Anasma

Master Class Offerings for all movers: dancers, actors, yogis, singers…


About » Master Class Offerings for all movers: dancers, actors, yogis, singers…


Invited around the world to teach and perform, Anasma appears in Festivals/ Conventions/ Conferences, Week-long intensives, Week-end Intensives with workshops and master classes. She teaches regular Master Classes in Paris and private classes while she is travelling.

Topics for all dancers

Body parts and full body

• Pelvic and torso Isolation techniques for academic dancers, complex layerings and new challenges
• Approach and feel of Ethnic dances and Urban dances with a Western eye and vocabulary and understanding
• Isolations in globality
• Approach of Western Academic dances for Ethnic & Urban dancers
• Mini zoning and maxi zoning
• Long large body , small body : lenghtningm contaction, the bear
• Space in the body and the body in space
• Awareness and management of the pelvis, hips, center, belly in multiple dances
• Hip placement : mime, academic dance, ethnic dance
• The feet, the base of it all



Center : belly-anatomy, breath

• Anatomy of the belly : bones and muscles wise, Dissociation of rectus abdominis, transverse, obliques
• Breathwork : comparison between yoga, singing, academic dance, bellydance techniques . Breath in movement.
• Center, carriage from the center, core strength
• Organic quality… dancing from the viscers



Chi : traveling energy, flow, fluidity

• Waving technique
• Voyage of energy
• Breathing
• Fluidity
• Letting the body do, versus the mind
• Repetition and evolution
• Dynamics and switches
• Four / Five elements
• Full body Tutting
• Across the floor
• Energy between partners



Space in the body and body in space

• Axis, Planes, Volumes, 3D
• Directionality, Elasticity, Oppositions
• Expansion, contraction
• Escher ! Perspective change
• Levels changes
• Transpositions
• Traveling in space – kinesphere and general space
• Meaningful space
• Powerful staging and placement
• Coherence of the space
• Qualities, emotions in space
• Line, curves, spirales
• Geometric shapes and pathways



Sensory dance

• Dancing with the senses (water in mouth, food/ perfumes… ), without one sense (silence, blindfolded/ discoveries)
• Contact dance
• From Anatomy to dance



Unleash your wild creativity

• Variety of sources of inspiration
• Working with images
• Tools for composition
• The Art of improvising
• Help ! Blank page
• Four three two one !
• Infinity loopy loops
• Crazy lines
• From Paintings to dance (renaissance, pointillisme, impressionism, fauvism, cubism, surrealism, contemporary art…)
• Escher !
• Playfulness, playground, awakening and cherishing the Inner child in the adult’s heart
• Silence ! Camera ! Action : From Silent movies to dance
• Giving life to real and to imaginary Objects



Floor is a friend

• Points of contact with the ground and weight change
• Unexpected combinations and challenges for all levels of movers
• Weight, counterweight
• Neat, clear, creative transitions
• Strength building
• Gaining Flexibility
• Building from down up : alignments, posture, weight management, strong feetm strong center, storng body
• Pushing the ground, Lifting yourself off from the floor, Floor and sky connection
• The space above when we go down, the space below when we go up
• Isolations with body postures
• Balance between strength and flexibility
• Successions, isolated globality
• Advanced contemporary floorwork
• Yoga Dance, flow and creativity
• Partner work
• Acro
• Inversion basics



Yoga, yoga dance

• Ashtanga Yoga
• Vinyasa Flow Yoga
• Yoga fundamentals for dancers
• Yoga dance warm up, Yoga dance Cool down (at the beginning and the end of the day)
• Dance for Yogis
• Yoga for two



Presence, intention, emotion

• Being in the present moment
• Sensory dance
• From inside out : Being present to the self, present to others, to the space
• Setting intention
• Vocalising emotion, volume game
• Exploring nuances of emotions
• Decide how much you want to give : projection, protection



Charisma : secrets revealed

• Analysis
• Energy projection : Gaze
• Efficient entrances and exits, strategic arcs of the piece to keep the interest
• Generosity and setting how much you want to give
• Postural charisma, muscular engagement that says « Here I am »
• Crowd pleasers , crowd teasers



Body-instrument

• Musicality, instruments, layers, melody, percussivity…
• Typical Oriental rythms and composition principle for musical patterns
• Voice and movement
• Sound making
• Silences
• When beatboxing meets dance
• With the music, against the music
• Vocal chords… a muscle group dancers tend not to explore



Expressivity

• Expressive face, Expressive body (mask/ cover up…)
• Expressive hands and arms
• Talkative feet and legs
• From pantomime techniques, gestural movement to dance
• From Theater to Dance/ From Dance to Theater
• Vocalising and volume game
• Words in Dance
• Storytelling, narrative, surrealism
• Exquisite corpse : making sense out of what makes no sense
• Action movies




Team spirit

• Getting to know each other (name and gesture game), Sensory empathy, becoming one with the other
• Give and take, give and receive
• Collective creation
• Group composition : architecture – shape building, Human machine (space, emotion), formations, travelling
• Common Imagination in multiple brains
• Leadership, ability to follow, Knowing your place
• Defining roles in the group , Character intentions and interactions within a group
• What you what, what do they want, conflict of interest, setting common goals
• Dialogue, Call and answer
• Group crescendo and descrescendo (emotional, storytelling, singing ), Matching to the groups’ energy



Improvisation : « la magie du direct » (The Magic Of Live Performance )

• Professionalism : dealing with mistakes on stage, transforming a mistake into something positive
• Humour
• Unusual props
• Body-Mind : dialogue and centering, Letting go
• Ipod Challenge
• Theatrical games
• Interaction with Live musicians !: directions, cues, flow together, common language




Masculine + feminine

• Postural differences
• Exploring with stereotypes
• Breaking the cliches
• Switching energies, energy flows
• Using salsa technique, or Popping or Oriental dance to explore different energies, centers of gravity (Porto vs cuban…), and reversing the expectations
• Complementarity, each one in place : guiding, portés…
• Character exploration
• Taking the best of both worlds, balance : strength and flexibility
• Relationships, ages, characters meeting



Character work : animality and humanity

• Starting from from scratch, developping a character in Each detail . Commitment
• In someone else’s skin
• Roles and Identity
• Organic animal move, Prey and predator
• Under the sea ! animals
• With a beak ! Birds
• Lands animals, Mammals
• Reptiles
• Felines
• All animals : Jungle and savana animals / At the zoo !/ At the circus / At the pet store
• Famous characters
• Everyday life, at all ages
• Public spaces/ private spaces



Being and well–being

• Reflexion of our intention of our dancing, Being in the present and the sensations, Being yourself, being good with yourself, Nothing to proove or get approved
• Exploring and accepting the light and the dark, Self acceptance , where are are at now in our simplicity and our perfect imperfections, body image work
• Empowerment : Dancing our ideals, our superhero self, going down the runway, pausing like a superstar, and knowing we can tap into this confidence building memory whenever we need
• Empathy, sympathy, being kind to others, Learning to be less hard on ourselves, quite down the little voice in our head, Letting go
• Relaxation, self massage and massage techniques




World Citizen Dance (Technique and choreography, cultural encounters)

• Qualities and strengths of where you come from (country, history, personal history, dance background…) , your analytical grid
• Latin Fire – Taco flavoured kisses !
• Salsa footwork and layering challenges
• Oriental and Popping isolations
• Waving explosion and popping basic techniques and how to fuse it to other styles : for beginners to advanced dancers
• Modern Oriental dance technique for advanced dancers : lines and curves
• Oriental dance technique for all : the air and the earth
• Contemporary dance technique for non contemporary dancers
• Warrior dancer ! – Wushu and theater for dancers
• LAYERING & ANALYSIS KEYS : How to adapt a technique to your existing technique : The art of fusing, Fusion, infusion, not confusion
• Switching energies and mixing cultures
• Dialogue through dances : circle and pluridisciplinary jam



Performance coaching

Presenting a piece to a safe supportive group
Setting the intention and how to get there
Relationship with the audience (intention, gaze, breath , distance, interaction)
Efficiency of your chosen method : reaching the goal set/ or not and how to
Technical suggestions
Giving and taking constructive feedback
What to look for in a performance
Usage of space
The arcs of a stoy and it’s Dynamics
Team energy, togetherness, synchornisity

201503 Anasma teaching at Tribal X Lisbon 5

About Class Structure

Generous in her teaching, Anasma loves giving and exchanging. She keeps the energy high in her fun and informative workshops, creating a supportive learning environment.

Anasma’s classes and workshops start with a warm up that includes muscle strengthening, body awareness, breathing, deep stretching, balancing through the usage of yoga asanas, exercising and dancing. This portion of the class introduces the dance style that will be the focus of the workshop.

Then, technique relative to the topic is taught through the introduction of new concepts and drilling. We work the body out and learn innovative ways to express ourselves through movement.

Combinations are created throughout the class or at the end of the class, in order to put together a short choreography. Workshops and classes are a space for creativity. While choreography is an important tool for teaching and learning, Anasma also encourages improvisation, to keep the dancing lively.

The class ends with a cool down.

The length of a class is variable and the structure is adaptable to different time frames.

Anasma wants dancers in her classes to be safe. (Read more about safety here).

201301 Anasma training Love Army Project in Cologne by Andre Elbing

Student Ethics

Following is a list of guidelines and ground rules for studying with Anasma. Please read ahead of time as Anasma expects her students to be familiar with these guidelines.

  • No gum, no smoking, no telephone.
  • Come to learn. Work to grow as a better dancer and person.
  • Work for yourself. This is not a competition. We are all brothers and sisters.
  • Be safe for your body. Give yourself fully and only take what you need.
  • Push yourself to do the best but do not be too hard on yourself. Remember that each person learns at his or her own pace.
  • Have fun! Don’t take yourself too seriously.
  • No video capture permitted unless permission is given by Anasma. If videos are allowed, they should be only for your personal use and not be made public ( no Youtube, Dailymotion etc.)

About Class Structure

Generous in her teaching, Anasma loves giving and exchanging. She keeps the energy high in her fun and informative workshops, creating a supportive learning environment.

Anasma’s classes and workshops start with a warm up that includes muscle strengthening, body awareness, breathing, deep stretching, balancing through the usage of yoga asanas, exercising and dancing. This portion of the class introduces the dance style that will be the focus of the workshop.

Then, technique relative to the topic is taught through the introduction of new concepts and drilling. We work the body out and learn innovative ways to express ourselves through movement.

Combinations are created throughout the class or at the end of the class, in order to put together a short choreography. Workshops and classes are a space for creativity. While choreography is an important tool for teaching and learning, Anasma also encourages improvisation, to keep the dancing lively.

The class ends with a cool down.

The length of a class is variable and the structure is adaptable to different time frames.

Anasma wants dancers in her classes to be safe. (Read more about safety here).

Student Ethics

Following is a list of guidelines and ground rules for studying with Anasma. Please read ahead of time as Anasma expects her students to be familiar with these guidelines.

  • No gum, no smoking, no telephone.
  • Come to learn. Work to grow as a better dancer and person.
  • Work for yourself. This is not a competition. We are all brothers and sisters.
  • Be safe for your body. Give yourself fully and only take what you need.
  • Push yourself to do the best but do not be too hard on yourself. Remember that each person learns at his or her own pace.
  • Have fun! Don’t take yourself too seriously.
  • No video capture permitted unless permission is given by Anasma. If videos are allowed, they should be only for your personal use and not be made public ( no Youtube, Dailymotion etc.)

201301 Anasma training Love Army Project in Cologne by Andre Elbing

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