Category: Teaching


Up-Coming Teaching

2017

January 4 – February 12: Choreographic Residency “Shifting Realities” in Hellerau European Center for the Arts
(Premiere of “Fragiland”: February 4 & 5 in Dresden, Feb. 11 &12 in Tanzhaus NRW, Düßeldorf)

Mid-February – June: As “Vermittler-in-Residence”I will be offering a variety of formats in connection with guest performances of the Hessisches Staatsballet (Check for Updates)

February 14 – June 20: TanzKlub for 16 – 59 year olds at Künstlerhaus Mousonturm

20 -24: Profitraining Künstlerhaus Mousonturm

February 27 – March 2: Profitraining at K3 in Hamburg

March 25 & 26: Workshop for Stipend Recipients of the Stiftung Polytechnische Gesellschaft

2016

January 25-29: Profitraining Künstlerhaus Mousonturm

February 5-7: Formazione Tersichore in Napoli, Italy

15-18: Profitraining at K3 in Hamburg

22-26: Profitraining Künstlerhaus Mousonturm

March 4 & 5: Physical Reflections with Anja Bornsek at Künstlerhaus Mousonturm- a format of AT WORK during Deutsche Tanzplattform

March 9: Begin full-time position as University teacher at Anton Bruckner University in Linz, AT

April 27 – June 29: Weekly Movement Training at Institute for Applied Theater Studies (ATW) in Giessen

May 25 – 29: Profitraining Künstlerhaus Mousonturm

September – October: Company Training for TanzMainz

September 16 & 17: Music and Movement Workshop for Stipend Recipients of the Stiftung Polytechnische Gesellschaft (Schirn Frankfurt)

October – December: Seminar “Losing/ Finding Movement” for students of the MACUP (Institute for Applied Theater Studies Giessen) and MACODE (HfMDK Frankfurt)

2015

April – June: Goethe University, co-teaching with Leonie Otto, Seminar- Dance Technique

May: University for Music and Performing Arts, Masters for Contemporary Dance Education, Seminar- Target Groups

May 25 – 29: MichaelDouglas Kollektiv Open Professional Training at Quartier am Hafen, Cologne

May 28 + 29: Workshop at CCD, Center for Contemporary Dance (HfMT) in Cologne

June 1 – 3 + 8 – 12: Tanzlabor 21 Open Professional Training at Künstlerhaus Mousonturm

June 15 – 19: Workshop at SOZO in Kassel

August 17 – 28: Teaching at Firkin Crane Choreographic Center in Cork, Ireland

September 8 – 11: Contemporary Dance Center Bye Bye Ballet in St. Petersburg, Russia

Septemeber 28 – October 2: Tanzlabor21 ProfiTraining at Künstlerhaus Mousonturm

October 12, 14- 16: Tanzlabor21 ProfiTraining at Künstlerhaus Mousonturm

November 20-22: Hildesheim University, Contemporary Dance Technique with Leonie Otto

December 8 -12: Staatstheater Kassel, company class

December 14 – 18: ProfiTraining, MichaelDouglasKollektiv, Quartier am Hafen, Köln

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My masters program, the Masters in Contemporary Dance Padagogy (MAztp) is heading to Finland this coming weekend.  We will be essentially taking over a small dance academy in the town of Outokumpu for the week. It will be an exchange of goods and services, of inspiration, of hospitality, of knowledge and moves.

My colleagues and I are busy preparing syllabuses to challenge ourselves as facilitators and the students in Finland in a wide range of physical, mental, and artistic directions. I will be focusing on the term “Contemporary” as a concept around which to orient a dance technique class.  What does this terminology refer to, denote, assume and exclude? In consideration of “contemporary’, I am led to thinking about perspectives and relations, approaches and more questions.  I think this word in connection with dancing, has less to do with form and more to do with one’s intention and attitude. Dance continues to incorporate moving bodies in space in time. What may look like an age-old brush of the leg in a forward direction, or a swing of the arm, a twist of the torso could appear as a classical or modern movement. But I would argue that what makes a tendue contemporary as opposed to something else is precisely the consideration of why the tendue is a tendue as it continues to be a tendue in exactly the spatial and temporal relation in which it stretches…

I will also be offering a separate workshop in the town of Joensuu from  Friday – Sunday May 17 – 19.

The workshop is called Performing Communication:

This workshop is a response to my experience working with choreographer Hofesh Shechter, and is inspired by the time that I’ve invested working with Anna Teresa De Keersmaeker’s publication, A Choreographer’s Score as a source from which to develop physical training. We will explore communicating through movement,  investigating methods for manipulating movement quality by using scoring techniques, imagery, and physical systems for sending and receiving movement impulses. We will explore, construct and play with movement in order to build structures that support our ability to generate creative energy.  This workshop focuses on the use of the imagination to connect individual engagement to a collective experience, while stimulating new movement decisions and questioning assumptions  about choreographic structure.

If you’re in Finland and can come to Joensuu, come join us for an exploration of movement.

Class Description

Class Description:

Jason teaches a broad range of classes that orient around the concept of contemporary dance. He incorporates technical elements to build strength, stamina and a relation to form while also challenging the participant’s personal connection to movement through layered approaches to improvisation.  Jason’s class has been influenced by his professional experience performing and creating work with choreographers as diverse as George Balanchine and Hofesh Shechter, as well as his practical and theoretical exploration as a Masters student of Contemporary Dance Pedagogy at the HfMDK in Frankfurt.  Jason emphasizes a holistic approach to the totality of the body’s structural form, a playfulness with timing, and an ease and suppleness in order to approach dynamic changes in movement quality.

A typical class begins with encouraging the dancer to release tension and connect the weight of the body with the floor. The participant is guided by diverse approaches to improvised movement. Visualization is employed as a tool to stimulate the participant’s imagination and to encourage new perspectives on movement and “physical knowledge”. The class incorporates exercises on all levels including the floor, standing, moving through space, and in the air. For each class a specific aim or theme directs the build-up of tasks and exercises, connecting the physical experience. Examples of these themes include spatial awareness, use of the center in relation to extremities, agility, flexibility of the imagination, and response to impulses such as touch, the visual field, and internal sensations.

Jason includes reference to diverse “materials” in his class. These materials include philosophical, theoretical or scientific texts, digital dance publications, computer programs, music compositions, film and other related medium. By incorporating the materials in a dance setting, his aim is to cultivate a physical discourse, to find already existing similarities and trigger new perceptions between the embodied experience of dancing and other fields. His broader aim is to become and help others become better dancers, while advocating for the value of movement and the beneficial aspects of dancing experiences.