International Summer Academy of Baroque Dance 2017

Nordic Baroque Dancers & Löftadalen Conservatory present

Löftadalen Conservatory 25 June –1 July 9–15 July 2017

International Summer Academy of Baroque Dance

Nordic Baroque Dancers & Löftadalen Conservatory International Summer Academy of Baroque Dance, 2017 Editor: Karin Modigh Graphic design: Sofia Djerf © Writers and photographers Front page image Credits: Gilles Poirier/Compagnie L’Eventail (Le Ballet de l’Amour Malade). Photo: Cyrille Sabatier

Introduction

of Baroque Dance 2017

International Summer Academy of Baroque Dance Löftadalen Conservatory Åsa, Sweden Beginners & intermediate level 25 June –1 July Advanced & professional level 9–15 July

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Introduction

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Photo: Sofia Barkevall

International Summer Academy

Introduction

Keep it alive – dance it!

of Baroque Dance 2017

Three years of the International Summer Academy have passed. Time filled with fun and shared experiences, moments that have touched me and memories that will stay with me. Now, heading towards our fourth year, I am moved when thinking of the fact that these experiences get a second life when they keep living within the people who were there to share them. When they serve as a base for continuous work at all the places in Europe and elsewhere where the participants are based, the Academy starts to live on its own. Let’s keep connecting, exchanging, diffusing…

The Summer Academy has found its formula, a structure, but within this we keep all the freedom to be inventive. And perhaps courageous.

Because when you have a solid base to build on, you can allow yourself to dare. So this year, we invite you to join us in exploring new horizons, heading further for new adventures, without losing our fundament.

The main theme of the 2017 edition is the dancers’ perspective. How do make ourselves available for what we are about to perform? How can we be creative and courageous within the framework given by the choreographer, be it a living one or not? Within this, there are a few underlying themes: next generation – male dance technique – body awareness – improvisation. In 5

Photo: Unn Tiba

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empus f ugit!

Karin Modigh

Artistic Director Nordic Baroque Dancers

short, we put a clear focus on how you do, not what you do. Because, as put so well by Catherine Turocy during the 2016 Academy: “Baroque dance is not just steps on a paper”.

So after last year’s line-up of choreographers, we are happy to present a line-up of some of the most experienced dancers within the field. As always, the fundamentals are present: ➤

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A clear focus on movement and body awareness.

Across the programme, whatever you choose as optional courses, we make sure that you take care of your body and mind through a well-balanced schedule. Finally, although the course is created and designed by dancers for dancers, if you are a musician, a singer, or an actor, you are most welcome to join and develop your skills with us!

Together with the dance department team at Löftadalen Conservatory, I am proud to present the programme for the 2017 edition, and I hope to see you there!

A summer course conceptualised by dancers for dancers.

Baroque dance classes in the morning, based on Feuillet notated repertoire or contemporary baroque dance choreographies.

Optional afternoon courses open to students at both levels.

Morning warm-ups and late afternoon stretches, to keep the body fresh throughout the week.

A welcoming and friendly atmosphere promoting the exchange of ideas and experiences.

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International Summer Academy

Introduction

Introduction

Another exciting Summer Academy

of Baroque Dance 2017

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this course in 2014, I never imagined that I would be here today – four years later – planning the fourth edition of the Summer Academy at Löftadalen. I look back on the incredible meetings with both inspiring teachers and curious students that I have experienced during the past three years, and I am very grateful for all the new friendships that have grown. I am also happy to witness new artistic and research collaborations that are setting off thanks to people meeting here.

One of the main goals of the Summer Academy is to make students find enjoyment in training and challenging them to improve their skills in dance technique and movement quality, as opposed to merely providing choreographies. That is why we offer all the complementary classes in yoga, floor barre, dance conditioning, stretch/ massage, breathing technique and Barres Flexibles. Although these are “neutral” techniques, the classes are customized for baroque dancers and their needs.

With the dancer’s perspective as the main theme for the 2017 edition, this focus of ours is clearer than ever. It will be a great pleasure to share this with you, as well as other experiences, at Löftadalen this summer! h e n w e sta rt e d

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Lena Cederwall Broberg

Head of Dance Department Löftadalen Conservatory

Introduction

Most welcome has an idyllic seaside location in Sweden’s West Coast and is a truly special place. Here people with different backgrounds, interests and perspectives meet to study a wide range of arts throughout the year, both on a long and short-term basis.

Our aim is to make your stay with us as rewarding as possible, encouraging the learning process and helping you to make useful contacts and establishing lasting friendships.

You are most welcome to Löftadalen for the fourth International Summer Academy of Baroque Dance!

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Michael Deubler Headmaster

Löftadalen Conservatory

International Summer Academy

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h e l ö f t a d a l e n c o n s e r va t o r y

Photo: Birgitta Modigh

Photo: Karin Modigh

of Baroque Dance 2017

Photo: Alexis Silver

Introduction

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Photo: Karin Modigh

Photo: Karin Modigh

10 International Summer Academy

Photo: Jurate Sirvyte

‚‚ Introduction

The development of baroque dance needs this academy!

Choosing your programme The core programme comprises the baroque dance classes during the morning, featuring common warmup sessions to start off the day and a stretching session to finish off before dinner. At the beginning of the week, on Monday and Tuesday afternoons, there are longer introductory workshops with stretch and complementary training. This allows you to understand some of the concepts you will encounter during the rest of the week.

In the afternoons, you can add as much or as little as you wish to these core elements from the supplementary optional courses. It is an all inclusive week, so whether you want to fill up your days, or if you prefer to focus only on the core programme, the choice is entirely yours.

However, even if you choose to fill up your afternoons with optional courses, there will always be time to have a rest, go to the beach, train on your own, exchange with the other students, or

Photo: Jurate Sirvyte

of Baroque Dance 2017

Introduction

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whatever you wish to do during the three-hour midday break. The dance studios are free to use as much as you wish.

The optional courses are open to students at both levels during each week and they are all given twice so that everyone has the opportunity to attend.

Courses marked by A and B on the schedule will have the same content.

However, in June the Feuillet notation will be divided into two levels. Spanish baroque dance will be divided according to your experience with castanet playing.

When you register you must choose your baroque dance course level, plus the optional courses you wish to attend. If you have any questions about the schedule, feel free to e-mail us at: academy@baroquedancers.se.

Please be aware that in case of insufficient enrolment, some courses may only run once.

Floor barre – all (Cederwall Broberg)

B R E A K FA S T

A-salen

Tue 27.6

Cramérsalen

Beginners Baroque Dance (Bell)

Intermediate Baroque Dance (del Valle)

20.45–21.45

19.30–20.30

18.45–19.15

17.45–18.30

16.00–17.30

Optional course

Swedish contre dance evening (Modigh)

DINNER Film (Cederwall Broberg/ Modigh)

DINNER

LUNCH

Spanish baroque and castanets 1 (del Valle)

Baroque improvisation B (Bell)

TE A /COFFEE

M I D D AY BREAK

Floor barre – all (Cederwall Broberg)

B R E A K FA S T

A-salen

Sat 1.7 Cramérsalen

LUNCH

Spanish baroque and castanets 1 (del Valle)

Baroque improvisation B (Bell)

TE A /COFFEE

M I D D AY BREAK

Spanish folk dance evening (del Valle)

DINNER

Stretch/ massage – all (Barkevall)

Stretch/ massage – all (Barkevall)

FA R E W E L L DINNER PA R T Y

Breathing Breathing Feuillet Feuillet Feuillet notation 1 techniques B notation 2 techniques B notation 2 (Bergström) (Modigh) (Bergström) (Modigh) (Modigh)

DINNER

Stretch/ massage – all (Barkevall)

Breathing techniques A (Bergström)

Yoga/ Breathing Feuillet strength/ techniques A notation 1 stability B (Bergström) (Modigh) (Bergström/ Cederwall Stretch/ Broberg) massage – all (Barkevall)

Baroque improvisation B (Bell)

TE A /COFFEE Spanish baroque and castanets 1 (del Valle)

Spanish baroque and castanets 2 (del Valle)

TE A /COFFEE

LUNCH M I D D AY BREAK

Baroque improvisation A (Bell)

Baroque improvisation A (Bell)

DINNER

Stretch/ massage B (Barkevall)

Yoga/ strength/ stability A (Bergström/ Cederwall Broberg)

Stretch/ massage A (Barkevall)

Core programme

A-salen: Welcome & general information

DINNER

Spanish baroque and castanets 2 (del Valle)

Baroque improvisation A (Bell)

Spanish baroque and castanets 2 (del Valle)

TE A /COFFEE

Beginners Baroque Dance (Bell)

TE A /COFFEE

Intermediate Baroque Dance (del Valle)

15.30–15.45

Intermediate Baroque Dance (del Valle)

14.00–15.30

Beginners Baroque Dance (Bell)

LUNCH

Beginners Baroque Dance (Bell)

M I D D AY BREAK

Intermediate Baroque Dance (del Valle)

LUNCH

Yoga – all (Bergström)

B R E A K FA S T

A-salen

Fri 30.6 Cramérsalen

Intermediate Baroque Dance (del Valle)

M I D D AY BREAK

Floor barre – all (Cederwall Broberg)

B R E A K FA S T

A-salen

Thu 29.6 Cramérsalen

Beginners Baroque Dance (Bell)

LUNCH

Yoga – all (Bergström)

B R E A K FA S T

A-salen

Wed 28.6 Cramérsalen

Beginners Baroque Dance (Bell)

M I D D AY BREAK

Check-in 17.30–19.30

Yoga – all (Bergström)

B R E A K FA S T

A-salen

Mon 26.6

Cramérsalen

Intermediate Baroque Dance (del Valle)

13.00–14.00

10.00 –12.45

9.00 –9.45

8.00 –8.45

Sun 25.6

Check-out before 12

B R E A K FA S T

Sun 2.7

Schedule beginners & intermediate level 25 June –1 July

Note: Optional courses are given twice so that everyone has the opportunity to attend, and those marked by A and B will have the same content. However, Feuillet notation and Spanish baroque dance will be divided into two levels.

Dance conditioning – all (Le Nuz)

B R E A K FA S T

A-salen

Tue 11.7

Cramérsalen

Advanced Baroque Dance (Le Nuz)

Professional Baroque Dance (Poirier)

20.45–21.45

19.30–20.30

18.45–19.15

17.30–18.30

16.00–17.15

Optional course

Film (Cederwall Broberg/ Modigh)

DINNER

Barres flexibles B (Le Nuz)

Walking, standing, sitting & bowing B (Bouffard)

Tango evening (Mikael Dexlöv)

DINNER

Stretch/ massage B (Barkevall)

Barres flexibles A (Le Nuz)

Stretch/ massage A (Barkevall)

Core programme

A-salen: Welcome & general information

DINNER

Pirouettes, jumps & beats B (Poirier)

Walking, standing, sitting & bowing A (Bouffard)

Pirouettes, jumps & beats A (Poirier)

TE A /COFFEE

Advanced Baroque Dance (Le Nuz)

TE A /COFFEE

Professional Baroque Dance (Poirier)

15.30–15.45

Professional Baroque Dance (Poirier)

M I D D AY BREAK

Advanced Baroque Dance (Le Nuz)

M I D D AY BREAK

Stretch/ massage – all (Barkevall)

Stretch/ massage – all (Barkevall)

Barres flexibles A (Le Nuz)

Walking, standing, sitting & bowing B (Bouffard)

Evening lecture (Bouffard)

DINNER

Cramér repertoire A (Cederwall Broberg)

Cramér Barres repertoire A flexibles A (Cederwall (Le Nuz) Broberg)

DINNER

Pirouettes, jumps & beats B (Poirier)

TE A /COFFEE

M I D D AY BREAK

Walking, standing, sitting & bowing A (Bouffard)

Pirouettes, jumps & beats A (Poirier)

TE A /COFFEE

M I D D AY BREAK

Advanced Baroque Dance (Le Nuz)

14.00–15.30

Professional Baroque Dance (Poirier)

LUNCH

Yoga – all (Bergström)

B R E A K FA S T

A-salen

Fri 14.7 Cramérsalen

Barres flexibles B (Le Nuz)

Walking, standing, sitting & bowing A (Bouffard)

DINNER

Stretch/ massage – all (Barkevall)

Cramér repertoire B (Cederwall Broberg)

Pirouettes, jumps & beats A (Poirier)

TE A /COFFEE

M I D D AY BREAK

LUNCH

Professional Baroque Dance (Poirier)

LUNCH

Dance conditioning – all (Le Nuz)

B R E A K FA S T

A-salen

Thu 13.7 Cramérsalen

Advanced Baroque Dance (Le Nuz)

LUNCH

Yoga – all (Bergström)

B R E A K FA S T

A-salen

Wed 12.7 Cramérsalen

Dance conditioning – all (Le Nuz)

B R E A K FA S T

A-salen

Sat 15.7 Cramérsalen

Stretch/ massage – all (Barkevall)

Cramér repertoire B (Cederwall Broberg)

Pirouettes, jumps & beats B (Poirier)

FA R E W E L L DINNER PA R T Y

Barres flexibles B (Le Nuz)

Walking, standing, sitting & bowing B (Bouffard)

TE A /COFFEE

M I D D AY BREAK

LUNCH

Advanced Baroque Dance (Le Nuz)

LUNCH

Check-in 17.30–19.30

Yoga – all (Bergström)

B R E A K FA S T

A-salen

Mon 10.7

Cramérsalen

Professional Baroque Dance (Poirier)

13.00–14.00

10.00 –12.45

9.00 –9.45

8.00 –8.45

Sun 9.7

Check-out before 12

B R E A K FA S T

Sun 16.7

Schedule advanced & professional level 9–15 July

Note: Optional courses are given twice so that everyone has the opportunity to attend, and those marked by A and B will have the same content.

Photo: Friedrich MĂźntjes

International Summer Academy

Introduction

Programme

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Programme

Baroque dance begin ners level

Core programme

Commencing with the basic principles of movement, space and musicality, Charlotte Bell’s course aims to introduce the uninitiated/beginner to baroque dance. Her course will light up the idea and spirit of the Belle Danse, loved and nurtured by Louis x i v himself and furthered by his creation “Académie Royale de Danse” in 1661.

You will become familiar with the fundamental repertoire of steps that a dancer should acquire to negotiate the dances of the period. This will include learning the range of the strict shapes and forms that are illustrated in many of the choreographies still available to study today.

With Charlotte, you will then tackle Pecour’s La Bourgogne, published in Feuillet’s Recueil de Danses (dated 1700). This is a “danse à deux” that incorporates four different baroque dance styles: courante, bourée, sarabande and passepied. Four very different dance characters all within one dance.

Photo: Guy Bell

of Baroque Dance 2017

Charlotte Bell

Charlotte Bell began her classical ballet training at an early age and studied at the Legat School of Russian Ballet (GB) before moving onto the Ballet Rambert School in London. It was at the Ballet Rambert that Charlotte's

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interest in modern dance was awakened and where she began to broaden her horizons further.

In 1986 she moved to Cologne, Germany, to join Tanz Forum Köln. One year in Germany became thirty as she moved from theatre to theatre working with a multitude of international choreographers and directors such as Jochen Ulrich, Philippe Talard, Olaf Schmidt, Jai Gonzalez, Jacopo Godani, Boris von Poser and Sven Severin.

Since 2005 Charlotte has been deepening her understanding of dance and movement by learning baroque dance. Her formative teachers include: Sigrid T‘Hooft, Ingolf Collmar and Nicolle Klinkeberg, as well as courses given by Marie-Geneviève Massé, Barbara Segal, Kaj Sylegård, Hubert Hazebroucq among others.

Charlotte continues to tread the boards and often performs.

As a member of Sigrid T‘Hooft‘s company Corpo Barocco she has appeared in Händel‘s Radamisto 2009/10, Amadigi 2012 and more recently Imeneo in Göttingen in 2016. She has also worked on smaller productions with Milo Momm and Nicolle Klinkeberg.

When not performing Charlotte continues to teach ballet, modern and baroque dance.

Programme

Baroque dance Core programme

Begoña del Valle

As a starting point and to inspire the dance, Begoña del Valle has selected an iconic musical score: les Caractères de la Danse by Jean-Féry Rebel, a rich and tasty mixture of music for dancing.

Created in 1715, this work is composed of a prelude followed by some bars of courante, minuet, bourrée, chaconne, sarabande, gigue, rigaudon, passepied, gavotte, sonata, loure and musette. A delightful cocktail sequence that flows elegantly and with a stimulating harmony.

Unfortunately, the choreographies of the time, danced by Mademoiselle Prevost, Mademoiselle Camargo or Mademoiselle Sallé, have not survived to our time. Begoña del Valle therefore has developed a choreography especially for the Summer Academy at Löftadalen that brings out the rhythms, the paces and the characters of the different dances.

She particularly wishes to convey the pleasure of dancing and to help each person to interpret his or her individual emotions inspired by the music. ➤ Note that this course will be taught in French and/or Spanish depending on the participants. Only basic English translation will be available.

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Begoña del Valle graduated in Spanish dance from the Real Escuela Superior de Danza of Madrid. Awarded the state diploma of classical dance teacher in France, Begoña started in French baroque ballet with Francine Lancelot and with Ana Yepes, who also trained her in Spanish baroque dance.

Since 1990, she has been working with many companies such as Ris & Danceries (Francine Lancelot), Les Fragments réunis, Company Ana Yepes, le Ballet des arts (Françoise Denieau), l’Eventail (MarieGeneviève Massé) and some productions at the National Opera in Paris.

She performed in Les Indes Galantes, Zarandanzas, Fiesta Barocca, Le Jardin des Délices, Hippolyte et Aricie, Platée, Le Triomphe de l’Amour, Bal au Palais de Versailles, Le Ballet de l’Amour Malade, Donaires, L’Amour Médecin, Les Quatre Saisons et Tempo, Les Ballets Noverre, Carmen, Manon, Rusalka and others.

Begoña has also been working as assistant choreographer of Ana Yepes and Marie-Geneviève Massé. She has taught baroque dance at the Centre National de la Danse (CND) in Paris, at the Centre for early music of the High School of Music in Geneva, and in many dance or early music workshops in Spain and in France.

International Summer Academy

i n t e r m e di at e l ev e l

Programme

Baroque dance a d va n c e d l e v e l

Core programme

In the advanced course with Robert Le Nuz, you will work on the technical and artistic elements necessary to embody two male baroque dances, one in French style and one in English style. The course begins with an exploration in detail of the Entrée pour homme by Feuillet (1700). This aims to work on dance phrases and arms as a language and key of expression. Besides this, using a number of short extracts from L'Abbé's Chacone of Amadis Performed

by Mr Dupré, you will experience complex body organisation through technically demanding male dance steps.

Apart from learning the dance steps and their connection to space and music, Robert wishes to allow each dancer to build his or her own vision of these solo dances, in order to create a full and unique scenic character. Departing from the dance notation, the class aims to become the playground for every dancer’s individuality, searching for internal support at the service of artistry.

Photo: Vincent Leguay

of Baroque Dance 2017

Robert Le Nuz

Trained in ballet and contemporary dance, Robert Le Nuz graduated in 1996 as a physiotherapist and in 2004 as a ballet teacher. He discovered baroque dance through workshops with Françoise Denieau, Marie-Geneviève Massé, Béatrice Massin and Ana Yepes.

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As a professional dancer, he performed at the ComédieFrançaise, Opéra Comique and Paris Opéra, on tour in France and across Europe for festivals (Potsdam, Göttingen, Innsbruck, Utrecht, Karlsruhe, Nürnberg).

Robert has worked with choreographers such as M-G Massé/ Compagnie L’Éventail (Don Juan, Mr de Pourceaugnac, Voyage en Europe, Sérénades Royales, Les Amants Magnifiques), F. Denieau (Amadis, Rinaldo, Vénus & Adonis, Rameau – Maître à danser), G. Skamletz (Cadmus et Hermione), D.C. Colonna/Nordic Baroque Dancers (Armide) and S. T'Hooft/Corpo Barocco (Imeneo).

As assistant of J. Guizerix or F. Denieau, he taught dancers and singers in opera productions (Les Noces de Figaro, Vénus & Adonis) and was invited by Karin Modigh to give classes for the dancers of Armide. Deeply interested in baroque repertoire and transmission, he follows Massé’s/ Ginger’s project De la plume à l'image since 2011 and gives workshops for dance companies such as L’Éventail and Pasarela.

In parallel of his dance experience, Robert has recently graduated in AFCMD (Functional Analysis of Body in Dance Movement), and develops courses on anatomy and AFCMD in several professional dance academies (CNSMD Lyon) and institutions.

Programme

Baroque dance Core programme

Gilles Poirier

This year’s professional course will have a very specific focus: discovering the king of baroque male solo dances, Entrée d'Apollon, choreographed by r - a Feuillet for the ballet Le Triomphe de l'Amour, composed by j - b Lully. The Entrée d’Apollon alludes to the Sun King Louis x i v and will be taught

by Gilles Poirier, who has a long experience of performing it internationally ( Japan, the u s a , Hungary, England and France).

Gilles worked on this solo with all the three choreographers who taught the professional level at our Summer Academy in preceding years: Françoise Denieau, Natalie van Parys and Marie-Geneviève Massé. He will work on interpretation and technique based on both his own experience as a performer and his work with these three choreographers who have all brought their own unique touch to the solo.

For Gilles this choreography has a special place, and he wishes to transmit the pleasure he always had when performing it.

July

After studying dance at the Conservatoire National Supérieur de Musique de Lyon, Gilles Poirier debuted in 1992 with the company Ris et Danceries, under the direction of Francine Lancelot, in the production Zarandanzas, and then at the Théâtre Baroque de France under the direction of Philippe Beaussant.

From 1994 to 2004, he was a soloist with the baroque dance company L'Eventail under the direction of M-G Massé, where he participated in ten creations that toured internationally.

From 2005 to 2013, he appeared as guest dancer in various operas with choreographers Ana Yepes, Françoise Denieau, Natalie van Parys, Lucy Graham, and Jean Guizerix.

In 2014, Gilles became the assistant to choreographer Françoise Denieau at the Théâtre du Capitole de Toulouse, the Opéra Grand Avignon, the Théâtre de Caen, the Festival du Périgord Noir and the Centre de Musique Baroque de Versailles. He currently teaches classical ballet at the Conservatoires de la Ville de Paris.

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International Summer Academy

p rof e s siona l l ev e l

Programme

Floor barre

m o r n i n g wa r m - u p

Core programme

Lena Cederwall Broberg

of Baroque Dance 2017

Floor barre is a workout that dancers use to improve their posture and their shape, also to strengthen their core abdominal muscles. It is designed to increase flexibility, coordination, strength and control, and to improve technique (including turnout of the hips) as well as alignment.

The exercises are performed on the floor and are based around typical ballet-type movements that are performed supine, lying on the side, prone and seated.

Lena’s floor barre classes will cover a range of strengthening and stretching exercises, working through the sagittal, the frontal and the transverse plane.

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Lena Cederwall Broberg is Artistic Director and founder of the dance programme at Löftadalen Conservatory. She holds a degree in Dance and Dance Pedagogy from the University College of Dance in Stockholm. Lena has a wealth of experience as both dancer and choreographer within modern and contemporary dance, musicals, TV and family shows in Sweden.

She also holds a choreology diploma in Benesh Movement Notation from the Royal Academy of Dance in London. For many years, Lena was the Rehearsal Director and Assistant of Ivo Cramér, and today she is responsible for maintaining his artistic legacy through the Cramér Foundation. She has also been rehearsal director for Nordic Baroque Dancers, and in 2015–2016 she worked with the CND project Danse en Amateur et Repertoire, Drottningholm Suite in Paris, with the youth company Les Danseurs en Herbe.

Programme

Yoga

Core programme

Ottilia Bergström

Photo: Engeli Broberg

To realise how we can improve our dance technique, we must grow our awareness of how the body and the mind work together. We need to be able to remind ourselves of the importance of patience and practice.

In the morning yoga classes we will gently wake up the body and the mind, and prepare ourselves to stay focused throughout the days.

Ottilia is a *ry t -200 yoga teacher. She teaches dynamic yoga classes where the body’s biomechanics and the condition of the joints are in focus. In order to maintain a strong and healthy body Ottilia teaches easy techniques that give you more awareness of how your mind, breath and physical body are connected.

With these techniques you will be able to prevent injuries, and build a stronger body.

The classes are built in a flow, from warm-up, to strengthening positions, to flexibility exercises, and finishing off by soft and gentle relaxation.

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July

Ottilia Bergström started her yoga training in 2006 and has been teaching yoga for dancers since 2010. In 2015 she completed her Viryayoga teacher training and became a *RYT-200 (Registered Yoga Teacher, 200 hours) at The Yoga Alliance.

Educated at the Iwanson International School of Contemporary Dance, Ottilia is also a professional dancer and choreographer. She teaches modern, contemporary, jazz and street dance at Löftadalen Conservatory, and is active as a choreographer and dancer in various productions.

International Summer Academy

m o r n i n g wa r m - u p

Programme

Stretching/massage a fter noon cl ass

Core programme

Stretching oxygenates and relaxes the muscles in limbs and other parts of the body. The benefits include improved blood circulation, which contributes to prevention from illness and to recovery. Loose muscles are less prone to strains and sprains during a workout. Elongating your muscles will also improve your posture and the range of motion of your joints.

We all have different areas of our bodies that become tight or can hurt. In these classes we will work on how to find the best way to stretch and elongate your muscles for your specific needs. By studying anatomy we will gain an inner perspective, affording a deeper understanding of how stretching can help you.

These classes will also explore deep tissue massage therapy. The therapy applies deep pressure which helps to release chronic muscle tension. Its focus is on the deepest layers of muscle tissue, tendons and fascia (the protective layer surrounding muscles, bones and joints).

Massage therapy not only relieves stress and encourages relaxation. It also helps to manage pain, improves the flexibility and range of motion, plus it relaxes muscles and lowers blood pressure.

Photo: Karin Modigh

of Baroque Dance 2017

Sofia Barkevall

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July

Sofia Barkevall received her Dance Teacher diploma from the University College of Dance in Stockholm in 2002, and has since been working as a Dance Teacher and Administrator at Löftadalen Conservatory.

While working on tensions in her own body, she became interested in stretch and massage as a valuable tool in support of enhancing dance. In 2012 she studied at Axelsons Gymnastiska Institut, Stockholm, and since then has also been working as a medical massage therapist.

Programme

Dance conditioning m o r n i n g wa r m - u p

Core programme

Robert Le Nuz

July

Photo: Francette Levieux

International Summer Academy

To prepare our bodies for the full dance day, Robert will do exercises inspired by a f c m d (Functional Analysis of Body in Dance Movement), somatics, Barres Flexibles and ballet training. Working on fundamentals of the dancing body such as postural muscles and balance, active stretching, coordination exercises and “tuning” visualisations, the class will warm-up both body and mind… Global body awareness is the base for every dancers working day, in order to be able to integrate information into the body and enjoy new artistic goals.

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Programme

Optional course

of Baroque Dance 2017

Begoña del Valle

Dancing to the rhythm of españoletas, canarios and jacaras, entering dance schools and meeting the ballet masters of Madrid or Seville, plunging into the royal court of los Austrias, diving into the theatre of Cervantes and Calderon de la Barca, immersing in the paintings of Velazquez or Ribera, hearing the music of Sanz, Ribayaz and Guerau, putting the castanets and being carried by the nobility, the richness and the joy of the dance from the Spanish Golden Age… Begoña will start by teaching the steps specific to the Spanish academic dance, and will continue with some mudanzas (choreographic variations within the Spanish dance school). Then the castanets, which at the time accompanied these dances, will be added.

Level 1 is for students who are beginners in playing castanets and coordinating them with dance steps.

Level 2 is for students who have previous experience with castanet playing and who are used to coordinating castanets with dance steps (not necessarily Spanish baroque dance).

Baroque improvisation

➤ Note that this course will be taught in French and/or Spanish depending on the participants.

Only basic English translation will be available. ➤ Please make sure to bring your own pair of castanets!

Optional course

Charlotte Bell

Experimenting with the baroque steps, shapes and forms that we have become acquainted with in the morning session, the aim of this course is to deepen the understanding of what has been learnt by playing with it.

To take those forms at their most basic and see where that can lead… To free oneself from the strict rules of the baroque aesthetic and approach the form again from different perspectives… To create a space where the body and mind can juggle and experiment without any right or wrong!

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June

June

Photo: Tom Kohler

Spanish baroque dance and castanets

Programme

Optional course

Ottilia Bergström

The way we breathe affects our lives and the way we live affects our breathing… In dance training we focus a lot on the way our bodies respond to the instructions we send from our brain. In order to do this as correctly as possible we need to develop that focus and learn how to keep our concentration.

When we train our bodies we easily forget that we sometimes need to slow down in order to keep going – exercising breathing techniques will help us notice when we need a break. By listening to our breathing we learn how to adjust it, which reflects on the way we act and behave in situations that sometimes can be stressful. In this way our bodies and our minds will stay better focused, more relaxed and be more susceptible for new information.

In this course Ottilia Bergström will teach several different ways to use your breathing in order to find focus and calmness whenever necessary, as well as exercises to be more awake when the body is tired. You will learn how to listen to your breathing and how you can use it as a tool in your everyday life to reduce stress and keep a positive mind.

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June

International Summer Academy

Breathing techniques

Programme

Beauchamps-Feuillet notation This course is aimed at students who wish to be able to decipher choreographies notated in the Beauchamps-Feuillet system on their own. Around 450 choreographies still survive from the baroque era in this notation system, and many of them are nowadays available online.

Level 1 is for students who have no previous knowledge of Beauchamps-Feuillet notation. Karin will guide students through the basics of the system.

Level 2 is for students who are able to decipher the basics, and who want to progress further. This course aims at covering the basic step repertoire and some of their many variations, as well as allowing time for questions that students have encountered when working on their own.

Photo: Unn Tiba

of Baroque Dance 2017

Karin Modigh

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Optional course

June

Karin Modigh is a dancer, choreographer and teacher based in Paris, and the director of Nordic Baroque Dancers. She initially trained at the University College of Dance in Stockholm, before continuing her studies in France, mainly with M-G Massé and F. Denieau. She has worked with many different choreographers, including S. T’Hooft (Radamisto, Amadigi, Odeo, Imeneo), M-G Massé (Don Juan, Les Ballets de Noverre), D.C. Colonna (Armide) C. Copeland/C. Fittante (Niobe, Almira), F. Denieau (L’Egisto) and L. Baert. She has performed at theatres and festivals such as the Drottningholm Court Theatre, Opéra Royal de Versailles, Opéra Comique de Paris, the Innsbrucker Festwochen, Musikfestspiele Potsdam Sanssouci, Badisches Staatstheater Karlsruhe, Göttingen Festspiele and Boston Early Music Festival.

Karin has also choreographed for the Vadstena Academy, Östgötateatern and Stockholm Early Music Festival, and taught baroque dance at the Stockholm University College of Opera, the Ballet Academy and the University College of Dance, as well as in Moscow and France.

In 2012, she received the Swedish Early Music Award in recognition of her efforts to promote baroque dance in Sweden, and she was also awarded a grant from the Friends of the Drottningholm Court Theatre.

Programme

Pirouettes, jumps and beats Gilles Poirier

Optional course

July

Photo: Jef Rabillon

International Summer Academy

In Feuillet notated couple dances, men and women essentially do the same steps. However, when entering the male solo repertoire, we encounter a step material that demands specific technical skills.

Gilles Poirier will teach an afternoon course based on pure technique training, focusing on the essentials for executing baroque male solos: pirouettes, ronds de genoux, jumps, cabrioles (forwards, backwards and sideways) and jeté cabriolé.

He will also work on plié quality and standing leg rapidity.

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Programme

Walking, standing, sitting and bowing

Optional course

of Baroque Dance 2017

Mickaël Bouffard

In the 17th and 18th centuries, walking, standing, sitting, bowing, exchanging and handling objects was considered as prosaic dance, or dance in prose.

The dancing-master was the one teaching the graceful deportment, not only for everyday life, but also for performers on stage. At the time, the use of contemporary grace was a way of embodying nobility, no matter if the action took place in ancient or foreign worlds.

This course aims at teaching the basic body techniques testified for theatrical performances in the Ancien Régime, with the necessary adaptations for each character or genre (tragic, comic, pastoral). It will give you the historically informed tools to know what to do with your hands and feet when you are not dancing on stage. ➤ It is highly recommended to wear small-heeled shoes and bring a fan, a hat and a skirt.

Mickaël Bouffard has studied baroque dance with teachers such as Anne-Marie Gardette in Montreal, Françoise Denieau at Académie de Sablé, and Natalie van Parys and Marie-Geneviève Massé at the Summer

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July

Academy at Löftadalen. He debuted as a choreographer at the Montreal Baroque Festival in 2006. In recent years he has taken part in three choreographical residencies (Fondation Royaumont, Vannes Early Music Institute, Abbaye royale de Saint-Riquier) with MarieNathalie Lacoursière to prepare Les Indes galantes (2014) and La Veuve Rebel (2016) for the festival of Saint-Riquier directed by Hervé Niquet.

As a member of the company Les Jardins choréographiques, Mickaël has performed with the Toronto Masque Theatre of L. Beckwith, Les Idées Heureuses of G. Soly, the Ensemble Masques of O. Fortin (La Belle danse) and the Bande Montréal Baroque (Ballet de l’Impatience). In 2013 he made his débuts with the Boston Early Music Festival Dance Ensemble (Almira).

Mickaël is also a researcher, specialized in the iconography of dance and performance practice (gesture, costume etc.).

In this context, he has recently made six archaeological reconstructions for the Château de Versailles, presenting dances performed at court balls between 1683 and 1775.

Programme

Cramér repertoire

Optional course

Ivo Cramér was one of the greatest choreographers in Sweden during the 1940s. Together with Birgit Cullberg, he introduced modern-contemporary dance to Swedish audiences. During the period 1975–1980, he was also Director of the Royal Swedish Ballet.

He recreated several of the 18th century ballets produced in Stockholm, including La Dansomanie and Harlequin, Magician of Love, which he also staged at Opéra Comique in Paris. These are light-hearted ballets, that are lyrical and full of gaiety.

In 1989, Ivo restaged La Fille Mal Gardée to the original music in Nantes, to mark the 200th anniversary of the French revolution. Three years later, he created Jason et Médée in Strasbourg for Ballet du Rhin.

Ivo Cramér’s repertoire is, just as the choreographies of Francine Lancelot, part of the 20th century baroque dance legacy. Lena Cederwall Broberg will teach two different male solos – one from Jason et

Prosaic dance in the Visual Arts, or the “Je-ne-sçais-quoy” depicted Mickaël Bouffard

It was a commonplace in literature and poetry to say that grace was elusive, that you can’t describe it with words, that it was “un certain je-ne-saisquoi”. The painter and the engraver, however, could not escape so easily the necessity of analysing what was graceful at their time, because they had to put something on the canvas or on the paper. In this richly illustrated talk, we will see how the visual artists translated the dancing masters’ “dance in prose” into portraits, fêtes galantes, genre scenes and history paintings.

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July

Medée, and the other from The Fishermen, performed by the Royal Swedish ballet at the Drottningholm Theatre most recently in 2006. Lena’s classes will give students the opportunity to get an insight in a modern times’ choreographer’s way of working with male dance technique inspired by the 18th century aesthetics.

International Summer Academy

Lena Cederwall Broberg

Evening lecture

July

Programme

Barres Flexibles

Optional course

In this course Robert Le Nuz will guide students through elements from the technique Barres Flexibles, created by the late Wilfride Piollet (former étoile dancer at the Paris Opéra Ballet). In this training method, the usual support of the wooden barre is replaced by objects like balls or by self-support through the use of hands. A barre flexible is the idea of connecting anatomical elements inside the body, creating a support for the dancer to find autonomy and freedom in the movement.

The goal is to get internal feedback about balance through the skin and the postural muscles, but also to work on arm mobility in relation to the shoulder girdle, in order to develop spine mobility and movement initiation. By alternating parallel and turnedout positions, a large focus will be put on posture, on positions and on movement between the positions.

Through attention on internal architecture related to space, we will aim at full consciousness of our instrument.

Photo: Francette Levieux

of Baroque Dance 2017

Robert Le Nuz

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July

Photo: Alexis Silver

International Summer Academy

Introduction

Practical information

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Practical information

of Baroque Dance 2017

The surroundings Löftadalen is a boarding school conservatory on the west coast of Sweden. It is beautifully situated on a hill overlooking the sea approximately 50 km south of Gothenburg.

There is a beach just beneath the school, within 5 min walk. About a 10 min walk in the opposite direction is Åsa, a small countryside community with a supermarket and some other facilities including a post office and bakery.

How to get there Löftadalen Conservatory is located in the village of Åsa at the Swedish countryside.

To get there by train, go to Kungsbacka Station and then take a bus to Åsa. Kungsbacka is served by regular trains from Gothenburg central station (journey time 30 min) and Copenhagen airport (direct train journey time 3.5 h), so if you fly in from abroad we recommend either of those airports. From Kungsbacka there is a bus to Åsa idrottsplats, running about once per hour.

Before booking your flight tickets, please make sure to check your train and bus connections, using these sites: www.sj.se Trains within Sweden www.vasttrafik.se Bus 732 KungsbackaÅsa idrottsplats (direction Frillesås) www.baroquedancers.se Map and information on how to get to Löftadalen By car exit the E6 motorway at junction 58 if driving south (from Gothenburg) or at junction 57 if driving north (from Malmö). Åsa is a well signposted short drive to the coast from either junction.

Meals & accommodation As Löftadalen is a school and not a hotel, accommodation is in double rooms in an area adjacent to the main building. However, there is a limited number of single rooms available. In the school restaurant the chef supervises the quality of the meals, keeping high standards with healthy food adapted for moving bodies, and offering vegetarian and dietarian alternatives.

Arrival & departure Arrival time is on Sunday afternoon and we are available for check-in between 17h30 and 19h30. Check-out is after breakfast on Sunday the following week.

Both weeks close with a farewell dinner on Saturday night. In order to focus entirely on the learning process, there is no final presentation of student work.

Course levels BEGINNERS 25 JUNE–1 JULY Whether you are a dancer or a dance student new to the genre, a singer, musician, actor or other, this is the opportunity to get a thorough introduction to the world of baroque dance. For the beginners level you do not need any previous experience of the genre. However, we expect you to be a mover with a general dance experience, be in good shape, be used to regular physical activity, and to possess good general body awareness. Please be aware that baroque dance is no less demanding than most other dance forms, and typically puts a lot of strain on feet, calves and core muscles.

Language & age limit All courses are held in English, unless stated differently. The minimum age for participants is 16 years. There is no upper age limit, but keep in mind that baroque dance demands strong feet, legs and core muscles.

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Scholarships In 2015 we founded two new scholarships: Löftadalen Summer Academy scholarship, in memory of Ivo Cramér.

Each scholarship covers 50% of the fee in double room accommodation, and they both aim at professional dancers or dance students with any level of pre-knowledge in baroque dance. Dancers from all nationalities are welcome to apply.

Please send in your scholarship application before 1 March to: academy@ baroquedancers.se Your application should be in the form of a short CV and a few lines saying why you wish to study baroque dance. The selection will be made

by Löftadalen Conservatory and Nordic Baroque Dancers.

INTERMEDIATE 25 JUNE–1 JULY This level is aimed at dancers, dance students and dance teachers with a basic knowledge of the baroque dance vocabulary, as well as non-professional dancers with solid baroque dance experience.

A DVANCED 9 –15 JULY To the advanced level we welcome professionally trained dancers, dance students and dance teachers with a thorough knowledge of the baroque dance vocabulary.

Please note that we ask for a short CV if you register for this level.

PROFE SSIONAL 9 –15 JULY This level is aimed at professional dancers with a professional baroque dance experience. Please note that we ask for a short CV, as well as a link to a video sample of a stage performance, if you register for the professional level.

Application for the advanced & professional levels in July If you want to join the advanced or professional level, we kindly ask you to hand in a short CV. The CV should state your previous and current dance training as well as your experience within baroque dance. For the professional level we also ask you to send a video sample from a stage performance, preferably as a youtube/vimeo link.

The morning warm-ups, afternoon classes and optional courses are open to all students present during each week, and we try to mix the groups as far as possible so that you get to know more people than just your morning class colleagues.

Fees The International Summer Academy is all-inclusive, except travel costs.

Fees include accommodation, meals and all classes: ➤ Double room: 4 950 SEK (ca. €510) ➤ Single room: 6 450 SEK (ca. €660)

Registration To register, please fill out the form posted at www.baroquedancers.se You can also fill out the form on the last page, scan and e-mail to: academy@baroquedancers.se If you register for the July week, please don’t forget to attach your CV, as well as a video link for the professional level.

When we have received your registration, we will send a confirmation and invoice by email, asking you to pay the fee within a period of two weeks. Payment is to be made via PayPal.

The fees are applicable for both the June and the July course, and remain the same whether you choose all or none of the optional courses.

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International Summer Academy

Practical information

Photo: Alexis Silver

Photo: Alexis Silver

of Baroque Dance 2017

Photo: Alexis Silver

Practical Introduction information

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Photo: Karin Modigh

International Summer Academy

Photo: Peter Thompson

Photo: Jaroslava Dosedlova

Practical information

The Carina Ari Library is one of Europe's major research and reference libraries in dance, with more than 13 000 books, 11 000 magazines and a digitised, searchable movie collection of some 4 000 dance films. The collection is continuously growing. The library has a considerable amount of literature on early dance forms, originals and reprints, with a large section on baroque dance and lots of dances in Feuillet notation.

The library is open by appointment only, before and after the summer courses at Löftadalen.

Mail: info@carina.se Phone: +46 (0)8 662 65 70 Visiting address: Holländargatan 23, Stockholm

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There are two 18th century theatres in the Stockholm area: the Ulriksdal Palace Theatre Confidencen, built in 1753, and the Drottningholm Court Theatre, built in 1766.

Both have summer season performances. Stockholm also houses a prestigious dance museum with fine collections from both the Ballets Russes and Ballets Suédois in Paris in the early 20th century, and artefacts from non-European dance cultures in Asia, Africa and North America.

Registration form

Full name: Full address:

of Baroque Dance 2017

E-mail: Phone number:

Date of birth:

Main course level Beginners 25 June–1 July (Charlotte Bell)

Optional courses 9–15 July Pirouettes, jumps and beats, 3 days (Gilles Poirier)

Intermediate 25 June–1 July (Begoña del Valle)

Walking, standing, sitting and bowing, 3 days (Mickaël Bouffard)

Advanced 9–15 July (Robert Le Nuz)

Cramér repertoire, 2 days (Lena Cederwall Broberg)

Professional 9–15 July (Gilles Poirier)

Barres flexibles, 2 days (Robert Le Nuz)

Optional courses 25 June –1 July Spanish baroque dance level 1, 3 days (Begoña del Valle)

Accommodation Double room, 4 950 SEK Single room, 6 450 SEK

Spanish baroque dance level 2, 3 days (Begoña del Valle) Baroque improvisation, 3 days (Charlotte Bell) Breathing techniques, 2 days (Ottilia Bergström) Feuillet notation level 1, 2 days (Karin Modigh)

I would like to share accommodation with (optional):

Other information (vegetarian/vegan, allergies, etc.):

Feuillet notation level 2, 2 days (Karin Modigh)

Please note that your registration for participation is binding and the full fee has to be paid within the given

If you have any questions,

timeframe. The maximum number of participants at each week is 35.

feel free to e-mail us at: academy@baroquedancers.se

Registration deadline is 15 May

Photo: Alexis Silver

“Thanks to you!

It was a wonderful week, full of sharing of knowledge, experience and dreams.

And of course, full of dancing!

I will not forget it, it is already part of me.”

academy@baroquedancers.se www.baroquedancers.se