8.-13. July




Dates: 10-13 July

Price: 950,-

Time: 1200 - 1700

Showing: Thursday 13th at 16.00


Registration: Send us some sentences about your motivation for being a part of this Performance Lab (max 1/2 page) and a short biography to: ravnedans.tonemartine@gmail.com

It will be a group of around 15 people, with a mix of dancers and actors. The selection will be made my Jeanine Durning in collaboration with Ravnedans.


Deadline: 1st of Mai 2017




This workshop is based on the practice I call nonstopping. Nonstopping creates a state that moves us past our learned choices and behaviors so that we can deepen our attention to subconscious thoughts, feelings and perceptions, coming to form and action, namely through a circular series of nonstop moving, speaking and writing. This is a practice that potentially brings us closer to understanding and being comfortable with the inherent structures of our thinking (eclectic, idiosyncratic, and often paradoxical) which manifest directly in our actions, behaviors, and communications, as well as in our performance choices and compositions. Nonstoppingworks with uncensoring movement and speech as radical acts of freedom. Accepting not-knowing and the not-yet as generative states of being/doing, we’ll create, and build on, frames and scores to help sharpen the tools of choice-making in the moment, and to challenge our relationship to presence and performance, our understanding of composition and structure, and our notions of ‘should’ and ‘should not.’ We will work as a group, in pairs, and solo. All levels, all people, all disciplines welcome. Please just bring your basic, unfiltered desire to move, a willingness to articulate uncensored thought, and a notebook.





Since 2009, I have been working on a practice called nonstopping, through moving, speaking and writing. It began as a curiosity to help me to better understand what constitutes choreographic thinking, rather than continuing to define choreography, or more specifically what I was interested in making, through received and historical structures. Over the years, nonstopping has developed into a practice of noticing the inherent composition of thought and how my thinking is already moving in a process of composing, arranging, editing, patterning, aligning and often misaligning. The overall project of nonstopping proposes an insistent attention to and negotiation of our shifting ecologies through action, relation and communication. The term nonstop is a decidedly chosen one, as opposed to continuous or stream of consciousness. Whereas continuous implies “going with the flow,” nonstop points to the critical nature of what it takes to keep going in the midst of doubts, perceived failures or limitations. It commits to the act of becoming by being in the continuous present. It is a practice of pourousness and accepts all material as valuable and meaningful, rather than curating materials that seem most relevant. It also attempts to horizontalize the distinction between set and scored, or choreographed and improvised as qualifiers for performance.  Nonstopping understands dance as “being on the way,” never arriving but always moving forward. Nonstopping has manifested as two performance works, my solo, inging, which is based on nonstop speaking, and the group work, To Being, which is based on nonstop moving.


Jeanine Durning Homepage


There will also be a morning class, called "Teaching Artist", everyday from 10.00-11.30 where different artist and teachers from the festival will share their physical or choreographic practice.




Dates: 9-13 July

Price: 1200,-

Time: 12.30-15.00

Registration: ravnedans.tonemartine@gmail.com


(There is limited spaces on the workshop)





Internal dynamics & body mapping

One of the key feature of the axis syllabus and probably its most remarkable tool is to be able to slice a moment and dissect a movement in order to understand individual alignment of joints, pathways and sequence of body parts, transitions and the kinetic logic of the movement.

In this workshop we will use and practice terminology such as planes and axis, range of motion (ROM), distal vs proximal or rotation vs translation among others. We will practice a reference system that is able to describe internal orientation as we move, allowing for shifting off the vertical orientation and opening a wider spectrum of directions and possible relationships. As in all Axis Syllabus classes, the objective is always to build more awareness and skills in analysis and self-monitoring movement choices and to reach further both physically and intellectually into what is so complex as 3D dynamic coordination.






In contact improvisation, sharing weight is its significant feature, it can be soothing to lean into a partner, exhilarating to get lifted and it offers endless variations of unforeseen ways of relating/falling physically into one another. Its also an excellent way to study embodied architecture, experiencing what is a supportive and resilient structure, how do forces transmit, change and how to respond and adapt to them swiftly. Building trust, support, strength and imagination for playful interactions will be at the heart of our explorations and for this we will look at the functions and alignment of the spine under different loads of stress as in taking, giving and sharing weight. We will experiment with varying tonus, grades of stiffness and resistance versus surrender in order to be able to find the small and big fallings as well as windows of grace into a three dimensional contact dance.






Kira Kirsch is a movement artist born in East-Berlin and after many years of nomadism and living abroad she is now returning with her family to Berlin as new residents of Lake Studios - an artist run dance, production and performance place.

She is deeply invested into creating, questioning and improving spaces for people to experience,learn about and sensitize their mind-body-movement continuum. She has pioneered, taught and continuously researched through the lens of the Axis Syllabus (AS) for over a decade. She has taught at TseKH-Moscow Impulstanz-Vienna, TQW-Vienna, Transformation, 303-Montreal , SEAD among many other institutions, festivals and private initiatives. Kira has developed a reputation for being an inspiring and sensitive teacher.

As a performer she has danced in the works of David Szlasa (US), Sara Shelton Mann (US), Avy K. Productions (RU), Christine Bonansea (US/FR), Half Machine (DK), ABCdance collective/Frey Faust, Cie. Anna Tenta (AT) and in numerous collaborations with her peers. In 2009 she started collaborating with Montrealer Kelly Keenan and their creations "species - a moving body exposition" and "useless creatures" have been presented in the US, Canada and Austria.


Kira Kirsch Homepage


There will also be a morning class, called "Teaching Artist", everyday from 10.00-11.30 where different artist and teachers from the festival will share their physical or choreographic practice.