Classes and Workshops 2018-01-22T10:38:02+00:00

Classes and Workshops

Class Prices & Location:

$100 for 10-Class Card, which can be used for various classes. Purchase it at Eventbrite.
$15 Regular drop in
$12 MZD Member drop in
$15 Annual Memberships

All classes take place at
Spazio Performativo,
10816 95 Street

Info/Registration: 780 424 1573


Mondays 7–9 pm
Contact Improvisation with Gerry Morita

An all-levels, safe introduction to Contact Improvisation with instructor Gerry Morita, exploring falling, rolling, partnering, and play. Please wear long sleeves , pants with knee coverage, optional knee pads, and no jewellery.

*No class on February 19

Tuesdays 6–7 pm
House/Hip Hop with Sekou

A fun and intense workout for beginners and experienced dancers alike (age 10+)

Tuesdays 7–9 pm
Butoh with Sonja Myllymaki

A ritualistic journey deep into the somatic body with instructor Sonja Myllymaki

Wednesdays 10–1130 am

Noguchi Taiso with Gerry Morita

Japanese release work developed by Michizo Noguchi that allows you to learn to move with a “water body.” All levels welcome.

Wednesdays 6-7 pm

Afrobeats with Lebene 

New for 2018. This class draws influence from a variety of modern and traditional dance and music styles from the African diaspora where you’ll work closely with polyrhythms, melodic embodiment, percussive and rhythmic steps. All levels.

Thursdays 10–1045 am
Kids’ Dance with Jeannie Vandekerkhove (ages 3–5)

Jeannie’s Kids Class explores creative dance through a fun, accessible interactive approach that will guarantee to have your child excited to move.

Thursdays 5:15–6:45 pm
Adult Beginner Contemporary with Tony Olivares

Begin your dance exploration with Tony Olivares’ challenging and musical class that goes straight to the roots of modern dance and beyond.


March 19–23
Spring Butoh/Noguchi Taiso Intensive || Get your pass here

Early bird pricing ends January 31

$350 for the full workshop (includes both classes for the full week)

$250 for half workshop (includes one class per day for the full week)

$65 drop-in at the door (limited spots)

Noguchi Taiso with Mari Osanai (M/W/F @ 2-4:30 PM; T/THU @ 10-12:30 PM)

 MARI OSANAI (JP) is a classically trained dancer and teacher of Noguchi Taiso based in Aomori, Japan. Noguchi Taiso is a form of physical training that supports new ways of movement to improve efficiency while letting go of unnecessary tensions. A technique often utilized by butoh practitioners, it is not about strength or resistance or forcing the body to move in a certain way. Instead, it allows the body to melt, become tender and flexible as we give in to gravity rather than fight it. Mari has been collaborating with sound artist Christophe Charles since 1997.

“I define Noguchi Taiso as a creation of one’s new self as nature within us. Noguchi Taiso draws from a natural force that exists in our body and that is expressed through and with the natural materials that our bodies are made of. I define “”Taiso = Gymnastics”” as a way of exploring HUMANITY. My whole being is a laboratory (atelier), research material (canvas) and scholar (artist).” – Michizo Noguch

Butoh Dance Workshop / “Root and Stem – Impromptu” with Yuko Kaseki (M/W/F @ 10-12:30 PM; T/ThU @ 2-4:30 PM)

The workshop’s emphasis is to develop original movement through body awareness, sensitivity, and also discover hidden dynamic energy.

Physical training is based on Noguchi gymnastics, elements of Tai-Chi Dao-yin and Butoh methodology. We practice for the whole body to be permeable and awake deeper layers of sensitivity. Find the center of our body (Tanden) which is our energy source. Listening honestly to the variants of inner and develop this in relation to the outer.

The workshop offers the possibility to seek and experience in solo, duet and group improvisations with image, element, space, and relationship. Through intensity and reduction everyone can dive deeply into stillness/movement and translate it into individual manifestations. It is important for each person to find own unique body, physical reality and exposure of existence.

YUKO KASEKI (JP / DE) is director of company cokaseki, choreographer, Butoh dancer, performance artist, improviser and teacher, based in Berlin. She performs in solo and ensemble pieces and improvisations throughout Europe, Russia, Japan, Taiwan, Korea, Malaysia, Thailand, Canada, Mexico, Brazil, Uruguay, Argentine, Australia, India, Burkina Faso and the USA. These works are physical performance that incorporate Butoh, performance arts and improvisation. International collaborations include inkBoat (SF), Tableau Stations (SF), CAVE (NY), Poema Theatre (Moscow), Salad Theater (Seoul) and more. She is also a key collaborator with mixed ability artists including Theater Thikwa (Berlin), and others. Recent her works are physical statement that is reflected by outsider’s exstence.

Street Dance meets Contemporary Intensive


November 13–17
Justine Chambers Masterclass

This workshop will focus on developing strategies to use western contemporary dance technique as a practice to re-familiarize ourselves with our bodies. With an openness to the possibility of functional change, we will explore the precise moments where our bodies are activated into movement. By acknowledging that all movement occurs as a sequence of perpetual dynamic negotiations, we will invite new configurations of support. In this workshop we will ask, what if we let go of the notion of stabilizing our bodies and invite any movement that arises to be part of what we are doing? How do we then organize our minds around expectations and intended outcomes? Through both improvisational scores and set exercises we will dance our way through continuous adaptation.

November 20–24
James Viveiros, Gaga/dancers

Gaga is a movement language, which Ohad Naharin developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members. The language of Gaga originated from the belief in the healing, dynamic, ever-changing power of movement, and it continues to evolve today.

Gaga is a new way of gaining knowledge and self-awareness through your body. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for their elimination. The work improves instinctive movement and connects conscious and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes, accompanied by music, each person with himself and others.

Gaga/dancers is open to professional dancers and dance students.

Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+. These classes last for an hour and fifteen minutes and are taught by dancers who have worked closely with Ohad Naharin. Gaga/dancers classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar movements with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well. Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of available movement options, enhances their ability to modulate their energy and engage their explosive power, and enriches their movement quality with a wide range of textures.

November 23
James Viveiros, Gaga/people

Gaga/people classes are open to people ages 16+, regardless of their background in dance or movement. No previous dance experience is needed.

Gaga/people classes last for one hour and are taught by dancers who have worked closely with Ohad Naharin. Teachers guide the participants using a series of evocative instructions that build one on top of the other. Rather than copying a particular movement, each participant in the class actively explores these instructions, discovering how he or she can interpret the information and perform the task at hand. Gaga/people classes offer a creative framework for participants to connect to their bodies and imaginations, increase their physical awareness, improve their flexibility and stamina, and experience the pleasure of movement in a welcoming, accepting atmosphere.

December 11–15
Authentic Movement with Tedi Tafel

This five-day workshop in Authentic Movement will investigate the fundamentals of the practice; moving, witnessing, writing and shared dialogue. Authentic Movement is a self-directed, physical exploration that sees the body not as an object to be trained but as the very site of intelligence, imagination and perception. Classes are geared to artists of all disciplines (dancers, writers, actors, visual artists…) as well as those simply desiring greater freedom and truthful connection.

The structure is simple: a mover moves with eyes closed in the presence of a witness. Our research will begin as movers, exploring what it means to listen for and embody impulses that arise from our connection to sensation and our moment-to-moment attention to direct, unshaped, experience. By cultivating the capacity and the trust to follow our sensory/kinesthetic impulses into physical form, we learn to bring consciousness to the layers of our creative and personal truths. As we integrate the practice of witnessing, we’ll learn to bring a more receptive, compassionate and mindful attention to the mover recognizing and working with the obstacles that can obscure the clear seeing of another. Speaking and writing, learning to connect language to direct, felt experience, will be gradually introduced into the sessions.

Rooted in expressive dance, Jungian psychology and eastern thought AM looks to the body as source and inspiration. The practice is a support for and often a doorway into the creative process, to that part of making and being that requires an open, non-judgmental awareness and a willingness to stay in the unknown. Leaving aside for the time being our desire to invent, to direct, to be creative, we learn instead to listen and allow, paying attention to what our body is asking of us, to what it has to say in the moment.