Keith Hennessy

Dancing as Political Healing

We will be exploring the political potential of improvised dance, collaborating and negotiating through touch and weight, and repairing political harm through somatic interactive play.

Keith is a frolicker, imperfectionist, and witch working in the fields of dance, performance, activism, affordable housing, and pleasure healing. Always learning through improvisation and collaboration, Hennessy’s work is interdisciplinary and experimental. Born in Canada, based in San Francisco (Yelamu) for over 40 years, Hennessy tours internationally. With a focus on the politics of relationship, Keith’s has worked in close collaboratoration with Ishmael Houston-Jones, Sarah Crowell, Snowflake Towers, Jassem Hindi, Meg Stuart, Peaches, Nathaniel Moore. www.circozero.org

Tom & Roser

Movement Archery

“The right art is purposeless, aimless. The more obstinately you try to learn how to shoot the arrow for the sake of hitting the goal, the less you will succeed in the one and the further the other will recede. What stands in your way is that you have a much too willful will. You think that what you do not do yourself does not happen.” - Eugen Herrigel

The foundation and concept of this workshop are divided into four main parts, which aim to provide a wide base of action for movement practitioners of any background and age:

PART 1 - WARM-UP

Our warm-up begins with meditation, grounding, posture, and breath, unfolding as a moving meditation inspired by Chi Kung, Tai Chi Chuan, and Chaya Yoga’s “Balakarma” series.

Through strong postures, circular flows, and low-movement preparation, it awakens the legs, cultivates softness, and expands spatial awareness — refining sensitivity, intuition, and the desire to move.

PART 3 - PARTNERING

If dancing alone is a relationship with imagination, dancing with a partner is a relationship with reality.

Both are essential, and real skill emerges when the line between them softens and solo and partner work become inseparable.

PART 4 – TECHNIQUE

Our technique is a form of risk management that expands freedom. By practicing falling, rolling, and collapsing, we dissolve the fear of failure and blur the line between simple and acrobatic movement.

Grounded in accessible tools and awareness of each body’s capacities, it cultivates readiness, curiosity, and calm precision — making technique the eye of the storm in movement and in life.

Tom Weksler (b. 1989) began in acrobatics and martial arts before performing with Inbal Pinto & Avshalom Pollak, Rootlessroot, DOT504, and Guy Nader & Maria Campos. A finalist for Best Dancer at Spain’s Premios MAX (2021), he completed a Master’s in Art Direction and Scenography at BAU University (2026). He is the founder of Movement Archery, an internationally active practice blending physical rigor with philosophical depth.

Roser Tutusaus (b. 1985), originally a rhythmic gymnast, trained at Artez and has a background in music, theater, journalism, and space design. She has worked with renowned European choreographers and co-created the award-winning street duet Menar. Her work explores fragility, strength, and spatial dialogue, and she plays a key role in developing Movement Archery’s pedagogy.

Since 2018, Tom and Roser collaborate as WONDERGROUND, creating award-winning works for theaters and unconventional spaces. In 2023, they founded their studio, THE ISLAND, in Collserola Park, Barcelona.

Katja Mustonen

Always More than One

We will slide, roll, jump and collide in and out of contact with the idea of always more than one. Materials will alternate between solo, duo, trio and group-scores. We use touch to orient and negotiate relations within time, space and bodies to cultivate the dynamics of the present. Different hands on exercises will play an important role in the softening and preparing the body as we dance with others.

We play with tasks that require multitasking/-focus to move beyond habitual responses. Physical dialogues through touch, weight and matters of support will help us to alter spatial orientation and duration of each moment. Exploring always more than one invites us to discover and deepen strategies for the unknown and engage with spontaneous dancing together with others.

“To move is always to activate the time of the event, to feel-with the varying velocities of time's multiple rhythms. Time, moving us, moving time.”

The name of the workshop is borrowed from a book by Erin Mannings ”Always More Than One: Individuation’s Dance. This is her quote.

Katja is a dancer, teacher and a choreographer from Finland. Since the past 20 years the work with dance has made her travel around the globe. She graduated as a dancer 2004, and holds MA degree in "Contemporary Dance Education” since 2010. Currently, she works as a dancer in The Dance Theater Minimi.

In dance, she is interested in the holistic performer, where strong physicality is joined with active imagination, energy work and embodied wisdom. Her special strength is in Contact Improvisation, partnering and improvisation, but she works versatile within dance depending on the context as a performer, maker and teacher.

Linda Bufali

Looking for Complexity

“roots tecquinque”

Dancing through the language and codes of Contact Improvisation, from my point of view, leads to a world where the relationship with the body, with the encounter, and with space is different.
It's overturned and takes on unknown forms.

In these intensive, space and dance will be nourished by your curiosity and your questions.
We will dance meanings such us doubt, uncertainty and risk.
We will pause in complexity without forcing fluidity, softness, or aesthetics.

Exercises and games that will be developed according to the structure that Nancy Stark Smith called “Simple-complex-simple”.

There will be also speaking circles to continually integrate and nurture the process.

The wonderful complexity of this 'open form' (as define by Steve P. and the other pioneers) leads to marvelous worlds, where we can have a bodily experience of truth, mutuality, and vulnerability.

Partly inspired by the following article 'In praise of bad dancing' by Christina Svane CQ Vol 3 Num 1: https://drive.google.com/file/d/1ttcHMckpdC5ZM1ygA5SRL7E9NMZyD3m6/view?usp=sharing

Linda met Contact Improvisation (C.I.) in 1998 during a physical theatre course. She was fascinated by it and began a long learning process that continues to this day.

Since 2008, she has been teaching in many Italian communities and abroad (Spain, France, Austria, Germany, Belgium, Ukraine, Greece, Israel, Japan, Romania). Teaching means feeding her own research and fulfilling the need to contribute to and support that of others.

She conceived and organized events with the desire to spread CI as much as possible (Italy Contact Camp and CicloNomade), because she believes it is an extraordinary, powerful, and healthy revolution that starts from us, from our bodies.

Personally, she experiences C.I. as the best way to meet someone beyond social compromises, to meditate, and to keep the urge to move alive. Life is movement; moving together accelerates awareness.

Today she is 48 years old, a mother of two children aged 28 and 6 and a grandmother to a three-year-old boy.

Daisy Jane

Morning Movement Session

These classes will be an invitation to gently warm into and awaken the body through movement, exploration and play.

Daisy’s teaching is an ever-evolving, raw and true expression of her own practice, learnings and exploration . Drawing inspiration from somatics, yoga, martial arts and mixed movement. Daisy’s classes focus on grounding into presence, cultivating curiosity, and finding flow between strength and softness.