical practice of asking questions, paying attention, patience, presence and peace. I have been dancing for twenty years. I value the interplay of rigor, rest, discipline, listening and play. I teach and share my practice nationally and internationally, as well as produce and organize international CI gatherings and intensives. I am currently the head chef and a CI curator at The Field Center (center for performance, dance and multimedia art) in Bellows Falls, VT) where I have the privilege of regularly practicing, teaching, and researching Contact Improvisation. I am deeply indebted and inspired by all of my teachers, dance partners, and dance ancestors, who continually influence my practice.
My website: www.liliannakane.com
ALESSANDRO RIVELLINO (Brasil)
I have been living dance and contact improvisation in a surrendered way as a dancer for 20 years and as a teacher for 15 and I had the opportunity to travel to at least 30 countries, offering and having classes, intensive courses, workshops, residencies and Jams with different and experienced colleagues, which probably gave me a good “floor” to start with ‘not knowing with certain quality’…
I have studied some of: BMC, Feldenkrais, Alexander Technique, Antigimnastics, Craneosacral Osteopathy, Modern Dance, Contemporary Dance, Anthropologie, Philosophie, Choreography, Performance Studies, Sitespecific, Butoh, Authentic Movement, Zen Buddhism, Ancient Technologies of the Sacred;
and a lot of Contact Improvisation.
I am passioned by the Contact Improvisation practice and I am engaged in organising retreats for it to receive its depth, with different containers, either in silence or within a somatic approach, bodywork research or getting inspiration on nature, the biggest pleasure is to offer space and time to the practice in itself.
I come from different dance schools at the somatic level and movement research, I have the luck of having a masters degree and different awards and nominations as a dancer and choreographer.
Today I see that I have danced and taught for big part of my whole life and yet I feel that I have just started.
In my practice I have been integrating various techniques and bringing the potential of dance to life.
If I ask myself between my name and my body, the second one is the dearest, and if you ask about my deepest interest in dancing and teaching the answer would be around living questions related to dance itself, to the presence and to the Big Mystery.
I hope through this illusion of you and I being separated, we can drop it, and go beyond our hanging names to explore the in-between field of existence to dance and be danced with and through the visible and invisible forces entangled at each single moment and find the way to be at the arch of beauty.