We don't believe in the beginner / intermediate / advanced. It works well to measure ego, not dancing.

That's why we put only the set of skills you need / don't need for each workshop.

Please, be honest with yourself. Everyone will learn more, if you do. Especially you.

Every workshop is 6 hours of focused work on one topic in a small group. Have respect for your teachers and co-students and be on time. We won't be waiting. If you come too late, teachers might decide you have missed too much and not allow you to join the work anymore.

Also, if the teachers find out you struggle too much on their workshop, they might gently ask you to come the other day, if they teach twice. Or they can suggest another workshop alltogether. Remember: they have been working with all the other teachers for a week, so they know very well what happens where and can help you find the right place where you will learn the most.



Gascony @ Vinski Laine

Rondeaux - Branle béarnais - Sauts béarnais (Gascogne)

You need: good coordination, some dance experience of any kind, will and guts to go deep south.

You don't need: any previous knowledge of the dances. Get ready to re-learn them. Properly.

Southwest France: a deepening on the styles, impulsions and characteristics of a basic repertory. For all the dancers who would like to refurbish their practice of the lovely dances from Gascony. Also, perfect match for the ball with Laüsa later on.

Vinski Laine is a professional dancer, teacher and musician. He was born in Brittany, but studied and lived for quite some time in the Southwest France and his heart has immense understanding for the local dances. He is capable to pass them on together with his knowledge of dance teacher and professional. He is living, teaching and performing in Finland these days. He believes that even though balfolk is a style of dance of it's own, it was born of the Folk Revival that has roots deep in the tradition. And us as dancers should be able to encompass all these three dance sensibilities and be grateful for the diversity they provide.

 

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Couple dances @ Folqué?

Connection - Active Following - Tango skills - Circulation and use of the space - Musicality - Creativity

You need: to be able to dance Scottish, Mazurka and Valse, to know their bases and want to go deeper.

You don't need: Any experience with tango.

A condensation of Folqué?’s dance philosophy, a journey through their vision of the dance based on listening, connection, technique and musicality. The workshop will provide the dancers with many skills to connect with the partner, to be able to create variations following the inputs of the music and to import some useful skills from tango such as axis, barrida, carriles and sacada.

The teachers

Folqué?’s teachers, María Cubero and Francesco Palmeri, are teaching since many years in dance festivals in all Europe. Their workshops work on the most innovating and dynamic features of the Bal Folk, including influences external to the music genre. They focus on the most intimate and rhythmic aspects of the couple dancesThey understand the dance as an evolving language, more specifically they think about the Bal Folk as a dance which has its origin in tradition and evolves with the use.

 

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Couple dances II @ Folqué?

Connection - Active Following - Tango skills - Circulation and use of the space - Musicality - Creativity

You need: to be able to smoothly lead AND follow in Scottish, Mazurka and Valse, and to be able to improvise in them as well.

You don't need: Any experience with tango.

The workshop is directed to all these people who have a wide knowledge of the Balfolk and wish to train and experiment in order to widen and reinforce their repertoire. Through the workshop, partiticpants will research through the most technical and emotional aspects of connection in couple dances, on musicality and improvisation, on the management of energies and intertia in the dance, also through tango elements such as colgadas and volcadas. Also, this workshop is perfect if you teach balfolk and you look for a lot of cool exercises to steal.

The teachers

Folqué?’s teachers, María Cubero and Francesco Palmeri, are teaching since many years in dance festivals in all Europe. Their workshops work on the most innovating and dynamic features of the Bal Folk, including influences external to the music genre. They focus on the most intimate and rhythmic aspects of the couple dancesThey understand the dance as an evolving language, more specifically they think about the Bal Folk as a dance which has its origin in tradition and evolves with the use.

 

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Ships and stars flying to Mars @ Line & Mara

Creativity - Dance as language - Space to think and feel - Connection - Improvisation - Consciousness

You need: good experiences in leading and following Mazurka, Scottish and Valse; to dive into listening to the music while dancing; the will to communicate with your dance partner to have a dance with equal responsibility.

You don't need: improvisation skills; to know figures for couple dances; any experiences of other dance styles; experiences with spaceships; to be an astronaut yet - we are sure we will get you to the Mars.

The huge Balfolk universe offers us hundreds of dances, steps, figures and ideas. It can be a language to express our emotions while dancing. But sometimes it feels like there aren't enough words to speak and dance about all the topics that are moving us. We want to focus on improvisation and free dancing to enrich our vocabulary as dancers.

In this workshop all couples will start to break out of their known Balfolk language as an equal team. While using the picture of ships and stars instead of the concept of leaders and followers, we will search for new movements that exist already inside of us.

We will guide you through music, movment and questions with open ears, with helping hands and words. As tools we'll use exercises of dance therapy, personalized feedback, modern dance and other influences in our story as dancers.

The teachers

We are Line and Mara – a dancing duo from Berlin. We were always moving, so we have our roots in Modern dance, HipHop, Tango and Swing but most of all: Balfolk. It is our home since we were 12 years old and now a days we enjoy Balfolk dancing around Europe. In our courses we always switch roles to understand how dancing works from different positions. We think dancing is political, so we also change roles to allow everybody to learn, what it means to be responsible for more then just ourselves. It also helps to experience what it means to hand over control and adapt to someone else.

 

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Couple dancing, a collective inclusive experience @ Päivi

Listening - Collective awareness - Developing respectful awareness and collective care in yourself and others - Enlarging the immersive collective movement possibility and reactivity

You need: The desire to develop the Care and the Listening. Kindness and openness.

You don't need: To think of people as levels of dance. To hierarchise dance experiences. To worry.

Let’s explore, through various exercises and practices an aspect that is sometimes overlooked: the collective and inclusive experience that any couple dancing can procure, beyond the intimate private couple experience.

We will work, in a relaxed manner, on the different sensorial access to the partner and the other couples, and develop strategies to enhance them and the overall behavioural balfolk dancing patterns in order to make of couple dancing a more inclusive, enjoyable and respectful experience.

Päivi Järvinen is a performer, stage director, choreographer, teacher and producer from Finland. Majored in dance at the Theatre Academy Helsinki . In her work she focuses on the movement in the everyday life and connection between the sound and the space. Also an avid finnish tango dancer with plenty of couple dancing experience.

 

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The roots of balfolk @ Goda

Roots of Balfolk - French traditional dances - leading/following - gentle/dynamic contact

You need: an open mind and a ready body to explore Balfolk from the very beginning.

You don't need: any ideas of what should and shouldn’t be done in Balfolk.

Balfolk: exploration of France regions, which form the basis of Balfolk dances, learning a dance or two from every main region coming as close to the traditional one as possible. In the second part: coming to more improvisational couple dances: mazurka, scottisch, and knowing the step moving on to both respectful, liberating and creative dancing in the couple.

Goda Sungailaitė has been exploring the dancing world for years, trying out various dancing styles from ballroom till contemporary. Self-made Lithuanian traditional dance teacher for 9 years who has found a passion for Balfolk with the special focus on its traditional background. A devoted student of Vincent Laine on all questions concerning the French dance tradition. Goda loves dancing and teaching with passion, respect for tradition and joy.

 

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Over heels and ears : a musician's guide to couple dances @ Remi

Patterns - Rhytm & How to Play With Them - Mastering Time - Dynamics

You need: A pair of feet; A set of ears; Being willing to both follow and lead in couple dances.

You don't need: Musical education; A Deep understanding of the Universe or couple dances.

Music is a mystery word. We all know what it looks like, but only a chosen few know what it's made of. Ask a musician and he'll tell you that it translates into rythm, melody, harmony, dynamics, groove and other patterns.

But then, how do you translate it into dance? Don't panic! It's not as complicated as it seems. And the fun bit is that you WILL start experimenting on your own, once you get the grasp of some concepts.

In this workshop we'll work on tuning our ears and transform them into the best possible translators for our feet. We'll use all of the musician's tools of survival to develop our own dancing language in balfolk. After all, what is dance if not music in movement?

Remi Kesteman is a professional musician, teacher and aikido instructor. He has been dancing for as long as he can remember, and balfolk specifically for over 12 years. Born in Belgium, adopted by Portugal, his many backgrounds allow him to quickly connect with a variety of different cultures, which he believes is the essence of balfolk. His teaching methods are fed by a number of activities - from dance and music to the martial and the performing arts.

 

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Folk Ninja – The birth of the Dragon @ Pedro & Magdalena

Energy - Instinct – Dragon – Intuition - Creativity – Experiment – Ninja – Vision – Humor … did we say ninja?

You need: Respect for the dojo (venue) and the other ninjas (dancers and dragons), already accomplished some delicate ninja mission such as the ancient practice of Mazurka, Scottish and Valse.

You don’t need: ninja belt or stars, any spy or invisibility skills, to speak Japanese.

To start, a ninja needs a strong sense of self control to maintain a strong body, with bravery and skills. We want to discover and improve your dance skills in three dimensions: reposition your own awareness, how to transmit it on your partner and be in control and connection with everything that is happening around you.

Like ninjas, you’ll learn how to use senses to investigate yourself and where you are, what are your strength and turning every imperfection in a new opportunity in the dance. Before coming out of the egg, as a young ninja-dragon, expect nourishing training of mind and body (to develop techniquestability and instinct) and to work on effective communication you’ll need with other dragons (clarity and concision, empathy and feedback).

Dragon is a symbol of: Transformation, Inspiration, Movement through space, Protection, Grounded energy, Fulfillment of potential, Spirit and Strength, Vitality, Mastery… Your way, your dance. Are you ready to transform yourself into a Dragon?

The teachers

Magdalena is an actress, musician and dance teacher. Aside theatre she organizes and produces concerts, balls, dance workshops and she is a head of Balfolk Bialystok after giving her heart to FolkLab in Paris. Pedro discovered through “Mazurka Klandestina” that balfolk embraces everything he loves about dancing. Engineer, musician and art-lover, he’s the president of the association Neapolis Balfolk.Magdalena and Pedro instantly felt they want to create and work together out of the energy that was between them with their natural ability to improvise. They are a spicy mixture of cultures and backgrounds, with energy to inspire and challenge themselves and others.  Their passion for theatre and dance is visible in everything they do.

 

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Folk Ninja – The Grandmaster @ Pedro & Magdalena

Energy - Improvisation – Ninja – Intuition – Challenge – Experiment – Ninja – Vision – Humor … did we say ninja?

You need: Black belt in couple dances (leading and following), trained body, multitasking attitude.

You don’t need: to fear, to have any spy or invisibility skills, to speak Japanese.

Ninjas (忍者) were people that carried out espionage and guerrilla warfare with methods superior to ordinary people. Above all, the most important thing for a ninja is feeling before knowing, feeling the change and concentration of the mind. Walking through a bamboo forest is not that far from progressing through the crowdy dancefloor, where you have to know where you want to go, without poking each other.

Like ninjas, we’ll learn how to use our eyes in order to evaluate almost all information that we can get from a venue, reading the moves of the other dancers to persist on the dance floor with your partner. So, expect: solid training of mind-body practice (to develop intuitionbalance and perception), breathing for fatigue-free body (maintain energysources and control tiredness), improving agility for fluid movements (from top to toe). You will learn how to lead a partner to any kind of rhythm even with your eyes closed.

As every ninja trains looking for its own style, every dancer will find its own instinctive qualities and strongest characteristics. Awake your body and mind to start making intuitive and conscious choices. Your way, your dance. Are you ready for the path of the folk ninja?

The teachers

Magdalena is an actress, musician and dance teacher. Aside theatre she organizes and produces concerts, balls, dance workshops and she is a head of Balfolk Bialystok after giving her heart to FolkLab in Paris. Pedro discovered through “Mazurka Klandestina” that balfolk embraces everything he loves about dancing. Engineer, musician and art-lover, he’s the president of the association Neapolis Balfolk.Magdalena and Pedro instantly felt they want to create and work together out of the energy that was between them with their natural ability to improvise. They are a spicy mixture of cultures and backgrounds, with energy to inspire and challenge themselves and others.  Their passion for theatre and dance is visible in everything they do.

 

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