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Nordic Baroque Dancers & Löftadalen Conservatory present
Nordic Baroque Dancers & Löftadalen ConservatoryInternational Summer Academy of Baroque Dance 2018
Editor: Karin ModighGraphic design: Sofia Djerf© Writers and photographers
Front page imageOlivier Collin in Pygmalion, choreography by Natalie van Parys. Credits: Rupert Larl /Innsbrucker Festwochen der Alten Musik.
Löftadalen ConservatoryÅsa, Sweden
Beginners & intermediate level22–28 July
Advanced & professional level5–11 August
International Summer Academy
of Baroque Dance
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Introduction
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Karin ModighArtistic DirectorNordic Baroque Dancers
Phot
o: U
nn T
iba
Sara
h Be
rreb
y
The threadof time
Introduction
4
T e n y e a r s a g o i h a d a d r e a m . I had been around at baroque dance summer schools all over Europe for a
few years and wanted to create one of my own in Sweden. My head was full of ideas that I was eager to share, but I couldn’t find the right place, neither the right collaborator. And then, suddenly, I found both at once, with Lena and her colleagues at Löftadalen Conservatory. In 2018 we have our 5th anniversary. It has only been four years with the Summer Acad-emy, but we have already hosted more than 90 students from 20 countries! I am well aware of the fact that “baroque dance” sounds, to most people, as something ter-ribly old and probably quite static. That is why I keep repeating that it happens now, that it is interpreted by today’s artists, and used as a tool of communication with today’s audiences. It is therefore bound to change. So, when looking back at the past four years, I clearly see how my view of baroque dance – how I see it, how I dance it, how I choreograph it, how I teach it and how I talk about it – has changed slightly every year. That is the most rewarding part of organizing this summer academy: all the inspiration it brings! Naturally my wish is that it brings just as much inspiration to the participants, be
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IntroductionIntroduction
➤
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➤
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No w h e a d i n g t o wa r d s our 5th anniversary of the International Sum-mer Academy, I must say: Time passes
quickly when you have fun! These last four years at the International Summer Academy have nev-er failed to be a source of fun and inspiration for me. Through meeting and sharing experiences with such a fantastic talent of teachers, dancers and musicians, I have grown a little bit wiser about the art of dance. One of my aims is giving dancers the knowl-edge to take care of their instrument. I am happy to have Sofia Barkevall and Ottilia Bergström in my team, who through yoga, stretch/massage and breathing help you to strengthen both body and mind. I think that it is important to use the knowledge of today to improve the dance tech-nique, whether it is contemporary or early dance that we do. I really look forward to this year where we will offer not only dance from our main focus on the baroque period, but a little bit of dance from the periods before and after as well. It will be a great pleasure to share this with you, as well as other experiences, at Löftadalen this summer!
Lena Cederwall BrobergHead of Dance Department Löftadalen Conservatory
Welcome to Löftadalens̓ dance department
it to those who explore their first steps or to those who earn their living from it. What we perform today is part of the “thread of time”, between past and future. In this 5th edi-tion of the International Summer Academy we will try to draw that thread of time around baroque dance itself, giving a relief of what was danced before 1650 and af-ter 1750. So, on the schedule you will find both French and Italian renaissance dance, as well as lat-er techniques such as Magri and Saint-Léon. Despite these little excursions in time, we will stick to our es-tablished structure of main and optional courses, surrounded by a framework of complementary training, all of them given by some of the best teachers to be found within the field. Our core values remain as always:
A clear focus on movement quality and body awareness.
A summer academy conceptu-alised by dancers for dancers.
Main baroque dance classes at four different levels with the Feuillet notated repertoire or contemporary baroque dance choreographies.
Optional afternoon courses open to all students present for the chosen week.
Morning warm-ups and late afternoon stretches, to keep the body fresh throughout the week.
A welcoming and friendly atmosphere promoting the ex-change of ideas and experiences.
Across the program, whatever you choose as optional courses, we make sure that you take care of your body and mind through a well-balanced schedule. Finally, although the academy is created and designed by dancers for danc-ers, if you are a musician, a singer, or an actor with dance experience, you are most welcome to join and develop your skills with us! Together with the dance depart-ment team at Löftadalen Conserv-atory, I am proud to present the programme for the 5th anniversary edition, and I hope to see you there!
Introduction
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Choosing your programmeThe core programme comprises the main baroque dance courses during the morning, featuring common warm-up sessions to start off the day and a stretching session to finish off before dinner. At the beginning of the week, on Monday and Tuesday afternoons, there are longer introductory work-shops with stretch and complementary training. This allows you to understand some of the concepts you will encoun-ter during the rest of the week. In the afternoons, you can add as much or as little as you wish to these core elements from the supplementary optional courses. It is an all inclusive week, so whether you want to fill up your days, or if you prefer to focus only on the core programme, the choice is entirely yours. However, even if you choose to fill up your afternoons with optional courses, there will always be time to
have a rest, go to the beach, train on your own, exchange with the other students, or whatever you wish to do during the three-hour midday break. The dance studios are free to use as much as you wish. The optional courses are open to students at both levels during each week and they are all given twice so that everyone has the opportunity to attend. Courses marked by A and B on the schedule will have the same con-tent. However, in July the course Music forms and Feuillet notation will be di-vided into two levels. When you register you must choose your main course level, plus the option-al courses you wish to attend. If you have any questions about the schedule, feel free to e-mail us at: academy@ baroquedancers.se.
Phot
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Ahlb
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Phot
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Glo
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Overwhelming! After this week I bring back not only a better technique but also a totally new approach to the character and interpretation of dance.
Schedule beginners & intermediate level 22–28 July Schedule advanced & professional level 5–11 AugustSu
n 22
.7
Chec
k-in
17.3
0–19
.30
DIN
NER
DIN
NER
DIN
NER
DIN
NER
DIN
NER
DIN
NER
BREA
KFA
STBR
EAKF
AST
BREA
KFA
STBR
EAKF
AST
BREA
KFA
STBR
EAKF
AST
BREA
KFA
ST
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
A-sa
len
A-sa
len
A-sa
len
A-sa
len
A-sa
len
A-sa
len
8.00
–8.4
5
9.00–
9.45
10.0
0–12
.45
16.0
0–17
.30
17.4
5–18
.30
18.4
5–19
.15
20.4
5–21
.45
19.3
0–20
.30
13.0
0–14
.00
14.0
0–15
.30
15.3
0–15
.45
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
Mon
23.
7Tu
e 24
.7W
ed 2
5.7
Thu
26.7
Fri 2
7.7
FARE
WEL
L D
INN
ER
PART
Y
Sat 2
8.7
Chec
k-ou
t be
fore
12 Note: Optional courses are given twice so that everyone has the opportunity
to attend, and those marked by A and B will have the same content. However, Music forms & Feuillet notation will be divided into two levels.Su
n 29
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Opt
iona
l cou
rse
Core
pro
gram
meIntermediate level
(Le Nuz)
Fren
ch fo
lk &
rena
issan
ce
danc
es A
(B
laise
)
Fren
ch fo
lk &
rena
issan
ce
danc
es B
(B
laise
)
Fren
ch fo
lk &
rena
issan
ce
danc
es A
(B
laise
)
Fren
ch fo
lk &
rena
issan
ce
danc
es B
(B
laise
)
Fren
ch fo
lk &
rena
issan
ce
danc
es A
(B
laise
)
Fren
ch fo
lk &
rena
issan
ce
danc
es B
(B
laise
)
Barre
s fle
xible
s A(L
e N
uz)
Barre
s fle
xible
s B(L
e N
uz)
Barre
s fle
xible
s A(L
e N
uz)
Barre
s fle
xible
s B(L
e N
uz)
Barre
s fle
xible
s A(L
e N
uz)
Barre
s fle
xible
s B(L
e N
uz)
Rena
issan
ce
danc
eev
ening
(Bla
ise)
Film
(Ced
erwa
ll Br
ober
g/M
odig
h)
Engl
ishco
untry
dan
ceev
enin
g(B
laise
)
A-sa
len:
Wel
com
e&
gene
ral
info
rmat
ion
Cram
ér
repe
rtoire
A
(Ced
erwa
ll Br
ober
g)
Cram
ér
repe
rtoire
A
(Ced
erwa
ll Br
ober
g)
Cram
ér
repe
rtoire
B
(Ced
erwa
ll Br
ober
g)
Cram
ér
repe
rtoire
B
(Ced
erwa
ll Br
ober
g)
Mus
ic fo
rms
& Fe
uille
t no
tatio
n 1(M
odig
h)
Mus
ic fo
rms
& Fe
uille
t no
tatio
n 1(M
odig
h)
Mus
ic fo
rms
& Fe
uille
t no
tatio
n 2
(Mod
igh)
Mus
ic fo
rms
& Fe
uille
t no
tatio
n 2
(Mod
igh)
Intermediate level(Le Nuz)
Intermediate level(Le Nuz)
Intermediate level(Le Nuz)
Intermediate level(Le Nuz)
Intermediate level(Le Nuz)
Beginners level(Blaise)
Beginners level(Blaise)
Beginners level(Blaise)
Beginners level(Blaise)
Beginners level(Blaise)
Beginners level(Blaise)
Yoga
– al
l(B
ergs
tröm
)Yo
ga –
all
(Ber
gströ
m)
Floo
r ba
rre –
all
(Ced
erwa
ll Br
ober
g)
Floo
r ba
rre –
all
(Ced
erwa
ll Br
ober
g)
Yoga
/st
reng
th/
stab
ility B
(Ber
gströ
m/
Cede
rwal
l Br
ober
g)
Stre
tch/
mas
sage
B(B
arke
vall)
Yoga
/st
reng
th/
stab
ility A
(Ber
gströ
m/
Cede
rwal
l Br
ober
g)
Stre
tch/
mas
sage
A(B
arke
vall)
Stre
tch/
mas
sage
– all
(Bar
keva
ll)
Stre
tch/
mas
sage
– all
(Bar
keva
ll)
Stre
tch/
mas
sage
– all
(Bar
keva
ll)
Stre
tch/
mas
sage
– all
(Bar
keva
ll)
Yoga
– al
l(B
ergs
tröm
)
Floo
r ba
rre –
all
(Ced
erwa
ll Br
ober
g)
FARE
WEL
L D
INN
ER
PART
Y
Core
pro
gram
me
Sun
5.8
Chec
k-in
17.3
0–19
.30
DIN
NER
DIN
NER
DIN
NER
DIN
NER
DIN
NER
DIN
NER
BREA
KFA
STBR
EAKF
AST
BREA
KFA
STBR
EAKF
AST
BREA
KFA
STBR
EAKF
AST
BREA
KFA
ST
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
Cram
érsa
len
A-sa
len
A-sa
len
A-sa
len
A-sa
len
A-sa
len
A-sa
len
8.00
–8.4
5
9.00–
9.45
10.0
0–12
.45
16.0
0–17
.30
17.4
5–18
.30
18.4
5–19
.15
20.4
5–21
.45
19.3
0–20
.30
13.0
0–14
.00
14.0
0–15
.30
15.3
0–15
.45
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
MID
DAY
BREA
K
LUN
CH
TEA
/CO
FFEE
Mon
6.8
Tue
7.8W
ed 8
.8Th
u 9.8
Fri 1
0.8
Sat 1
1.8
Chec
k-ou
t be
fore
12
Sun
12.8
Opt
iona
l cou
rse
Advanced level(Berreby)
Advanced level(Berreby)
Advanced level(Berreby)
Advanced level(Berreby)
Advanced level(Berreby)
Advanced level(Berreby)
Mag
ri
tech
niqu
e A(va
n Par
ys)
Mag
ri
tech
niqu
e A(va
n Par
ys)
Mag
ri
tech
niqu
e A(va
n Par
ys)
Mag
ri
tech
niqu
e B(va
n Par
ys)
Mag
ri
tech
niqu
e B(va
n Par
ys)
Mag
ri
tech
niqu
e B(va
n Par
ys)
Baro
que
danc
e te
ch-
niqu
e A
(Ber
reby
)
Baro
que
danc
e te
ch-
niqu
e A
(Ber
reby
)
Baro
que
danc
e te
ch-
niqu
e B
(Ber
reby
)
Baro
que
danc
e te
ch-
niqu
e B
(Ber
reby
)
Italia
n re
naiss
ance
danc
e A
(Gio
rdan
o)
Italia
n re
naiss
ance
danc
e A
(Gio
rdan
o)
Italia
n re
naiss
ance
danc
e A
(Gio
rdan
o)
Italia
n re
naiss
ance
danc
e B
(Gio
rdan
o)
Italia
n re
naiss
ance
danc
e B
(Gio
rdan
o)
Rena
issan
ceda
nce
even
ing(G
iord
ano)
Film
(Ced
erwa
ll Br
ober
g /M
odig
h)
Swed
ishco
ntre
dan
ceev
enin
g(M
odig
h)
A-sa
len:
Wel
com
e&
gene
ral
info
rmat
ion
Brea
thin
g in
m
ovem
ent A
(Ber
gströ
m)
Brea
thin
g in
m
ovem
ent A
(Ber
gströ
m)
Brea
thin
g in
m
ovem
ent B
(Ber
gströ
m)
Brea
thin
g in
m
ovem
ent B
(Ber
gströ
m)
Professional level(van Parys)
Professional level(van Parys)
Professional level(van Parys)
Professional level(van Parys)
Professional level(van Parys)
Professional level(van Parys)
Yoga
– al
l(B
ergs
tröm
)Yo
ga –
all
(Ber
gströ
m)
Gyro
kine
sis– a
ll(G
iord
ano)
Gyro
kine
sis– a
ll(G
iord
ano)
Stre
tch/
mas
sage
– al
l (B
arke
vall)
Yoga
– al
l(B
ergs
tröm
)Gy
roki
nesis
– all
(Gio
rdan
o)
Stre
tch/
mas
sage
– al
l (B
arke
vall)
Stre
tch/
mas
sage
– al
l (B
arke
vall)
Stre
tch/
mas
sage
– al
l (B
arke
vall)
Note: Optional courses are given twice so that everyone has the opportunity to attend, and those marked by A and B will have the same content.
Baro
que
danc
e te
chni
que
intro
B(B
erre
by)
Italia
n re
naiss
ance
danc
e B
(Gio
rdan
o)
Stre
tch/
mas
sage
A(B
arke
vall)
Stre
tch/
mas
sage
B(B
arke
vall)
Baro
que
danc
e te
chni
que
intro
A(B
erre
by)
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Introduction
12
Programme
Bathed from childhood in the world of performance arts, at the crossroads between dance and music, it was natural for Marie Blaise to develop professional skills and knowledge in the his-torical repertoires, where dance and music are indissoluble. She has a long career as a musician and dancer, and later also as a rehearsal director. All along, teaching has been an important part of her activities. In addition to historical repertoires, she has studied Polish folk dance with Isabelle Hérouard, in particular the five national dances that have given her a great pleasure and made an important contribution to her understanding of the large puzzle of dance. Marie Blaise has performed at festivals, theatres, opera hous-es, castles and other venues in France and internationally. She has mainly worked with Compag-nie de danse populaire française (Michelle and Michel Blaise) performing French folk dances, Compagnie Maître Guillaume (S. Rousseau) performing French renaissance dance with special attention to the relationship be-tween dance and music, and with Carles Mas performing Italian renaissance dance. She has also been dancer, choreographer’s assistant and rehearsal director with Compagnie l’Eventail (M-G Massé), as well as choreograph-ing a few productions of her own.
July
Marie Blaise will introduce you to her world of ba-roque dance, acquired through a long experience both as dancer and as teacher. Her classes will focus on finding a natural coordination of the movements and learning the basic steps of the baroque dance repertoire. Using inspiration from different movement techniques, she will propose exercises that specifically aim at helping dancers to find a free and easy manner in the famous baroque “oppositions”. Step sequences from some of the most emblematic choreographies of the repertoire, found in the trea-tises published around 1700, will be at the core of the work, and you will also get to learn one dance in full. The accent will lie on musical quality and the exac-titude of execution, especially regarding space. You will also get to personalise the arm movements that accompany the steps, taking the description in the treatises as a point of departure. In order to keep the learning process smooth and diverting, while learning to pay attention to the other dancers in the group, Marie will also teach a contre danse. This will give you an opportunity to dance in a relaxed and companionable manner, liberated from the difficulties of arm coordination.
Marie Blaise
Programme
Inte
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ebec
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B E G I N N E R S L E V E LMain course
Core programme
14 15
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ProgrammeProgramme
I N T E R M E D I AT E L E V E L A D VA N C E D L E V E LMain course Main course
July
On this level, you will first explore in detail Pécour’s choreography Sarabande à deux (published 1704) from Campra’s opera Tancrède. Apart from technical elements to build the musical and spatial structure, Robert will lead a reflexion on French style in ba-roque dance. The theatrical range of ports de bras will be carefully studied to reveal the characters in this Air des plaisirs. Besides this, L’Abbé’s composite dance The Royal George (1717) will be used to allow students to exper-iment an English ball dance, and the aesthetic gap from Pécour’s choreography. The different dance qualities, the new combinations of steps and the mu-sical contrast will challenge the dancer’s adaptability and their skills in anticipation. The aim is also to see how independency from the notation and trusting the principles of baroque dance can help the dancing couples to develop their personal interpretation of the choreographies. By his individual guidance, Robert wishes to stimulate a creative atmosphere in the class. Dancing with clari-ty and freedom, in search of the natural and evident.
Trained in ballet, Robert Le Nuz graduated as physiother-apist and ballet teacher. His interest for body awareness led him to be a specialist in Barres flexibles and in Body analysis for dance (AFCMD). He cur-rently teaches ballet, baroque dance, anatomy and AFCMD in various contexts for students, professional dancers and dance teachers in France and Europe. He discovered baroque dance thanks to the peda-gogues Françoise Denieau, Marie-Geneviève Massé and Béatrice Massin. Since then, he has danced in produc-tions choreographed by M-G Massé/L’Éventail (Le Roi danse!, Les Amants Magnifiques, Voy-age en Europe) or F. Denieau (Rameau – maître à danser, Vénus & Adonis, Rinaldo) and performs for Sigrid T'Hooft/Corpo Barocco in Imeneo, Deda Cristina Colonna in Ar-mide or Gudrun Skamletz in Cadmus & Hermione. Along his career, he has worked under the musical direc-tion of William Christie, Vincent Dumestre, Hervé Niquet, Diego Fasolis, Patrick Cohën-Akenine and Laurence Cummings. He has performed in France (Opéra Comique, Comédie-Française etc.) and abroad (Seoul, Mex-ico, Moscow, Potsdam, Inns-bruck, Utrecht).
Robert Le Nuz Sarah Berreby
Sarah Berreby will start her course by awakening all parts of the body through basic movements and a focus on real consciousness of the different moving elements. Placement and alignment of the articula-tions will be at the core of our attention during this first part of the class, and certain exercises will be inspired by the basics of Wilfride Piollet’s training method Barres flexibles. She will then move on to movement sequences in-cluding steps and the way they play and interact with space and music. Excerpts from the Feuillet notated repertoire will be used, as well as combinations of Sarah’s own invention, in solos or duets. To finish off, you will work on repertoire choreographies, aiming for a precision in movement as well as in interpreta-tion. The pleasure of movement will be an ever-pres-ent ingredient throughout the work with Sarah.
Sarah Berreby was 1st prize laureate in classical ballet at Conservatoire de Versailles, and then pursued a diploma in contemporary dance at CNSM in Paris. She started her career at Lyon Opéra Ballet and Ballet du Nord in a varied repertoire from G. Balanchine to P. Taylor, via J. Muller and R. North. In 1997 she turned towards baroque dance and has worked with B. Massin’s Fêtes Galantes (Water Music, Que ma Joie Demeure, La Belle Dame, Atys), M-G Massés L’Eventail (Don Juan, Les Petits Riens, Métamor- phose(s), Les Ballets de Noverre), and C Bayle’s L’Eclat des Muses. Sarah holds a dance teacher’s diploma and has taught at Ecole du Ballet du Nord and conser-vatories including CNSMD in Lyon. She has given workshops at Chaillot, Opéra de Paris and Château de Versailles, is a notator of Benesh movement and has been choreographer’s assistant to J. Guizerix. Since 1989 she has worked close to W. Piollet on the development of the technique Barres flexibles. Sarah’s choreographical work includes Les Nations with M. Chappuis, Psyché for Opéra de Toulon and Bach et la danse and Rigodon with F. Lazarevitch, as well as the film Le Bal de la St Jean, directed by F. Athié.
AugCore programmeCore programme
16 17
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ProgrammeProgramme
Natalie van Parys studied ballet and modern dance be-fore giving her career over to research, creation and perfor-mance of French 18th century dance. As a baroque dancer and assistant choreographer in the companies Ris et Danceries (F. Lancelot) and L'Eventail (M-G Massé), she featured as soloist in numerous perfor-mances for international tours and operatic productions.As a choreographer and stage director, she has worked with productions including Bach's Amadis de Gaule (M. Bo-zonnet, Le Cercle de l’Harmo-nie, Opéra-Comique de Paris), Rameau's Hippolyte et Aricie (I. Alexandre, Le Concert d’As-trée, Paris National Opera), Mozart's Apollo et Hyacinthe (Les Folies Françoises, Philhar-monie de Paris), and Rebel’s Caractères de la danse and Ra-meau’s Pygmalion (Les Talens Lyriques, Potsdam and Inns-bruck). She has also written, di-rected and performed the DVD The Art of Baroque Dance, from Page to Stage (2007). As a researcher, Natalie is currently working on a project for the Centre National de la Danse: “The missing links: Trattato di Ballo di Gennaro Magri (1779), into the technical evolution of the Academic Dance in the XVIIIth and XIXth centuries”.
What happened with belle danse before the appearing of the classical ballet technique? Starting from that main question, Natalie van Parys proposes a journey into the fields of the vocab-ulary and style evolution of the academic dance from Pierre Beauchamps to Michel Saint Léon. From the most beautiful dance notations by Pécour, the course will take a “jeté” to the technique of the beginning of 19th century (the pre-romantic period), in order to explore the “new style” of Auguste Vestris. We will discover how the ballet class has been constructed, based on the ornaments of belle danse, and how the dance training was then re-organized to be able to answer to new demands on technical performance. We will observe and feel how the technique has kept a continuity through the roots of the baroque steps and how, at the same time, the range of move-ments ask for a completely new physical perfor-mance. In this course you will get to taste the charm of both the belle danse repertoire, as well as interpre-tations of the pre-romantic technique.
Natalie van ParysP R O F E S S I O N A L L E V E LMain course
AugCore programme
Stretching/massageCore programmeSofia Barkevall
A F T E R N O O N C L A S SAugJuly
Sofia Barkevall received her Dance Teacher diploma from the University College of Dance in Stockholm in 2002, and has since been working as a Dance Teacher and Admin-istrator at Löftadalen Conser-vatory. While working on tensions in her own body, she became interested in stretch and mas-sage as a valuable tool in sup-port of enhancing dance. In 2012 she studied at Axel-sons Gymnastiska Institut, Stockholm, and since then has also been working as a medical massage therapist. In 2015 Sofia started a four-year university education to become an osteopath at the Scandinavian School of Oste-opathy.
Stretching oxygenates and relaxes the muscles in limbs and other parts of the body. The benefits include improved blood circulation, which contributes to pre-vention from illness and to recovery. Loose muscles are less prone to strains and sprains during a workout. Elongating your muscles will also improve your posture and the range of motion of your joints. We all have different areas of our bodies that become tight or can hurt. In these classes we will work on how to find the best way to stretch and elongate your muscles for your specific needs. By studying anatomy we will gain an inner perspective, affording a deeper under-standing of how stretching can help you. These classes will also explore deep tissue massage therapy. The therapy applies deep pressure which helps to release chronic muscle tension. Its focus is on the deepest layers of muscle tissue, tendons and fascia (the protective layer surrounding muscles, bones and joints). Massage therapy not only relieves stress and encourages relaxation. It also helps to manage pain, improves the flexibility and range of motion, plus it relaxes muscles and lowers blood pressure.
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Programme Programme
Gloria Giordano
Gloria Giordano will prepare our bodies and minds for the day to come through g y rok i n e si s® sessions. In this training, one’s entire system is awakened and brought into greater balance. Focus on breathing stimulates the nervous system resulting in a sense of calm, wellbeing and mental clarity.
M O R N I N G W A R M - U PGyrokinesis
AugCore programme
To realise how we can improve our dance technique, we must grow our awareness of how the body and the mind work together. We need to be able to remind ourselves of the importance of patience and practice. In the morning yoga classes we will gently wake up the body and the mind, and prepare ourselves to stay focused throughout the days. Ottilia is a *ry t-200 yoga teacher. She teaches dynamic yoga classes where the body’s biomechanics and the condition of the joints are in focus. In order to maintain a strong and healthy body Ottilia teaches easy techniques that give you more awareness of how your mind, breath and physical body are connected. With these techniques you will be able to prevent injuries, and build a stronger body. The classes are built in a flow, from warm-up, to strengthening positions, to flexibility exercises, and finishing off by soft and gentle relaxation.
Ottilia Bergström M O R N I N G W A R M - U PYoga
Core programme AugJulyJuly
Floor barre is a workout that dancers use to improve their posture and their shape, also to strengthen their core abdominal muscles. It is designed to increase flexibility, coordination, strength and control, and to improve technique (including turnout of the hips) as well as alignment. The exercises are performed on the floor and are based around typical ballet-type movements that are performed supine, lying on the side, prone and seated. Lena’s floor barre classes will cover a range of strength-ening and stretching exercises, working through the sagittal, the frontal and the transverse plane.
Lena Cederwall BrobergM O R N I N G W A R M - U PFloor barre
Core programme
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ProgrammeProgramme
French folk & renaissance dancesBarres flexiblesOptional course JulyOptional course July
Marie BlaiseRobert Le Nuz
What were the roots of baroque dance? Did the in-spiration come from earlier court dances or from folk dances, or did it perhaps travel to France from other countries and cultures? Answers are probably not so simple and perhaps will remain elusive through the passing of time. In this course you will get acquainted with some of the other layers of French dance surrounding the baroque belle danse, from folk traditions in the differ-ent regions of the country, and from the renaissance. Marie Blaise will take you on a journey in time and social contexts, teaching the basic steps and some of the easier regional folk dances. In addition, you will come into contact with an-other method of transferring weight, including the indispensable ‘suspension’ characteristic of this rep-ertoire. If arm coordination is no longer a challenge here, it will be another way of using the body that will be put in question.
In this course, Robert Le Nuz will reveal the basics of the Barres flexibles, created by Wilfride Piollet (former étoile at the Paris Opéra Ballet). In this training method, the usual support of the wooden barre is replaced by objects like balls or by self-support and visualization. Creating a barre flexible is connecting anatomical elements in your body, forming the source of support and freedom in movement. You get feedback about balance, alignment and organization, through postural muscle activity. Attention to gravity and internal architecture aims at a better consciousness of the dancing body in relation to space. We will work on arm and shoulder girdle mobility, spine support and coordination in relation to the specificities of baroque dance arm movements. Through parallel and turned-out positions, we will focus on muscle harmonization, on precision in positions and on movement qualities in between the positions. Exploring new body paths is an exciting way to develop creativity and pursue fulfilment in dance!
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Magri techniqueNatalie van Parys
Gennaro Magri’s 1779 treatise Trattato teorico-prattico di ballo is an important part of the evolutional chain in European dance history. New steps appear, such as fouetté, développé and brisé, which will continue to be used in the classical ballet. Through class exercises and step routines, you will experience the difference between the styles of Pécour and Magri. After that, you will get the opportunity to interpret Natalie’s recent choreographies from the production of Rameau’s 1733 Hippolyte et Aricie, performed as part of the repertoire of the Paris National Opera.
Optional course Aug
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Programme Programme
Karin Modigh is a dancer, cho-reographer and teacher based in Paris, and the director of Nordic Baroque Dancers. She initially trained at the University College of Dance in Stockholm, before continuing her studies in France, mainly with M-G Massé and F. Denieau. She has worked with chore-ographers such as D.C. Colonna (Armide in Warsaw, Potsdam and Innsbruck), I. Ginger (Le Destin du Nouveau Siècle in Paris), S. T’Hooft/Corpo Barocco (Ime-neo, Odeo, Amadigi, Radamisto in Göttingen, Antwerpen and Karlsruhe), M-G Massé/L’Eventail (Les Ballets de Noverre, Don Juan at Opéra de Versailles, Opéra Comique de Paris and Drottning-holm), C. Copeland/C. Fittante (Almira, Niobe in Boston), L. Baert (Budapest and The Netherlands) and F. Denieau (L’Egisto in Paris). Karin has choreographed for theatres and festivals, and in summer 2018 she directs and choreographs an opéra-ballet at Vadstena-Akademien. She holds a dance teachers’ diploma and has taught baroque dance and movement at universities and col-leges in Stockholm and Gothen-burg, as well as conservatories in France. She has been awarded grants from the Friends of the Drottningholm Theatre and the Swedish Arts Grants Committee. In 2012 she received the Swedish Early Music Award.
Optional course July
Cramér repertoire Music forms & Feuillet notationOptional course July
Lena Cederwall Broberg Karin Modigh
Ivo Cramér was one of the greatest choreographers in Sweden during the 1940’s. Together with Birgit Cullberg, he introduced modern-contemporary dance to the Swedish audiences. During the period 1975–1980, he was also Director of the Royal Swedish Ballet. He recreated several of the 18th century ballets produced in Stockholm, including La Dansomanie, and Harlequin, Magician of Love, which he also staged at Opéra Comique in Paris. These are light- hearted ballets, which are lyrical and full of gaiety. In 1989, Ivo Cramér restaged La Fille Mal Gardée, to the original music in Nantes, to mark the 200th anniversary of the French revolution. Three years later, he created Jason et Médée in Strasbourgh for the Ballet du Rhin. Ivo Cramér’s repertoire is, just as with the choreographies of Francine Lancelot, part of the 20th century baroque dance legacy. Lena Cederwall Broberg will teach an excerpt from Colombine and Pantalone, a pantomime-ballet inspired by a letter from Mozart to his father. This ballet was performed by Nordic Baroque Dancers in 2012. She will also teach the female solo The Shoemakers girl, which is an excerpt from the exuberant ballet-pantomime La Dansomanie. The piece was danced by the Royal Swedish Ballet at Drottningholm Theatre in 1976, as well as by the Ballet de I’Opéra de Paris in 1986, with Rudolph Nurejev in the main role. Lena’s classes will give students the opportunity to get an insight in Ivo Cramér’s fantastic and inexhaustible treasure chest.
This year we merge two of the previous year’s pop-ular courses in music and Feuillet notation into one. Karin will guide you through the characteristics of some of the most common music forms of baroque dance, and then take a look at how to read and no-tate the most representative steps of each form in the Beauchamps-Feuillet system. Around 450 chore-ographies still survive from the baroque era in this notation system, and many of them are nowadays available online. Level 1 is for students who have no previous knowl-edge of Beauchamps-Feuillet notation. Karin will guide students through the basics of the system. Level 2 is for students who are able to decipher the basics, and who want to progress further.
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Lena Cederwall Broberg is Ar-tistic Director and founder of the dance programme at Löftadalen Conservatory. She holds a degree in Dance and Dance Pedagogy from the University College of Dance in Stockholm. Lena has a wealth of experience as both dancer and choreogra-pher within modern and contem-porary dance, musicals, TV and family shows in Sweden. She also holds a choreology diploma in Benesh Movement Notation from the Royal Acad-emy of Dance in London. For many years, Lena was the Re-hearsal Director and Assistant of Ivo Cramér, and today she is re-sponsible for maintaining his ar-tistic legacy through the Cramér Foundation. She has also been rehearsal director for Nordic Baroque Dancers, and in 2015–2016 she worked with the CND project Danse en Amateur et Repertoire, Drottningholm Suite in Paris, with the youth company Les Danseurs en Herbe.
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ProgrammeProgramme
Italian renaissance danceGloria Giordano
This course focuses on the technique and style of Italian dance between the end of the 16th and the beginning of the 17th century. The work is based on the interpretation of the repertoire described in the manuals of Fabritio Caroso, Il Ballarino (1581) and Nobiltà di dame (1600), and Cesare Negri, Le Grazie d’amore (1602). Particular attention will be given to “dances with variations” (otherwise known as mutanze, the word used at the time) such as passo e mezzo, tordiglione and gagliarda. In these dance types, dancers are encouraged to show off their technical skill and inventiveness. Also, they clearly show how much the dance, and in particular the gagliarda, was considered as a real exercise, adapted to meet the noblemen’s’ need to train their bodies for the recreational activities of peacetime and for the force of wartime.
Optional course Aug
Gloria Giordano is a dancer, choreographer and scholar of historical dance. She teaches Dance Theory at the National Academy of Dance in Rome, where she originally graduated in classical ballet. She continued her studies in Italian and French dance from the 15th–18th centuries with C. Bayle, A. Feves, F. Lancelot, B. Sparti and A. Yepes. In 1985 she co-founded La Follia (F. Sparapani, Florence) and she has also performed with inter-national companies, lately A. Yepes/Donaires in Paris and H. Hazebroucq/Doulce Mémoire. Gloria has choreographed for operas by Monteverdi, Purcell, Mozart and Händel at festivals including Innsbruck (L’Orontea by Cesti) and Macao (Acis and Galatea by Händel). She took part in the “Opera Bhutan 2013” project with Acis and Galatea and “JapanOrfeo” (Orfeo by Monteverdi). In 2005 she edited the fac-simile publication of Balletti by Grossatesta (Venice, 1726) and, with A. Pontremoli, the Barbara Sparti anthology Dance, Danc-ers and Dancing Masters in Renaissance and Baroque Italy (2015). She is regularly invited to teach at music conservato-ries in Italy and abroad.
Baroque dance techniqueSarah Berreby
This course will be devoted to the practice and anal-ysis of certain technical elements of baroque dance. The movements and their particularities will be analysed and explored in connection with Wilfride Piollet’s training technique Barres flexibles. Drawing from her multiple paths as a dancer, a pedagogue and as a Benesh movement notator, Sarah will share with you a sensorial experience, like a jour-ney at the heart of the steps. The aim is to find a way to tackle certain choreographical elements with more serenity.
Optional course Aug
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Programme Programme
Breathing in movementOttilia Bergström
The way we breathe affects our lives and the way we live affects our breathing … In dance training we focus a lot on the way our bodies respond to the instructions we send from our brain. In order to do this as correctly as possible we need to develop that focus and learn how to keep our concentration. When we train our bodies we easily forget that we sometimes need to slow down in order to keep going – exercising breathing techniques will help us notice when we need a break. By listening to our breathing we learn how to adjust it, which re-flects on the way we act and behave in situations that sometimes can be stressful. In this way our bodies and our minds will stay better focused, more relaxed and be more susceptible for new information. In this course Ottilia will teach several different ways to use your breathing in order to find focus and calmness whenever necessary, as well as exercises to be more awake when the body is tired. You will learn how to listen to your breathing and how you can use it as a tool, both when you are dancing and in your everyday life, to reduce stress and keep a positive mind.
Optional course Aug
Ottilia Bergström started her yoga training in 2006 and has been teaching yoga for dancers since 2010. In 2015 she completed her Viryayoga teacher training and became a *RYT-200 (Registered Yoga Teacher, 200 hours) at The Yoga Alliance. Educated at the Iwanson International School of Con-temporary Dance, Ottilia is also a professional dancer and choreographer. She teaches modern, contemporary, jazz and street dance at Löftadalen Conservatory, and is active as a choreographer and dancer in various productions.
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Introduction
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The surroundingsLöftadalen is a boarding school conser-vatory on the west coast of Sweden. It is beautifully situated on a hill overlooking the sea approximately 50 km south of Go-thenburg. There is a beach just beneath the school, within 5 min walk. About a 10 min walk in the opposite direction is Åsa, a small countryside community with a su-permarket and some other facilities includ-ing a post office and bakery.
Meals & accommodationAs Löftadalen is a school and not a hotel, accommodation is in double rooms in an area adjacent to the main building. How-ever, there is a limited number of single rooms available. In the school restaurant the chef supervises the quality of the meals, keeping high standards with healthy food adapted for moving bodies, and offer-ing vegetarian and dietarian alternatives.
Arrival & departureArrival time is on Sunday afternoon and we are available for check-in between 17h30 and 19h30. Check-out is after breakfast on Sunday the following week. Both weeks close with a farewell dinner on Saturday night. In order to focus en-tirely on the learning process, there is no final presentation of student work.
Language & age limitAll courses are held in English, unless stated differently. The minimum age for participants is 16 years. There is no upper age limit, but keep in mind that baroque dance demands strong feet, legs and core muscles.
How to get thereLöftadalen Conservatory is located in the village of Åsa at the Swedish countryside. To get there by train, go to Kungsbacka Station and then take a bus to Åsa. Kungs-backa is served by regular trains from Go-thenburg central station (journey time 30 min) and Copenhagen airport (direct train journey time 3.5 h), so if you fly in from abroad we recommend either of those airports. From Kungsbacka, the bus 732 to Åsa idrottsplats (in direction Frillesås), runs about once per hour and takes 30 minutes. Before booking your flight tickets, please make sure to check your train and bus connections, using these sites:www.sj.se Trains within Swedenwww.vasttrafik.se Bus 732 Kungsbacka- Åsa idrottsplats (direction Frillesås) www.baroquedancers.se Map and infor-mation on how to get to Löftadalen By car exit the E6 motorway at junction 58 if driving south (from Gothenburg) or at junction 57 if driving north (from Malmö). Åsa is a well signposted short drive to the coast from either junction.
Main course levelsBEGINNERS 22–28 JULYWhether you are a dancer or a dance stu-dent new to the genre, a singer, musician, actor or other, this is the opportunity to get a thorough introduction to the world of baroque dance. For the beginners level you do not need any previous experience of the genre. However, we expect you to be a mover with a general dance experience, be in good shape, be used to regular physical activity, and to possess good general body awareness. Please be aware that baroque dance is no less demanding than most oth-er dance forms, and typically puts a lot of strain on feet, calves and core muscles.
Practical information
Practical information
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INTERMEDIATE 22–28 JULYThis level is aimed at dancers, dance stu-dents and dance teachers with a basic knowledge of the baroque dance vocab-ulary, as well as non-professional dancers with solid baroque dance experience.
ADVANCED 5 –11 AUGUSTTo the advanced level we welcome profes-sionally trained dancers, dance students and dance teachers with a thorough know-ledge of the baroque dance vocabulary. Please note that we ask for a short CV if you register for this level.
PROFESSIONAL 5 –11 AUGUSTThis level is aimed at professional dancers with a professional baroque dance expe-rience. Please note that we ask for a short CV, as well as a link to a video sample of a stage performance, if you register for the professional level.
The morning warm-ups, afternoon classes and optional courses are open to all stu-dents present during each week, and we try to mix the groups as far as possible so that you get to know more people than just your morning class colleagues.
FeesThe International Summer Academy is all-inclusive, except travel costs. Fees include accommodation, meals and all classes: ➤ Double room: 5 250 SEK (ca. €530) ➤ Single room: 6 650 SEK (ca. €670)
The fees are applicable for both the July and the August course, and remain the same whether you choose all or none of the optional courses.
ScholarshipsSince 2015 we award two scholarships per year: Löftadalen Summer Academy schol-arship, in memory of Ivo Cramér. Each scholarship covers 50% of the fee in double room accommodation, and they both aim at professional dancers or dance students with any level of pre-knowledge in baroque dance. Dancers from all nation-alities are welcome to apply. Please send in your scholarship appli-cation before 1 April to: [email protected] Your application should be in the form of a short CV and a few lines saying why you wish to study ba-roque dance. The selection will be made by Löftadalen Conservatory and Nordic Baroque Dancers.
Application for the advanced & professional levels in AugustIf you want to join the advanced or profes-sional level, we kindly ask you to hand in a short CV. The CV should state your previ-ous and current general dance training as well as your experience of baroque dance. For the professional level we also ask you to send a video sample from a stage perfor-mance, preferably as a youtube/vimeo link.
RegistrationTo register, please fill out the form posted at www.baroquedancers.se You can also fill out the form on the next page, scan and e-mail to: [email protected] If you register for the August week, please don’t forget to attach your CV, as well as a video link for the professional level. When we have received your registra-tion, we will send a confirmation and in-voice by e-mail, asking you to pay the fee within a period of two weeks. Payment is to be made via bank transfer or PayPal.
Practical information
Full name:
Full address:
E-mail:
Phone number:
Main course levelBeginners 22–28 July (Marie Blaise)Intermediate 22–28 July (Robert Le Nuz)Advanced 5–11 August (Sarah Berreby)Professional 5–11 August (Natalie van Parys)
Optional courses 22–28 JulyFrench folk & renaissance dances, 3 days (Marie Blaise)Barres flexibles, 3 days (Robert Le Nuz) Cramér repertoire, 2 days (Lena Cederwall Broberg)Music forms & Feuillet notationlevel 1, 2 days (Karin Modigh)Music forms & Feuillet notationlevel 2, 2 days (Karin Modigh)
Date of birth:
Optional courses 5–11 AugustMagri technique, 3 days (Natalie van Parys)Italian renaissance dance, 3 days (Gloria Giordano) Baroque dance technique, 2 days (Sarah Berreby)Breathing in movement, 2 days (Ottilia Bergström)
AccommodationDouble room, 5 250 SEKSingle room, 6 650 SEK
I would like to share accommoda-tion with (optional):
Other information (vegetarian/veg-an, allergies, etc.):
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Please note that your registration for partic-ipation is binding and the full fee has to be paid within the given timeframe. You may cancel your place on the course up to 60 days before the starting date and receive full repayment of any advance fees. Courses can-celled by yourself after that time will incur a charge of 50% of the all inclusive price.
No repayment will be made if you quit during the duration of the course. However, if you provide a doctor’s certificate, you will get full reimbursement. The maximum number of participants at each week is 35. If you have any questions, feel free to e-mail us at: [email protected]
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Registration form
Bravo, go on. This has become the place to work on belle danse and baroque dance. You have everything to make it last: the setting, the intelligence, generosity, competence, passion, love of people and of dance. Thank you, tack.
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