# What are the 5 most essential words for your teaching?

peter: today it is: breath, weight, expansion, inspire, awake

katarina: allow open enjoyment focus concentration joy play

clint: Enjoy Floor Connection Momentum Clarity

#  What is one exercise that is truly yours?

peter: everything is recycled, some combination is mine. in the last workshop in poznan i was teaching a combination of body graphics at the pelvis. combining eva karczags hands on technique with some of  lulu sweighards lines of movement:, that i have not done before with any teacher.

1.sacrum falls into the hand of your partner

2. widening across the back of the pelvis

3. narrowing at the front of the pelvis

4. touching pubic bone and connect it to the lumbar spine

katarina: I think all of my exercises are coming from somewhere and someone and they also will be taken on by my students ....

clint: An exercise/idea I have been working with where one partner gives the other clear guidance/directions/actions to perform without talking (where to go, how to go there, gestures to respond to...).

# Do you have a practice (of your own) you keep doing or always coming back to?

peter: the aspect that is difficult to grasp is the non-materiality of dance, that it is gone when it is done. but that is also the beauty of it and holds the possibility of risk taking.

1. first of all i start the day with a psoas stretch on a pilates ball, then i use the ball to do some preparation pilates exercises plus a full series of the classic 5 powerhouse exercises, these saved my back after a herniated L1/S5 disc about 3 years ago.

2. the meridian stretch exercises by masunaga ( series of stretches that correspond with the meridian system, taught in arnhem by lisa kraus and eva karczag.

3. a form of thai chi, easy to grasp for the western mind, “t’ai chi chih” (originated by justin f. stone)

4. the constructive rest position

katarina: There is a simple touch exercise done in pairs that I come back to, also coming in contact to to one´s spine is also useful when getting confused.

clint: Yes, a physical practice mixing different things that help keep my body healthy.

# What is one aspect of dance that is difficult to grasp (or: to accept) for you?

peter: the aspect that is difficult to grasp is the non-materiality of dance, that it is gone when it is done. but that is also the beauty of it and holds the possibility of risk taking.

katarina:

clint: The 'blanket' of presence that is generally accepted as normal in dance performance.

# What is the essence of your teaching?

peter: today it is : expansion in the relaxation

katarina: the first list is quite appropriate here + dialogue and sharing

clint: Encouraging people to stay present and approach whatever movement they are doing as a joyful exploration, regardless how many times they've done it.

# How do you place yourself and your profession in a wider societal context?

peter: as a curator of a dance festival for young choreographers in berlin i am reaching out to a “normal” divers audience for dance performance.

katarina: Dance teachers can open up a totaly different world to those how have not had the opportunity to work in the ways dancers do. Sometimes we become blind to what it is to become conected with one´s body and mind and we forget what a powerfull state this really is.

clint: I feel that dance developed from societies and cultures and it excites me to re-invigorate the accessibility, connection and communication between people and movement/dance.