PURPOSE DURING THE DANCE: from the corteggiamento (“courting”) to the sdegno (“scorn”), from the agreement between the dancers to the provocation, from the complicity to the hostility;
UPPER SALENTO’S STYLE.
At the end of the workshop a work on spontaneous dance is expected: after having learnt the basis, all the participants will be invited to dance freely and to improvise on traditional and contemporary songs, researching expressions more suitable to our reality. Freer and, maybe, more shameless and energetic movements will be investigated, always respecting the original dynamics.
Cecilia Casiello learnt traditional dances during town festivals and folklorist ronde, taking part in many milieus of traditional dance and music of southern Italy. She has founded and managed the Progetto Satyria, a group of researchers that works on traditional music, dance, acting and circus art. Since 2000 she has deepend also ethnic dances thanks to many workshops and courses. She gives workshops, does performances and participates in many festivals in Italy and abroad. She worked as dancer with famous groups, such as Taranta Power of Eugenio Bennato, Arakne Mediterranea, Aramirè, Ariacorte, Malumbra, Officina Zoè, Cauliae, Arangara.
Breton dances and body perception workshop
BRETON DANCES A Aven’s area: mod Kemperle, mod en Aven, mod Fouesnant, mod Bannaleg, dances and game-dances.
BRETON DANCES B Glazig’s area: mod Kemper, mod Landudal. Bigoudenn’s area: mod Pont’n Abad, mod Pouldreuzig, mod Penmarc’h, dances and game-dances.
BODY PERCEPTION Rotations, pirouette and spinning, either alone, in a group or in a couple are the essential movements in most dance’s styles. Folk dance has lots of occasions to spin. Spinning can be exhilarating, but also quite difficult if you don’t have a base on how to use your body when doing it. This workshop will center around the spinning possibilities of the human body and how to make it easier, smoother and much more funnier.
Vincent Michaud is a breton-scottish dancer who studied classical ballet with Francine Lancelot for several baroque projects and, at the same time, he engaged in folk dances. He always tried to connect folk with historical and contemporary dances to create a mix of styles capable of matching tradition and individual expressivity.
Portuguese dances workshop
From Repasseado to Fado de Espinho, from Pingacho to Erva Cidreira, this workshop will show us the energy, the diversity and the joy of traditional Portuguese dances, with a specific attention to Parapente 700’s repertoire so it will be easier to enjoy their concert in the best way!
Since her childhood, Eva Parmenter is passionate about dance and music. With her participation in the first edition of Andacas Festival in 1996, European music and traditional dances started giving rythme to her life, becoming her “second home”. In 2006 she started her activity as traditional dance’s teacher at Aveirense Theatre and at Coimbra University. Then, he gave many workshops in different part of her country as in Belgium, France, Holland, Spain and Italy. Her educational path is always undergoing an update, because every year Eva participates in workshops given by different teachers, mainly in France. Now she has a degree in Dance at Faculdade de Motricidade Humana (Lisbon) and she is a musician and a teacher.
Old liscio workshop
“Filuzzi” is the word used in Bologna’s territory for a specific way of playing and dancing the liscio (dances from Centre-Europe such as waltz, mazurka and polka), which keeps alive some steps and patterns of ancient farming dances (the so called bâl spécc). This feature can’t be found in other Italian lisci, because some of them have been standardised in dancing schools.
This workshop will be given by Giancarlo Stagni, pupil of memorable Filuzzi’s dancer Nino Masi: all “masters” who learnt this dance not in a school but in cellars, warehouses and barns from people that knew how to dance it, without any technical support (a gramophone, at best). A precious help during this workshop will be Carlo Pelagalli, Stagni’s pupil and expert in Filuzzi’s history.
God Shiva, in one of his representations, is Nataraja, the master of dance who squashes “ignorance” under his feet. At the same time he is the perfect yogi, immersed in neverending blessing and samadhi.
Hata yoga starts from the lowest level, the absolute perception of our phisical, “gross” body, a basic starting point in dance, to lead the pupils up to the superconsciousness stages.
Salvo Angelico approached yoga very early in his life and began his learning in the well known Yoga Academy in Rome. While deepening his knowledge in hata yoga he also studied tantric yoga and kashmir shivaism. After several years of deep practice, he got a teacher diploma in India at the Yoga Vidya Gurukulamî Ashram held by Swami Ananda Saraswati.
He started playing the accordion in 1979 after a research on Bologna’s and Reggio Emilia’s Appennines’ typical dance musics, a tradition that now form his main repertoire. He also plays music from other parts of Italy and Europe but always related to dances. Since 1990 he has taught how to play the accordion at Polisportiva Masi in Casalecchio and in 1983 he founded the Suonabanda group from Modena that, over the years, has helped to keep alive and to spread the music and dances of Emilian Apennines.
A theme of this workshop will be “a body plays, a body dances: communication between musicians and dancers”. Then, let’s open our ears: they are the key for learning and remembering. Moreover, we will talk about arrangement instruments and possible forms in the language of folk, ways to harmonize and decorate your dance, leading vs following, how to listen, to have ideas, to suggest.
Denys Stetsenko, from Ukraine, has studied classical music since he was a child and in 2003 he entered the world of traditional and improvised music with the group Monte Lunai e Dancing Strings, participating in various European music and dance festivals. He studied violin at the School of Music of Lisbon and got a master degree in Ancient music-baroque violin at the High School for Music and Performing Arts (Esmae) in Porto. He is a founding member of Quartetto Arabescque, Duo Stetsenko, Favola d’Argo and Parapente 700.He taught from 2011 to 2014 in Esmae as an assitant to Amandine Beyer. Now he is a violin professor in Lisbon. He has taught traditional music classes in Lisbon, Cordoba, Crisol de Cuerda Madrid and in many festivals like Andancas (Portugal), Folkarria (Spain), Festiv’Alzen (France).
The interest in folk music led him around the Apennines looking for old lost dances. Thanks to the meeting with Melchiade Benni, his passion began to focus on the violin. He learned his repertoire directly from dancers and musicians and then he presented it again in concerts and workshops with the Buonanotte Suonatori orchestra. He currently plays traditional Emilian dances with Suonabanda group and Scottish music with TriCorde trio. He recently starts working with the Musicanti d’la Basa with another old repertoire.
Level: for beginners, with a basic technique of the instrument, interested in the repertoire and style of execution of staccati dances from Emilian folk tradition.
Created by vocalist Bobby McFerrin, the “Circle Songs” are a form of choral improvisation: in a free improvisation process, a director, through specific vocal rhythmic modules, creates the singing roles, assigning them gradually to the singers disposed in a circle. Coming from their connection, an harmonious development creates a real “song”. The experience of the Circle Songs is not only artistic but didactic and anthropological because, transcending “common schemes”, they manage to make us work with our ears, our memory, with the rhythm, the body, the breath and the voice.
Ivan began his activity as a singer in the early 2000. In those years he received a lyrical and modern training from various teachers and he approached popular culture and ethnical and oriental traditions. He experienced with his voice through learning overtone singing, diplophonies and multifonia, always looking for new sounds and styles. A passionate researcher in vocal anthropology, he approached Circle Songs with Albert Hera and then he worked on a personal method he uses during workshops in Bologna and Europe.
A group that specialises in popular (or folk) dances from the mid-XVIII century to the 40’s-50’s.
The traditional music of our lands, researched and collected by the older generation of musicians and their successors, is associated with tavern songs and post-war canzonetta; the Musicanti will entertain us with notes awashed by the memories of the past and the present, captivating us and making us discover/rediscover the traditional music of Emilia.
Musicanti D’la Bàasa: Luca Lodi: french bagpipe, ocarina of Budrio Nicholas Marturini: chromatic accordion, diatonic accordion Riccardo Gatti: hurdy-gurdy, drums Giovanni Varelli: cromatic accordion, rythmic guitar Diego Devincenzi: doublebass
Straight from Belgium, these three excellent musicians will delight us with their splendid music that blends an energetic groove with warm and enchanting melodies. Traditional tunes sit alongside with modern ones, the music is both lively and introspective, delicate and rhythmic. You can be sure that they will make us dance all night long with all the energy we can express!
You know him well, he plays with some of the most famous groups of the folk world: Hot Griselda, Triple X, and in one of the groups that you will hear play tonight, Snaarmaarwaar. Do you think that only a guitar, all by itself, is not enough to make you dance all night? You will change your mind after you have heard Geronimo! Thanks to his extraordinary talent he will surprise you with intriguing and varied songs. It will be the perfect conclusion to these three days of the festival!
Sùna! (Play!) is more than an order, it is a need! When the music is over and in the air remains the wish to play, to dance and to sing, a shout bursts through the silence and, as if by magic, the feast starts again. It is from this wish to have a ball that Sùna! is born!
Three Apulian musicians, Giovanni and Francesco Semeraro and Domenico Celiberti, make, thank to their voices and their instruments, the sounds and the typical atmosphere of the popular southern Italy’s feasts live again. But now that’s enough talk… SÙNA!
21:30-23:30 – Lyradanz
Have you ever danced a mazurka played by a bowed psaltery? Have you ever got involved in a harp-played bourrée? If you never lived such a mystical experience you should absolutely come across LyraDanz! LyraDanz arises from the idea of three musicians, already well-known in the Celtic and bal folk music scene, who share the passion for folk music and experiment inusual instruments in the traditional folk repertoire. A harp that unexpectedly detaches from the conception of a melodic and airy instrument and discloses a “mediterranean” soul, rhythmical and playful. A bowed psaltery, almost never used in the bal folk genre and generally tied up with the ancient music domain, here played in a modern way and pushed to the limits of its melodic and vistuosistic potentialities. A guitar ranging from the manouche to the rumba styles, from flamenco to jazz, that becomes the driving instrument to experimentation. A fresh, innovative and sparkling project, that explores the French, Occitan, Breton, Basque bal folk repertoire along with original compositions.
LyraDanz is a musical project based on a bal folk repertoire, both traditional and original, played with some inusual instruments in the bal folk scene, such the popular harp and the bowed psaltery, and with an innovative approach to the arrangements.
For this concert we have the honour and the pleasure to present you two musicians from the famous and hypnotic group Tref: Wim Claeys and Bruno Le Tron. After 10 years of musical research, they have no limits. As virtuos ambassadors of their instruments, these musicians have travelled the world and played alongside other greats musicians. Their fame is indubitable and we can’t wait to hear them and dance with you on the notes they play!
Mandolins, guitar, ocarina, double bass and the accordion meet at the Osteria del Mandolino, an introspective place born out of the mists of the past, a place where old things return to life, where it is still possibile to listen to serenades, be twenty years old and dance hugged together, and, in a journey of discovery, where we can enter in contact with the most intimatest and truest part of ourselves.
Playing these instruments, this repertoire, is like returning home after having travelled for a long time; while completing this nostalgic journey, you will meet the ocarina, the Bolognese land which plays since 1853. This land, which falls away from the dancers’ feet, becomes a sound, it makes their steps lighter and more vorticose their spins.
Osteria del Mandolino: Domenico Celiberti: mandolin, violin and voice Antonio Stragapede: mandolin and guitar Marco Visita Marcheselli: Bolognese organino Federico Massarenti: ocarina of Budrio Nicolò Scalabrin: guitar Peppe Aiello: doublebass
19:30 – 21:30 – Blue Reed Trio
This meeting of minds and music of three musicians (Valerio Rodelli, Massimiliano Felice and Matteo Giuliani), coming from different styles and trainings, has led to the birth of this interesting ensemble: the Blue Reed Trio. Ranging from jazz to folk, with fleeting tastes of reggae and latin-american music, they will accompany us in a unique voyage that alternates moments of extreme tenderness and of unbridled force. Let us prepare ourselves to enjoy their music that captivates and entertains, gratifying the ear of the audience but also the untiring and unfettered dancing feet.
Stories, legends, songs, ballads and dances of Northern Italy will be seasoned with sounds, melodies and rhythms coming from diverse regions of Europe and America: from the romance of the French mazurka to the overwhelming energy of the Québec reels. A music that is a blend of folk and jazz, traditional and innovative, that entertains, captures the public or drags them into a musical journey and a recreation full of energy and complexity; characterised by the typical joy of the festival and the pleasure of good music and created by accordions, guitar, violin and voices accompanied by drumming of feet (podorythmie) and the typical Québécois percussion that lends a unique touch to this sound.
“Parapente (paraglider) is an idea of unlimited freedom, an image of universal dance, where every body, from one side to the other, is nothing more than a free expression of thought”
When the music transports the dancers here and there, cradled in the embrace of a violin and a concertina, among the water, mazurkas, air polskas, earth circles and fire scottish, this music renews, reinterprets and recreates itself every time. It blends ordinary rhythms with influences from the past. The group has travelled all over Europe and their style is characterised by different influences: Italian, French, Swedish, Portuguese and others.
In a group or as a couple, they invite you to dance to their music!