Please take note W08: Contemporary Dance – Open Level by Paul C. Ocampo & Chien-Ying Wang (USA) has been cancelled.
|Date||Time||Room 1||Room 2||Room 3|
|Aug 30||2pm – 4pm||(2pm–4pm) W01: BOMBELÊLA EXPERIENCE by Mark Van Loo (Brazil)||(2pm-3:30pm)
W02: TRADITIONAL DANCE AND CULTURAL POTENTIAL CENTRAL JAVA by Mellytia Ayukritsi Endriani and Ikabela Tifandi (Indonesia)
W03: Intoduction of Kathak and Bharatnatyam by Shubhangi Litke and Rutuja Kulkarni (India)
W04: BASIC MUDRAS OF TRADITIONAL SRI LANKA DANCE FORMS AND KATHAKALI DANCE TRADITION IN INDIA: A COMPARISION by Madusanka Priyadeha Gamage & assistants (Sri Lanka)
|Sept 1||2pm – 4pm||(2pm-3pm)
W05: ODISSI- INDIAN TEMPLE DANCE (TECHNIQUES AND MOVEMENTS) by GURU MADHUMITA RAUT (India)
W07: POWER FLOW by ZARINA MENDOZA (Mexico)
W06: HIP HOP FREESTYLE by Melvin Jansen Ang (Philippines)
|Sept 2||2pm – 3:30pm||W09: CONTEMPORARY DANCE WORKSHOP by Albert Tiong (Singapore)||W10: CONTEMPORARY CLASS by Lisa Shen (Taiwan)||W11: Body and Mind is on the way by Li Pian Pian (China)|
***CODE W01 – W11
Requirement For The Participants
|Topic||Name of Conductor||Request||Country|
|BOMBELÊLA EXPERIENCE||Mark Van Loo||The Bombelêla Experience Workshop is a method designed by Prof. Mark Van Loo as an activity compilation to be applied in small or large groups. They are tools discovered and created over the 20 years of their experience with children, young people, adults, people of the so-called seniors and people with disabilities, individuals with education in the most diverse cultures and geographies.
The workshop is fundamentally experienced in the participant’s emotional and cognitive body, providing a full perception of the activities in a playful, thought-provoking and interactive way. The Bombelêla Experience values each individual as a driving force for friendship and collective well-being.
The goal is to provide an experience with positive social transformation power for each person, from emotional contact with himself, with the other and with everyone, using body expression, music, rhythm and playfulness to see, hear, feel And absorb for personal development.
For better application of the workshop it is desirable wide and well ventilated room with “hot floor” (wood or carpet) and sound system.
|• Open heart and Open mind
• Light clothes
• Light shoes
|TRADITIONAL DANCE AND CULTURAL POTENTIAL CENTRAL JAVA||Mellytia Ayukritsi Endriani and Ikabela Tifandi||Central Java is considered to be the heart of the Javanese culture. Home of the Javanese courts, Central Javanese culture formed what non-Javanese see as the ”Javanese Culture” along with it stereotypes. The ideal conducts and morals of the courts (such as politeness, nobility and grace) influence the people tremendously. The people of Central Java are known as soft-spoken, very polite, extremely class-conscious, apathetic, down-to-earth, etc. You can even see the court influences in the art forms. The dances of the courts of Java are usually slow and graceful, with no excessive gestures. The people followed this approach, and as a result, slow-paced and graceful movements can even be found in folk dances throughout Central Java (with some exceptions). You can enjoy the beauty of Central Javanese dances in ”Kamajaya-Kamaratih” or ”Karonsih”, usually performed in a traditional Javanese wedding||T-shirt, no jeans, no shoes||Indonesia|
|INTRODUCTION OF KATHAK AND BHARATNATYAM||Rutujia Kulkarni, Shubhangi Litke||We would like to introduce all the participants to the basics of Kathak and Bharatnatyam. Their characteristics, musics,costumes and the journey of these dance styles. We will begin with the basic steps of Kathak and Bharatnatyam, once participants get comfortable with it, we would like to add one interesting element in it.
As we are performing Kathak and Bharatnatyam together, we hace tried to set a combination of these 2 dance styles basic movement I which half side will do Bharatnatyam movement. It will be unique combination and thought to implement. We are sure participants will find it challenging and will definitely enjoy this experiment. We will also give information regarding the influence of India classical dance style on Bollywood and other Indian dance styles.
|ODISSI-INDIAN TEMPLE DANCE (TECHNIQUES AND MOVEMENTS)||Madhumita Raut||The workshop aims to focus on the basic Odissi stances, footwork, postures and movements as well as hand gestures, eye movements and neck movements. It will result in the learning of Basant Pallavi dance by the participants. Basant Pallavi is the dance of spring based on Raga Basant. The participants will dance through the multi-layered dimensions of taal (rhythm) and laya (speed). Pallavi starts with slow, graceful and lyrical movements of the eyes, neck, torso and feet. It slowly builds to a crescendo, culminating in a fast tempo. It is an elaborate presentation of music and dance.||• Loose T-shirt with track pants
• Neatly tied hair
|POWER FLOW||Zarina Mendoza||During this workshop we will develop different materials; body transportation, movement dynamics, floor work, upper body work, strength, energy, force though motion. Speed will be an imporante point in this workshop. We will manage how to move around each other within the boundaries of the area creating a constant movement-space balance around and between one another.
We will get in touch with concepts like risk, trust, self-protection and tension. These simple tasks will allow us to discover how we move to learn where our limits are and how we can go further.
|•Long sleevet T-shirt
• Comfortable pants
• Cotton socks
• No ballet experience
•Intermediate contemporary dance experience
|CONTEMPORARY DANCE WORKSHOP||Albert Tiong||The workshop will cover different aspects of contemporary dance:
1. Understanding of the Breath – How breath facilitates movement
2. Bodyweight transfer
3. Extension of movement and spatial awareness
4. Understanding different kinds of movements – slow, fast, heavy, light
5. Movement and its directions
|• At least 2 years of experience in contemporary dance or ballet||Singapore|
|BASIC MUDRAS OF TRADITIONAL SRI LANKA DANCE FORMS AND KATHAKALI DANCE TRADITION IN INDIA: A COMPARISION||Madusanka Priyadeha Gamage, Kamal Wimalaweera, Lekhani Wathsala Jayasinghe & Samudhi Rangika Jayasinghe||The participant will be taught the basic Mudras used in the traditional Sri Lankan dance forms and in the Kathakali tradition of India. Comparison of mudras used in two countries will be elaborated and explained how these mudras useful in creating innovative dance-dramas.||• Have to wear skinny/leotard & tight jean||Sri Lanka|
|CONTEMPORARY CLASS||沈佳縈 Lisa Shen||適合13歲以上，略有舞蹈基礎且希望尋求更進一步的技巧學習者或已具備舞蹈專業經驗者適合加入。本課程著重於自我表達，空間知覺和身體律動， 還有身體重心的轉換，如何有效並正確的使用肌肉和線條。課程從全面的熱身開始， 逐漸帶到更詳細的舞蹈組合。
Beginner~Intermediate level，suitable for those with little to no prior experience and previous dance experience who are looking to further technical skills. It focuses on self-expression, awareness of space and body movement, use of body weight, efficiency of muscle use and safe body alignment. Classes start with a comprehensive warm-up and gradually build up to more elaborate dance routines.
|• 13years above, have dance background
• Seaching for more knowledge in dance
|HIP HOP FREESTYLE||Melvin Jansen Ang||Learn fundamentals of Hip Hop dance from foundation, musicality and concept building.||-||Philippines|
|BODY AND MIND IS ON THE WAY||李翩翩||肢体张力和能量与空气环境产生关系。让个体化作大气环境的一部分，与外界同呼吸，这时，空间就像消失了那样，你与物体之间的距离化成了无限大。身体与身体之间、身体与环境之间的面对呈现出了所有的过程和态度，这种关系是一种寻求答案的过程。时空内，只觉于所有能量和思绪在游走和凝聚……这种演变，让其内的身体和思绪在经历和体验着一种未知的答案……||-||China|