Original images Judith van der Made, (workshop Den Haag, 2016)






d a n c e


Classes focus on sharpening the skills of the dancer as the maker of the dance.


The purpose of developing technique is to create movement that involves the senses, emotion, imagination and intelligence. This requires the dancer to deal with the speed with which the body handles and digests physical and mental information.

Here the moving mass of the body must be handled so it fulfils the dynamic purpose of the dance. By aligning the urgency of the action with the spatio-temporal reality in which composition takes place every part of the body must serve to express the life that vibrates within it and through it.

From its birth to its completion each move aligns the base of the spine where, mechanically, motion is initiated, to different energetic and physical centres of creativity in the body. A work that is both physical, spiritual and practical.

Classes deal with birth and death, mythology, narrative, the filmic without screen, abstract or graphic qualities, the atmospheric and ambient, the crude and the raw, metaphor, and other areas of study that are of interest at that moment.

The teaching allows room to work individually to refine compositional abilities as well as further one's skills in composing with others.



p o e t r y


A great number of classes involve the poetic voice as an essential, primal means to making dances.


The vocal, emotional, physical and mental work demanded to make poetry that emerges from the body dancing is initially two-fold:

- first is to become conscious of the kinetic power of a particular word. This is the inevitable power of a word to move, to set something in motion or/and to spur action, emotion, thinking…
- second is to lace a word with a move or a word with a word. Here one learns to handle, read, enrich the kinaesthetic experience when single words or phrases are produced from a moving/dancing body.

It is the combination and training of these two skills that enable the dancer to be a vehicle through which poetry can resonate in a three-dimensional, dynamic complex of space, time, voice, scale and matter.







The teachings stem from the artistic practice
which at its base involves both dance and poetry.

In class it is necessary/possible
to devote separate time to each
in order to add to their individual potency.

The aim is to have dance and speech coexsist to a level
where one can lock into the other
and they can function as one medium
conveying imagery.



- click on teaching at the top to close






10-18h

B O D Y  T O N G U E  L I G H T

This course investigates the nature of speech in relationship to the dancing body. New concepts are introduced and through clear instruction the dancer / poet is able to align a word or a series of words with the intention of the movement.

EDEN, Breitestrasse 43, 13187 Berlin


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10-11h30

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.

La Rafinnerie, Manchesterstraat 21, 1080 Brussel


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10-16h

C O M P O S I T I O N  in  D A N C E  and  P O E T I C S

An essential class for dancers wanting to explore and produce poetry in performance. The course investigates the relationship between words and gravity through effective use of the body’s anatomy.

This course is part of a full programme in 'Danse, Improvisation, Créativité'.

UNIVERSITY OF LILLE


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10-11h30

C O M P O S I T I O N A L   S K I L L S



LUCA, Paleizenstraat 79, 1030 Brussels


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10-11h30

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.

DOCK 11, Kastanienallee 79, 10435 Berlin


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10-16h30

This workshop introduces space as a catalyst for generating speech from a body in motion. It looks at physical, dimensional elements that inspire movement and facilitate the utterance of words. The aim is to align the creativity of the talking body with the refined energies of the dancing body.



Studio Hybrid, Rue de l'Intendant 111, 1080 Bruxelles


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10-11h30

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.

DOCK 11, Kastanienallee 79, 10435 Berlin


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10-16h

M I M E S I S

contact and sign up: info@secretteachings.net



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full day

A R R O W S  I N ,   A R R O W S  O U T

contact and sign up: robi.stepankova@gmail.com



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10h30-16h30

B O D Y   T O N G U E   L I G H T

In essence the work is to have both the words and the movement individuate so that what is imagined can house both equally.

Register: billiehanne (@) gmail.com


Garage 29, Rue Moerkerke 29, 1030 Brussels


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10-11h30

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.

DOCK 11, Kastanienallee 79, 10435 Berlin


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10-11h130

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.

DOCK 11, Kastanienallee 79, 10435 Berlin


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10-16h

M I M E S I S

contact and sign up: info@secretteachings.net



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10h to 11h30

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.

DOCK 11, Kastanienallee 79, 10435 Berlin


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tba

C O M P O S I T I O N A L   S K I L L S

No need to sign up. Just stop by.




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10h30 to 15h30

C O M P O S I T I O N   I N  D A N C E  A N D  P O E T I C S

sign up: short motivation and cv to billiehanne@gmail.com



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10h to 11h30

C O M P O S I T I O N A L   S K I L L S

These morning classes can be attended individually and you are welcome to.
For those wishing to come daily there will be a thread through the work.



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You are welcome to get in touch if you wish to set up a course.
If you are a student and wish to study the work in depth by participating in multiple classes, send a letter of interest.
In addition to dancers, poets and movers with a developed practice in another field are most welcome to attend courses.







i n s p i r a t i o n


The study and practice for this artistic work is vast and ongoing. It touches upon many fields and interests. It is an amalgam of inspirations from different fields and interests through which it has taken form. A lot has been self taught in countless hours (solid for ten years now), sighs, aha-moments. Through a discipline and work ethic.

I was a young gymnast and involved in many a sport. Here I developed refined motor skills, sense of direction, running, walking, jumping. It made me familiar with up and down. It involved leaping and lunging, crawling, balance, weight, and much more. Apart from aquiring these particular skills no doubt this also serves as a significant reference to spatial work, to reading space, to being in space. Most vital though is these experiences taught me to play and be play-ful.

Later, training to be a dancer, I learned, to employ different centers in the body, to be kinaesthetically conscious and to go into and through the body, to have the dance leave the body.

I studied Composition in Dance with Julyen Hamilton (since 2008). This work has, in addition to the classes, been informed by performing in the company, Allen's Line. The pieces gave me focus in class and knowing I had a place to play out material in front of live audience was motivating and crucial to integrate the technique.



Where I grew up poetry and literature were part of the curriculum early on in primary school. From the age of twelve I was in Latin class as well. This allowed for a heightened sensitivity to what is poetic. Phrasing, timing, accent, syncopation, tone, allusion, musicality, ease, and familiarity with imagery and understanding of figurative language became natural tools to assess verse and other art for its poetic qualities.

Later I studied Classical Languages and Literature at the University of Ghent (graduation 2006). Here, apart from poetry and studying rhythm in verse, grammar and syntax studies led me to a deeper understanding of how a phrase is composed and how arrangement, form, expresses immediately, effectively. It is at the heart of composition that different arts naturally meet and find their place.




To teach with and from love I am greatly indebted to two people in particular: to my mother, first and foremost. She enrolled me in gymnastics when I was four and watched me somersault, handstand, cartwheel and make sequences. She read to me daily long before I could read and instilled in me the quiet and intimate pleasure of being absorbed in stories, tales, of being transported to different places and times. To my father who told me again and again everything would be all right which gave me the trust (and obligation) to persevere without question.






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