we wanted to thank you for supporting us throughout the year. b12 spring and b12 summer 2022 is over - and we are gearing up for fall 2022, spring and summer 2023!
rest assured we are here to answer any questions you might have.
we are you!
© inbal shani
b12 summer main event— // —
location: eden***** studios
founder of movement archery | co-artistic director of wonderground company
My approach to acrobatics has developed from the urge to look for freedom in movement. It led me to the wonderful paradox between meditation and acrobatics, the attempt to find tranquility in the chaos, to understand whether it is possible to create a practice that is inspired by the eye of the storm. The main goal is to find a movement quality that supports simple actions like walking and running, as well as acrobatic feats without a difference in effort, mental fatigue or structural tension. To do this, we will search for high levels of awareness and precision so the body can react quickly to the changes in skeletal stress, and to maintain flow without unnecessary distractions. In classical acrobatic disciplines, Preparation, Climax and Landing are being treated as completely different aspects while usually one is more important than the other. In Zen Acrobatics, the practitioner aspires to transform all 3 states into one motion that can ultimately connect to any other type of movement. Personally, this type of practice over the year has given me confidence, joy and a more calm and serene mind. It allows me to tap into somewhat of a child-like state, which supports me both in my artistic career and in my personal life.
some workshops offer group improvisation or partnering. these workshops elements may or may not be possible and the teachers and choreographers will modify their workshops accordingly in line with the health and safety measures required at the time. please stay flexible. thank you!
Ever since I was a child, I've felt more attracted to experience the world rather than knowing the world. This led me to follow the unmarked path of art and movement. Professionally, I am managing many of my projects in the realm of performance and dance. Yet, my curiosity is pulling me to the endless space of physical expression. My embodied philosophy is guided by Zen Buddhism and relates to acting from playfulness and meditation. Martial arts and acrobatics have been my hobbies since childhood. I am constantly inspired by literature, philosophy, animation, architecture music and cinema. I try to meet my hobbies and my inspirations as often as possible, meeting them over and over with a beginner's mind. I believe contemporary dance is the art of reinventing the forms every time I dance, and the practice of synergy between dance and other art forms. I have been teaching since I was 16 years old. Teaching is a very gentle work and therefore, I refine and improve my teaching abilities constantly. The centre of this refinement is dialogue and deep listening. I find the pedagogical space a fascinating meeting point between scientific observation and intuitive expression. I like to divide my philosophy of teaching to ART and CRAFT. Craft relates to the study of embodying and actualizing the deep human interest in the world. Art relates to the ability to create the space for expression in an ever-changing reality.
Movement, defined as change, becomes an essential language to embody the transient experience of life and all its intricacy. It becomes a constant reminder of the nature of existence; the meaning of that which we cannot find as a whole, but each one re-defines over and over. We approach movement from a multidisciplinary perspective, finding in its gestures and momentum our most intimate and poetic connection. They are the essence of our movement language: a mix between expression and pure motion. The expression of our spatial language is primarily the creation of landscapes. All the visible features of the land are considered through personal memories and experiences. We use sound, light, material, shapes, colors and form to ignite a change or a shift of perspective. By communicating in this way, the internal and external landscapes lose the dichotomy and the space becomes a dynamic place where meetings and insights happen for the performers and the audience. This synergy between movement and landscape, inevitably becomes the writing of the stories that the body holds. Those stories are embodied experiences that can't be told otherwise. They are invisible forces that drive the performative act. We search for the co-existence between personal stories and the accumulated human experience. Creation and performance essentially are a process of transformation. It is, for us, a wonderful metaphor to understand art and its universal place in life.
b12 |||||||||||||| 2022 |||||||||||||| we are you ||||||||||||||