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Ekaterina Velichko

Ekaterina Velichko
Master-class: «Sounding trio»

Class, all levels.
Physicality and emotions,
Simplicity and magic,
Extended attention and presence,
Which trio and sound brings us!

How can I create and support a trio?
What magic can happen in trio? How to notice it and how can I invite it to the dance?

Trio in contact dance and trio in sounding!!!

In the class we will:
• Explore trio relationships,
• Find technical possibilities and presents of trio,
• Work with extended presence, attention and state of mind – dancing and sounding at the same time!
• With voice we will activate internal resources, to fill our dance with this power,
• Open the internal body space with sound, finding new volume of the sound, breath and movement,
• Pay special attention to the center, the source of power and sound,
• Explore how body surface sounds,
• Taste the sound that comes from the joy, expressing emotions and feelings, sound as a celebration!
• Fall with the sound and with partners, fly up following sound and partners, and examine how the sound changes from pushing the floor from touching other bodies.

Ekaterina Velichko
Actress, dancer and performer.
I’ve danced from my early childhood. After graduating as the actress at the Academy of Eurytmia, where Angela Doni taught CI, I fell in love with Contact Improvisation and has realised that I will be doing it always.
And here already 10 years I practise CI, teach, stady, travel where again and again stadyed and teach.
People, their uniqueness and many-sided nature are interesting to me.
I find it interesting to open myself and open for the others the joy of movement and new opportunities to create, be together and toenjoy, as children to the nature. For me, the key point in creation work - qualities in improvisation is brightness, openness and courage to be itself!
Intensive teachers   CI classes teachers   Special Workshops teachers
Adrian Russi Alexandra Bezrodnova Alfiya Rakhmanova
Benno Voorham Danya Elraz (class 1) Benno Voorham
Natanja Den Beoft Danya Elraz (class 2) Leilani Weis
Scott Wells Debora Sbaiz (class 1) Manuela Blanchard
  Debora Sbaiz (class 2)  
  Ekaterina Velichko  
  Ilona Kenova & Yaniv Mintzer  
  Itay Yatuv (class 1)  
  Itay Yatuv (class 2)  
  Leilani Weis (class 1)  
  Leilani Weis (class 2)  
  Maria Grudskaya  
festival program

July 9-12 - Workshop
for beginners and all levels with
Benno Voorham;

July 9-12 - Workshop
for beginners and all levels with
Manuela Blanchard;

July 16th - Teachers performance and the festival project in Moscow Theatre;

July 17 - 24 - Main part of The Festival
8 days of dancing in the countryside;

July 27 - 31 - Contact-tango Workshop
for all levels with Leilani Weis;


The longest and the most important workshops at the festival. Four teachers do their classes separately during five days. On 19, 20, 23 and 24th of July intensives begin at 9.30, on 21st they start at 1330.


On 19, 20 and 23rd of July we have Contact Improvisation workshops/classes. They start at 1430.


The performance research laboratories are meant to become a basis and tool for participants who want to take on the opportunity to perform at the two performances that are happening at the festival site. A lab can be the chance to carry out one small project with a constant group of people or to investigate different themes around performance each day. You can participate in laboratories one or more days.
We would like to create the freedom for the participants to develop ideas and find ways to use them in performance. We want to invite everybody, participating in the festival, students as well as teachers, to propose their ideas and questions for a performance research lab. Ideas could contain how improvisational forms and contact improvisation are a performance art. Including possible themes like trio, site specific, spontaneous composition, how do we communicate within an improvised piece, working with props, the use of voice, sound, music, texts/poetry, relationship to choreography...
These labs can happen only once or continue for several days, depending on demand. People, who feel confident about facilitating group work and enjoy it, are welcome to offer themselves as facilitators, even if they don’t have a personal performance research theme that they want to investigate.

Labs will start on the first day of the festival. Themes will be chosen from a pool of ideas and questions about improvisation and performance, proposed to us in advance before the festival. We will create a system (i.e. blackboard) for this pool to be added to, so that ideas that come up during the festival can be included in the labs, by a new timetable each day.


These are 20 min long individual sessions with teachers. In the begining of the festival there will be list of teachers and time where you can write your name to reserve this time for your lesson.


An introduction to the Underscore, a long jamming/contact/improvisation score that Nancy has been developing since 1990. The Underscore guides us through a progression of “changing states” of body and mind—from solo sensitizing to gravity and support, into group circulation and contact improvisation engagements, opening out into whole-room compositional awareness and interaction, and back to rest and reflection.
“The Underscore talk” (required for participation in the practice) will give some background and will outline the structure in detail. After this concentrated instruction on the nature of the Underscore, participants will be ready for the physical practice itself, which will include periods of silence and periods of live music improvised/composed by Mike Vargas.