The duet is the core constellation of our CI practice and will also be a base in this Workshop. I love its clarity of relating to one person only, yet not being alone, negotiating together weight, direction, dynamics while hearts are tuning. Clarity and complexity in a sweet mix. We can dive deeply into the technical side of the form and will do this.
The mysterious web of satisfying jamming though needs more than that. Soloing and Trios are the base for expanding beyond the common duet bubbles. I love the complexity of trios, their unpredictability, the amount of unknown, the surprises and challenges, possible flow and the beauty of problem solving, compositional pleasure and sometimes refreshing weirdnesses. There is a dynamic to trios that asks for calmness, ease and simplicity in order to let go into the openness. Such a rich place for dancing … and life. And technically new things are possible : )
I had such an inspiring time with this material in Melbourne in June and another one coming in Berlin. Will pick the ‘best of’ for this Workshop.

Participants should be familiar with the basic weight-sharing principles) in CI. In doubt check in with us.

I am very happy that Taheli Teram will assist me : )

— more details coming soon —

Words from Jörg

“There is a quality in my dance and in many advanced Contact Improvisers that I don’t really know how to teach. It is about momentum and flow; it feels like surfing gravity, or moments on a rope swing, or flying by using the density of the air. There is acceleration, suspending, hovering in the unknown, weightlessness, and a delicious knowledge about slowing down, taming, or containing momentum.

I’d like to spend more time than I usually dare in my teaching with solo and bodywork-ish explorations, to let these qualities sink into the body – like rebounce, recoil, micro-falls, swinging, sloshing, shaking – so that the body slowly and gradually soaks them up like a sponge. So that these qualities are effortlessly present in our dance.

I also want to include the question around tonality: how can we train multiple muscular tones in the body and use strength while staying in a listening, responsive state?

My teaching and exploring lives in polarities. Stillness, alive pausing, micro-movements, and micro-dialogues are becoming more and more precious to me. They expand our options and aliveness, and bring an intuitive compositional flavour to our dancing.

Witnessing work will support our presence and become a glue for us working as a group.

I also wish to establish a labbing culture, where we support each other to move towards our growing edges – doing the things we avoid or feel we never practice enough, where fear patterns kick in in a limiting way. Simple or challenging pathways can be a starting point.

The labbing will be seeded in the first seven days and will become our main way of working in the additional last two days.

The main learning and integration will probably happen in the dance.

I wish that we dance a lot.”

Words from Jörg

“There is a quality in my dance and in many advanced Contact Improvisers that I don’t really know how to teach. It is about momentum and flow; it feels like surfing gravity, or moments on a rope swing, or flying by using the density of the air. There is acceleration, suspending, hovering in the unknown, weightlessness, and a delicious knowledge about slowing down, taming, or containing momentum.

I’d like to spend more time than I usually dare in my teaching with solo and bodywork-ish explorations, to let these qualities sink into the body – like rebounce, recoil, micro-falls, swinging, sloshing, shaking – so that the body slowly and gradually soaks them up like a sponge. So that these qualities are effortlessly present in our dance.

I also want to include the question around tonality: how can we train multiple muscular tones in the body and use strength while staying in a listening, responsive state?

My teaching and exploring lives in polarities. Stillness, alive pausing, micro-movements, and micro-dialogues are becoming more and more precious to me. They expand our options and aliveness, and bring an intuitive compositional flavour to our dancing.

Witnessing work will support our presence and become a glue for us working as a group.

I also wish to establish a labbing culture, where we support each other to move towards our growing edges – doing the things we avoid or feel we never practice enough, where fear patterns kick in in a limiting way. Simple or challenging pathways can be a starting point.

The labbing will be seeded in the first seven days and will become our main way of working in the additional last two days.

The main learning and integration will probably happen in the dance.

I wish that we dance a lot.”

Ich sehne mich nach einer Lebendigkeit, die weniger im Hinzutun sondern mehr im Weglassen gedeiht. Kein grösser,
schneller, weiter, sondern die Frage: Was ist denn schon da? Wo ist schon Bewegung, die nach aussen vielleicht gar nicht
sichtbar ist. Da ist ein Schweben und Schwimmen, wo viele Richtungen offen sind. Ganz körperlich – und im Geist verhält
es sich überraschend ähnlich.
Dieses Erleben von Flüssigkeit oder Flüssigsein mag sich gerne auch in grössere Bewegungen ausbreiten. Sequenzielle
Bewegungen, die durch die Wirbelsäule schlängeln, Schwünge von Armen und Beinen. Fallen und Fliegen sind da nicht
weit weg. Aber es bleibt in der Regel aufwandsarm, es sei denn die Muskeln bitten um mehr Krafteinsatz.
Wir werden uns in die Polaritäten von Stille und Bewegung ausbreiten, Detail und Ganzheit, Körper und Raum.
Präzise Forschung im Solo und in der CI-Technik, offene Räume fürs geschehen lassen. Wir nähren CI-Technik über
wache, durchlässige, zuhörende Körper. Geläufige und abstruse Pathways werden Ausgangspunkt für freieres
Experimentieren.
Vielleicht wesentlicher als all das ist unser Zusammenleben auch über das Tanzen hinaus, in den Pausen, beim Kochen,
in den Abendstunden auf der idyllischen Fraueninsel.
Für Fortgeschrittene. Damit meinen wir Menschen, die mit CI-Prinzipien und Technik tief vertraut sind, sich ihrer Grenzen
bewusst sind und sich durch offene Formate auch mit gelegentlichem Verloren sein navigieren können.

Wann: 20. – 24. Januar 2027
Zeiten: Mittwoch 17.00-19.00, Do, Fr & Sa 10.00–13.00 + 15:30-18.00, Sonntag 9:30-12.30 + 14.00-16.00
Wo: Kloster Frauenwörth, 83256 Fraueninsel, Chiemsee, DE
Beitrag: bei Anmeldung bis 8.12.26: €320-370,-, danach 360-420,-
Hinzu kommt die Zimmerbuchung auf der Fraueninsel,
die über das Anmeldeformular erfolgt.

Anmeldung unter diesem Link https://forms.gle/uNfhc1fc99qA6Gk1A
Fragen an [email protected]
Versicherung ist Sache der Teilnehmenden.