Dance Workshops

Salento’s Pizzica workshop

Analysis of:

  • BASIC STEPS;
  • COUPLE’S DYNAMICS (man/woman, woman/woman, man/man);
  • 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

cecilia
Cecilia Casiello

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

Vincent Michaud
Vincent Michaud

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!

Eva Parmenter

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.

Giancarlo Stagni

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.

 

Hatha Yoga

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

Salvo

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.