ZOO workshops

Workshops, classes, events & lectures at Tictac art centre

In march 2021 ZOO/Thomas Hauert comes back to Tictac Art Centre with two weeks of training and sharing experiences by all members of the company. Besides, there will be other activities such as lectures, an exhibition, a projection and more

22 MARCH – 2 APRIL 2021

At ZOO@Tictac, participants can choose to take one or both weeks. Each week, they will participate in two workshops per day, one in the morning and one in the afternoon.

Alexander Technique and dance improvisation by Sarah Ludi
All mornings (10:00-12:00) of week 1 (March 22-26)
The Alexander Technique brings us to understand inefficient holding patterns and how to release and undo them into freer movement and balance. We will aim to refine our body map by practical exploration based on basic anatomy and mechanics. Working in pairs or small groups will give us the opportunity to recognize the working principles of another body, (using sight, touch), and exchange our findings. We will take time to identify our individual habits of both movements and thinking the movement, (as they influence each other). We will be offered space to challenge our patterns of general coordination through very basic and minimal movement tasks as well as some ZOO improvisation tools.

Solo on Gershwin by Gabriel Schenker
All mornings (10:00-12:00) of week 1 (March 22-26)
Based on the score developed for the piece Inaudible (2016), this workshop will focus ondancing extremely close to Gershwin’s Concertoin F, a powerful, complex, and frenetic musicpiece. Through a detailed analysis of the score, avisceral engagement with the music, and usingimprovisational tools coming from the work of ZOO,each participant will be guided into the constructionof a solo on Gershwin.

Musicality/Movement Qualities by Thomas Hauert (Week 1)
All afternoons (13:30-17:30) of week 1 (March 22-26)
For ZOO@tictac#2021 Thomas Hauert is proposing to introduce a new set of contents for his workshop. Some of the tools he usually teaches might still be touched on and used but the idea is to share and play with improvised materials, strategies and scores that have not been shared in a workshop before.

In week 1 we will be concentrating on the individual body: One focus will be on developing a variety of very specific movement qualities by defining the use of physical parameters like tension and release, gravity and internal force but also by using images or emotions as a motor for movement. Another focus will be on the notion of musicality in movement: in relation to audible music or to an internal music, or on the musicality of the movement itself. We’re going to explore the creative potential that lies in the complex interaction of movement and sound/music. We’ll be inventing movement scores and interpreting them in different versions.

Slug’s Garden by Fabián Barba
All mornings (10:00-12:00) of week 2 (March 29-April 2)
[Based on the performance-installation slugs’ garden/cultivo de babosas (2014) co-created by Fabián Barba and Esteban Donoso.]
This workshop proposes technical skills on the work with attention, concentration and the connection of perception and movement. The task is simple: we lie down on the floor and close our eyes. We direct our attention to what we are already touching. We slowly start a tactile divagation trying not to name, not to visualize, and not to recognize that which we are touching (oh, this is a foot! oh, this is a pillow!) Instead, we focus on the textures, the temperature, the weight, or the resistance of the bodies or materials we encounter. As we dive into this practice, we enter into a space where we can put in suspension our usual relations to our bodies and environment and let them transform through an experience in which binary categories (subject/object, self/other, sensations/ thoughts…) become irrelevant.

Mechanisms of the musical workshop by Liz Kinoshita
All mornings (10:00-12:00) of week 2 (March 29-April 2)
In this workshop we will focus on vocal practices, lyric generation, and musicality paired with contemporary dance. We will do thorough warm-up exercises, work on instant composition and writing with more time for reflection, play with melody, harmony and percussive accents, and pair the results of these materials with physical propositions. My proposals come from a research study I made in 2013, and since then from several creations I’ve made with collaborators such as Clinton Stringer, Justin Kennedy, Salka Ardal Rosengren, Bryana Fritz. The idea behind the term ‘mechanism’ is that these are originally tools I used from musicals I loved, applied to contemporary dance material and themes I care about, and I hope they could be used in the future for your own wants and needs.

Connecting Games by Thomas Hauert
All afternoons (13:30-17:30) of week 2 (March 29-April 2)
In week 2 we will work together with several bodies in motion (on a distance, no touch).
The notions of movement qualities and of musicality will play an important role also in the second week but they will now emerge from the interactions and multiple connections between two or more dancers. The term “complementary movement” designates a collection of more or less defined scores that the company worked out and performed over the last ten years. We will explore some of them and make up new ones as well, in order to instantly compose improvised movement.

Sharing Through Dancing by Samantha Van Wissen
Due to the current regulations, these classes are being postponed for a period when public events can resume including an amateur crowd of dance practitioners. These activities was originally scheduled for Tuesdays (Marh 23 & 30) and Wednesdays (March 24 & 31)

On the Experience of Dancing to Music by Gabriel Schenker
Date: Thursday, March 25th, 19:00-21:00.
Between 2015-2016, I got involved in three overlapping projects dealing with the close connection between movement and music. One was a solo I created to the music of John McGuire, another a piece by ZOO/Thomas Hauert to the music of George Gershwin, and the last a piece by Rosas to the music of Gérard Grisey. While being previously skeptical about the interest or value of creating dance to music, this triple experience made me review my skepticism as I have consistently used skills learned in those processes in my teaching and performing. This lecture performance will work as a comparative study where I will demonstrate and analyze three different ways of dealing with music/dance from the perspectives of composition, relation, and performative experience making use of images, music, videos, text, and some dancing.

What does it mean to decolonize, offering a vocabulary for mutual understanding by Rolando Vazquez?
Date: Friday, March 26th, 19:00-21:00.
This talk will introduce the basic concepts of modernity, coloniality, and decoloniality, as a way of offering a common vocabulary to think about the pressing questions of inclusion in the arts. Decoloniality gives us the opportunity to see how the problems of inclusion in the arts have to be addressed on multiple levels. From a shared awareness of our modern colonial histories to the challenge of transforming our practices. Why a dance scene capable of facing the challenges of our times is also a dance scene that needs to transform its ways of working, its canon, and broadly contributes to an open and inclusive society.
Cost: 5€ or free for participants of the workshops

Discrimination in Dance Schools by Gabriel Schenker and Fabian Barba
Date: Monday, March 29th, 19:00-21:00.
In the past few years, the questions of eurocentrism, sexism, racism, and other forms of discrimination have come to the fore in Western societies at large. In different dance worlds, these movements have led to a variety of initiatives, organizations, and legal proceedings. The questions of inclusion and discrimination have touched not only the professional world but also dance schools with a variety of student led initiatives, clashes, accusations, open letters, and so on. European contemporary dance and its educational programs, tend to present the knowledge created within it as internationally valid or even universal, bringing up a clash with other forms of non-dominant contemporaneity. In this talk, we will present the guiding questions for a research project that will be starting in fall 2021, and animate a discussion around the questions central to the research.

Chevalier-Masson Carte Blanche
The costume and scenography designers Chevallier / Mason, who have collaborated several creations with ZOO since 2015, have Carte Blanche during ZOO@Tictac#2021 to do something in Tictac Gallery.
When Thomas Hauert proposed us to collaborate on ZOO birthday piece, How to Proceed, 2018, he meant us to create the conditions of a scenography that would be driven by the dancers themselves, transforming the set in a continuous flow through the whole piece. We brought boxes and boxes of ribbon shaped textiles waste. Totally committed with the material the dancers made the whole world appear from it, with both great delicacy and full outbindding. Today’s Tictac art center and ZOO invitation is an opportunity to play further with the material in the gallery space. Anne Masson and Eric Chevalier

Planning ZOO@Tictac#2019 zootictac-art-center-september-2019.pdf

Workshops by Thomas Hauert, Gabriel Schenker, Mat Voorter, Liz Kinoshita, Fabian Barba, Samantha Van Wissen, Sarah Ludi
Lectures by Gabriel Schenker, Fabian Barba, Roloando Vazquez
Exhibition/Carte blanche by Chevalier-Masson
Production ZOO/Thomas Hauert
Thanks Tictac art center, directed by David Zambrano & Mat Voorter

Tictac art center, Brussels

22 March - 2 April 2021
Tictac art center Brussels (BE)
2-13 September 2019
Tictac art center Brussels (BE)

ZOO workshops

Workshops, classes, events & lectures at Tictac art centre