Polirítmia. Emma Villavecchia.

Sat, JUN. 4th, 2022. 10:00 a 14:00 hrs. BOOK A SPOT

In this workshop, we will delve into the creative process of the Ritmia project. Through different improvisational patterns, we will explore movement loops and seed gestures from a percussive, resonant, tactile body. This sensory approach will allow us to express our musicality and particular way of perceiving rhythm and movement, even as we move within the framework of metronome time. Throughout the laboratory we will use different methodological tools, combining theoretical pills with proposals for movement and rhythmic solfeggio.
This theoretical-practical approach will allow us to train our rhythmic accuracy and become familiar with the mechanics of polyrhythms. This base will also allow us to explore some choreographic concepts and materials as a laboratory, creating short compositions that we will then share and comment on together.
In this 2nd edition, the format of the laboratory will be the same as it was on June 21, but with different materials and proposals, so that it can be used both to deepen and to be introduced to the universe of rhythm.

The musicality of the gesture. Federica Porello.

Sat, FEB. 26th, 2022. 10:00 a 14:00 hrs. BOOK A SPOT

The analogy between dance and music provides an inexhaustible amount of tools and a way of producing and reading the movement that feeds creativity, precision, and listening to the voice of the gesture.
Movement can be related to sound, thinking of it in terms of pitch, dynamics, duration, volume, and thus generate a polyphony of actions in our body and in relation to the group.
Through improvisation tasks, which allow us to put ourselves in a creative state of alertness and
listening to the present, different topics will be addressed: the articulation of the gesture, passing from one form to
the other, examining the how, the clarity, and legibility of the movement; the dynamics, to travel between the
control and lack of control, in imbalance, in suspension, letting go and taking back the reins of the actions; muscle tension, support, hold, push, receive, move, and be moved for the other, playing with how the variation of muscle tone causes different physical and emotional reactions; the relationship, copy the other’s gesture, or compose a rhythm with more voices; dissociation, fragment the unity of the body into different parts; the silence, the intensity and the importance of the pauses in the instantaneous writing of the choreographic phrases.
We will use these elements, separately and in connection, as an engine to compose visual music and to experience the communicative potentials of this vocabulary.

Musicar el discurso corporal. Majo Villafaina and Tomomi Kubo

Sat, NOV. 6th, 2022. 10:00 a 14:00 hrs. BOOK A SPOT

The dancing body is a body that thinks and speaks. The richness of the bodily discourse written in space is constructed like language, from basic phonetics to complex lexicon and syntax. In this workshop, Majo Villafaina and Tomomi Kubo will share practices that were present during the creation of their piece Hilos invisibles.

While preparing for this workshop I found these very inspiring quotes:

To think of motion not merely as a function of the body but as an extension of the mind. In the same way, to think of speech not as an extension of the mind but as a function of the body.

White Spaces. Paul Auster

Music appeals to both parts of our nature: it is essentially emotional and essentially intellectual.”

Musicophilia. Oliver Sacks.