Tulevat

LISÄTREENIT   

 

LA 19.11. at 11-12.30 ohjaajana Jussi Nousiainen / Counter-tekniikka
LA 26.11. at 10-11.30 ohjaajana Johanna Nuutinen / aiempien kurssien sisältöjä
LA 3.12. at 11.-12.30 ohjaajana Johanna Nuutinen / aiempien kurssien sisältöjä

Paikka:

TSC Studio, Cable Factory, Tallberginkatu 1E, 00180 Helsinki, 3krs.

Hinta:  

Syksyllä 2022 lisätreenit ovat ilmaisia jäsenistöllemme.
Jussi Nousiaisen Counter-tekniikka tunnille osallistumismaksu ei-jäsenille 10€.

https://holvi.com/shop/KINESTEETIKOT/section/kurssit-workshops/

 

How Can I Change and Still Be Me?

Working on yourself with Alexander Technique and Countertechnique.

 

This intensive is open for performing artists of all disciplines and everyone who is interested in understanding more deeply how you coordinate and move yourself daily.
The course will be held in English.
For further questions, please contact: info@kinesteetikot.fi   

 

* Alexander Technique by Tom Koch (http://tomsterdam.com)

In this workshop we will explore the concepts and principles of the Alexander Technique as tools for working on yourself in order to recognise and change unwanted habits, to think more clearly, to resolve body problems more rationally, to move more easily, and to breathe more freely. We will learn about the posture system and how it interacts with balance and movement, as well as how to take more conscious control of it both in performance and in daily life. Come prepared to move, to sit, to recline, to question, to notice, and above all, to think.

Tom Koch: ’My goal as a teacher of dancers is to help you understand more deeply how you coordinate and move yourself all day long, not just during dance, so that you are less likely to suffer self-inflicted injuries and judgments that could limit or end your career.’

* Countertechnique by Jussi Nousiainen (https://www.countertechnique.com)

Countertechnique provides tools for body and mind to deal with the demanding dance practice of the 21st century. It is a movement system to help the dancer think about the dancing body, focusing on the process of incorporating information into action. Within a clear structure of exercises, the Countertechnique class thoroughly prepares the body for rehearsal and performance, enabling dancers to move bigger, more fluidly and more spatially, while becoming stronger and more flexible.

By continuously and sequentially directing parts of the body away from each other in space, Countertechnique allows the moving dancer to work with an ever-changing dynamic balance. This dynamic balance reduces the pressure on the overall body structure and can be changed at any given moment.

The Countertechnique theory is organized around two principal notions: the ‘toolbox’ and ‘scanning’. The toolbox is the systematically organized collection of tools for body and mind with which Countertechnique works, often visualized as a virtual map that dancers carry with them. Scanning defines the process of dancers continuously and actively observing their mindset and body in order to choose the most appropriate tool(s) from the toolbox for the situation they find themselves in. Scanning allows dancers to make active use of the toolbox in their daily practice of training, rehearsing and performing.

In Countertechnique classes, dancers are introduced step-by-step to the various tools – making sure, however, that the priority always lies with experiencing and enjoying the difference in moving, rather than first having to understand the tools intellectually. Classes are therefore very accessible, and can be taught to participants of all levels. Dancers are encouraged to be pro-active in discovering

connections and solutions, to be less concerned with judging themselves and to work in a healthy way with regard to body and mind. Throughout the process dancers increasingly become their own teachers, allowing them to practice and progress even at times when a teacher is not available!

Countertechnique was developed by Anouk van Dijk throughout her twenty-five year career as a dancer, choreographer and teacher. Over the last fifteen years, the knowledge and experience she gained – in constant dialogue with her dancers – was gradually transformed into a detailed theoretical system and a teaching method, which now together form the Countertechnique system.

 

 

SCHEDULE (10h of teaching):

FRI 11.11.
18-20 o’clock Alexander Technique

SAT 12.11.
11-13.30 o´clock Alexander Technique
14.30-16 o´clock Countertechnique

SUN 13.11.
11-13.30 o´clock Alexander Technique
14.30-16 o´clock Countertechnique

 

ADDRESS:

Tallberginkatu 1E, 00180 Helsinki
3krs.

 

PAYMENT:

* Members DISCOUNT PRICE: 120€ !
(+25€ member fee, includes 3 extra training sessions)
Use code: ALEJASEN when making the payment at Holvi webshop!

* Non-members 180€

HOLVI SHOP: https://holvi.com/shop/KINESTEETIKOT/section/kurssit-workshops   

 

EXTRA TRAINING SESSIONS:

SAT 19.11. at 11-12.30 facilitated by Jussi Nousiainen / Counter technique
SAT 26.11. at 10-11.30 facilitated by Johanna Nuutinen / content from previous courses
SAT 3.12. at 11.-12.30 facilitated by Johanna Nuutinen / content from previous courses

Place: TSC Studio, Cable Factory, Tallberginkatu 1E, 00180 Helsinki, 3krs.

 

 

ABOUT TOM KOCH

Certified Teacher of the Alexander Technique

 

Tom Koch pursued his Bachelor of Arts in Theater, at University of Missouri-Kansas City. Chronic back pain caused him to end his pursuit of acting and dancing, and instead led him to study the Alexander Technique. After being certified to teach in 1987 by the American Center for the Alexander Technique in New York, he was a pioneer in integrating the Alexander technique with ballet movement and education, particularly for resolving chronic pain and repetitive injuries. He was for years the Alexander technique teacher for William Forsythes groundbreaking Ballet Frankfurt (later the Forsythe Company). He has also taught group and private lessons for La Biennale di Venezia College Danza, the Sydney Dance Company (pre-professional year), L’Artère in Quebec, Studio 303 in Montreal, Netherlands Dance Theater, the Dutch National Ballet, Chunky Move Dance Company in Melbourne, Henny Jurriëns Stichting in Amsterdam, Tanztheater Wuppertal (Pina Bausch) and many others. His work is not limited to dance but includes a wide range of artists in all forms of dance, music and theater. He also has taught the technique to doctors, writers, scientists, secretaries, architects and police agents. Since 2006 he has collaborated with his former student Anouk van Dijk, creator of CounterTechnique, in teaching at the annual One Body One Career (OBOC) two-week intensive workshop for dancers. OBOCs were first hosted in Amsterdam, followed by six years in Melbourne. OBOCs were most recently held in Montréal (2019), New York (2022) and Amsterdam (2019-2022).   

 

ABOUT JUSSI NOUSIAINEN

 

Originally from Finland, Jussi is now based in Amsterdam (the Netherlands). He has been studying Countertechnique since 2008 and performed in Anouk van Dijk’s work in 2011. He has attended the Countertechnique Teacher Training program in 2012 and 2016.

After graduating from the Theater Academy of Helsinki (TEAK), Jussi Nousiainen joined Charleroi Dance in Belgium in 1997, then two years later, Galili Dance in the Netherlands. In 2006 he became a freelancer, while continuing working with Itzik Galili as a choreographic assistant, setting several of his creations for different companies worldwide. Within his freelance career he has worked with many choreographers, such as Anouk van Dijk, Stephen Shropshire, Paul Selwyn Norton and Vaclav Kunes. He has also danced as a guest dancer at Frankfurt Ballet and Batsheva Dance Company. Since 1994, he has also been creating his own work. As a teacher, Nousiainen has been teaching workshops and given classes in dance companies, open studios and schools in the Netherlands and abroad.

“For me, dance is a union between the physical, intellectual and spiritual, allowing a deep connection to oneself in the present, both in and out of the dance studio. Countertechnique is a liberating method to explore and extend the possibilities of my own bodily existence, without needing to submit to imagery or esthetic ideals of any particular dance style. Taking into consideration helpful physiological facts to work healthier and perform with less effort, it also provides plenty of food for thought and inspiration, regardless of ones personal artistic aspirations. Moreover, it is very satisfying to teach, especially when I see students letting go and diving into a free flow of movement and dance. The Countertechnique principles are something I carry with me, no matter where I go or with whom I work. If it’s warming up my body for performance, or tackling a difficult move or just walking up the stairs, I often find myself ’doing it’. Either by choice – because it just works every time-, or catching myself applying them unconsciously, to feel more comfortable and in ease.”