Gaga into Performance: Harnessing the Available Body
3/24 – 3/28 (Monday – Friday): 9am - 4pm
with guest artist Maree ReMalia (Gaga) and CCD faculty Alexandra Niemeyer (Ballet) and Patrick Mueller (Contemporary/Composition)
Level: Advanced thru Professional
Connect with your individual flow and form, and build your facility and virtuosity during a weeklong dance intensive with CCD core faculty and guest artist Maree ReMalia. Through the intense personal exploration of Gaga improvisation we’ll find a new experience of classical technique and a unique route toward composing movement in a collaborative artistic process. The intensive culminates in an informal performance in CCD’s studio-theater.
9:15-10:30am Gaga movement language (Maree ReMalia)
10:45am-12:15pm Classical Technique in an Available Body (Alexandra Niemeyer)
1:15-4pm Compertory - Collaborative Comp/Rep Lab (Patrick Mueller)
4-5pm Open Studio
Friday 5:30pm: Informal Showing by the Compertory Class and Maree’s rep project with CCD’s Student Company.
Full workshop $325
Mornings only (M-F) $200
Gaga only (M-F) $150
Full and Partial Scholarships are available based on merit and need for advanced and professional students. Scholarships are available for the Full Workshop only.
To apply for a scholarship please prepare the following information and send to ‘email@example.com’:
• Tell us your story as a dancer - Why is this workshop important for your trajectory? (700 words)
• Tell us about your financial situation – why do you need tuition assistance? (300 words)
• Resume of experience (1 page).
• Video Clip: please provide a PRIVATE LINK to a video of you dancing – preferably in performance, 1-2 clips (may be separate works), 3 minutes.
Gaga movement language (Maree ReMalia). Gaga is a movement language that Ohad Naharin (choreographer, Batsheva Dance Company, Israel) developed over the course of many years and now employs as his company’s daily training practice. The language of Gaga originated from the belief in the healing, dynamic, ever-changing power of movement. Gaga challenges the body into multi-layer tasks with an expansive physical awareness attuned to the connections between effort and pleasure, form and flow, flesh and bones. The practice encourages bombastic, delicate, exhilarating engagement of our internal structures and movement abilities. “We connect to the sense of the endlessness of possibilities. We change our movement habits by finding new ones. We become available…” -Ohad Naharin
Classical Technique in an Available Body (Alexandra Niemeyer). How does the available, malleable Gaga body take on the form and flow of classical technique? With open-ended curiosity and excitement we’ll return to the familiar practice of ballet with a new, shifted body and sensibility. Led by CCD faculty Alexandra Niemeyer, we’ll find our way through barre and center with soft, luscious pliability and explosive dynamic range, relishing the complex simplicities of classical form and vocabulary. From the heightened awareness of structures and interconnections offered by our preceding Gaga practice we’ll find the healthful, rebalancing potentials of ballet and refine our relationship with our movement foundation.
Compertory - Collaborative Comp/Rep Lab (Patrick Mueller). With experiences from of our morning's Gaga practice as a jumping-off point, students will explore individual and collaborative artistic processes seeking to dissolve boundaries of authorship, ownership, and mastery into a deliciously chaotic group creation. In a laboratory atmosphere curated by CCD faculty Patrick Mueller, we will craft improvisational structures and experiments, explore conceptual process, and bring individual assignments and tasks into collision with the group in search of radically unexpected potentials for form, content, and meaning. This workshop will culminate in an informal work-in-progress performance event (open to friends, family, and the general public) at 5:30pm on the final day of the Intensive.
Maree ReMalia is a choreographer, performer and teacher. Currently, she is an MFA candidate and Graduate Associate at The Ohio State University. She earned a BA in Education for Social Change and Cultural Studies from Prescott College and subsequently taught with the Teach for America program. Recently, her work has been funded by the Alumni Grants for Graduate Research and Scholarship, the Chair’s Discretionary Fund through OSU’s Department of Dance and the Kathryn Karipides Scholarship.
In her creative process, she draws inspiration from investigations in Ohad Naharin’s Gaga movement language and studies at Moving on Center School for Participatory Arts; she has also been deeply impacted by Bebe Miller’s emergent style of dance-making and John Giffin’s approach to Dance Theater. ReMalia is interested in the significance of utilizing improvisational, sensory-based explorations as a means of cultivating self-awareness, building community and making new discoveries through movement. It is her intent to create performance work that is reflective of a diverse group of individuals and their collaborative process. Her original choreography has been presented in Cleveland Public Theatre’s Big Box and Dance Works series, MegLouise Dance Sneak Reviews, Movement Research at the Judson Church, 60x60 and the Williamsburg Free Fest.
Maree has had the pleasure of dancing with Cleveland-based companies MorrisonDance and MegLouise Dance and previously with Southern Ballet Theatre and the Richmond Ballet. She has performed in the work of Meghan Durham, John Giffin, Bebe Miller, Ohad Naharin, Ming Shen Gu and Noa Zuk. Rich collaborations have been enjoyed with Heather Baur, Kalindi Stockton and OSU Dance colleagues. Through these associations, she has performed in venues such as the CinciFringe Fest, Cleveland Public Theatre’s Dance Works series, DUMBO Dance Festival, Ingenuity Festival, New England Dance Project showcase, Ten Tiny Dances and the Yitzhak International Arts Gathering in Acco, Israel.
Alexandra Niemeyer is a native of Minneapolis, Minnesota, and studied at Ballet Arts Minnesota under the direction of Bonnie Mathis and Lirena Branitski. Ms. Niemeyer has spent summers training at Complexions Dance Company, Alonzo King’s LINES ballet, Boston Conservatory and New York University’s Tisch Dance. Ms. Niemeyer graduated with a bachelor’s degree with honors from the University of Oklahoma’s ballet pedagogy program. She performed in many productions including Rodeo as the Ranchowner’s Daughter, Balanchine’s Divertimento no. 15, Firebird, Ben Stevenson’s Sentimientos and new contemporary and modern works. After college, she joined Continental Ballet Company in Bloomington, Minnesota, where she performed soloist work in Cinderella, Nutcracker, Paquita, Les Sylphides and Swan Lake. Her Graduate work has brought many opportunities on stage in Carmina Burana, Graduation Ball, The Nutcracker, and Cinderella in the classroom teaching Understanding Dance, and behind the scenes as dance captain to Hugh Wooldridge in The Music of Andrew Lloyd Webber. Ms. Niemeyer graduated this May as a Foundation Fellow with her Masters of Fine Arts in Dance.
Patrick Mueller grew up in Lakewood, Colorado and studied dance, theatre, and visual arts at Pomona College in Claremont, CA. He recently earned an MFA in Dance at the Hollins University / American Dance Festival shared program. Patrick has been a company member with Troika Ranch Dance Theatre (New York), Ben J. Riepe Company (Germany), and Mancopy Danse Kompagni (Denmark), touring extensively through out North America, Europe, and the Middle East. In 2008 he founded Control Group Productions, a dance-theatre company that creates innovative new works and also regularly presents other local and touring artists. Control Group’s 2010 Demolition Queens received strong popular and critical attention and was remounted several times by various local events presenters. Salon Romantik, opus 1: Wanderers in the Sea of Fog (2012) toured to North Carolina for performances at the American Dance Festival.