Flying Low & Passing Through
Created by David Zambrano, Flying Low is powerful system that has been updating itself for more than three decades. More than a technique, it’s a way of life, offering a joyful discipline of movement, based on both listening, and action, and learning while doing.
While practicing Flying-Low, the dancers are constantly spiraling, whether running or standing. These spirals help the dancers to create playful and organic pathways to go into the floor and out of the floor. The same spirals, show the dancers how to travel through space in curves, always being interconnected with all the moving bodies in the room. Flying-Low makes the dancers locate their center and move all of their joints from this center. Arms, legs, hands, toes, elbows, feet become extensions of the center. Once again, this is a practice of the interconnectivity from the earth to the air and space, as energy that goes in and out, passing through the body.
In the making of movement compositions, David Zambrano focuses on creating and developing the dynamics for complex systems to present leadership in the form of a group web. In science, cells do not need a protein leader to create life. Neither does the brain need one protein leader to create a thought. With this in mind, Zambrano feels that movement needs no leader in creation.
The “passing through” takes students through various exercises to manifest that same philosophy. The group will create dynamics that will be flexible, complex, getting the group to fit tight together, yet always keeping doors open for the unpredictable. The group moves constantly, transforming the environment of the dance.
After taking part in the “passing through” the student will learn to instantly connect with their environment and become more spontaneous in the making of choices as an improviser, choreographer or dancing in someone else’s work.
With leading and following, the students use their bodies to constantly exchange the roles of leader and follower. They do so unprompted, according to their instantaneous individual needs. The student must focus on either leading or following, how and when to make the choice to change, and how to control their body while doing so.
Working with TIME
Working with TIME
Julyen Hamilton’s teaching investigates deeply the creative act and the technique needed to accompany and facilitate it. His vision of technique is one which observes how things are made, how they function and how knowledge, experience and intuition can be used to create the work we each need to make. It naturally enters the world of physiology, philosophy, culture, imagination and the future. In recent years the compositional elements of major concern have been time, space, dramaturgy, music and the voice; they stem from his experience as a dancer who creates and organises material instantly before the public. The basic work is the handling of the body and the ‘speaking’ from it in space, motion and time. Its coordination and its relationship to the material it creates – and then to the sharing of it in performance. His ability to distil and convey essential principles allows dancers from a wide range of backgrounds to engage in his methodology
The study of TIME and the accompanying abilities of TIMING are of essence to those in the temporal performing arts. In this creative lab we will deal directly with the perceived nature of time (both radial and linear) and how we develop our skills in handling it and using its various powers within composition and in performance. The classes pass swiftly from an essential base of understanding to advanced areas concerning both conceptual clarity and skill refinement.
From the Inside Out
From the Inside Out
From The Inside Out workshop is influenced by Nelson’s 30 years of continuing study in the work of Barbara Mahler and Susan Klein, and more recent years of studies in Alexander Technique®, Bodymind Centering® and Feldenkrais Method®. The focus of the workshop is to integrate this investigation and alignment work into movement. We will focus mostly on our skeletal structure and its connections, allowing more mobility and suppleness in the superficial muscles and more efficient use of the floor.
The intention is for each student to experience and develop the awareness of their own body and recognize its individuality. We will incorporate a variety of approaches including hands-on work in partners leading into improvisation that help deepen our awareness and give us the opportunity to really experience some of these ideas in a physical way. As well as using improvisation, we will also take our work into simple activities and exercises in order to try and integrate this new awareness into our body’s movement patterns, and finally build to phrases of set movement that involve moving more boldly and dynamically.
© 2020 ATLAS México Festival