Program & Teachers
The festival offers an intensive program from morning till late evening: classes, laboratories, jams, creative projects.

Movement: Katya Basalaeva, Ilya Belenkov, Georgy Popov, Julia Dolgova, Olya Venyaminova, Alexander Kosko, Ilnur Nagumanov / Anna Bogoslovskaya

Laboratories (drawing, singing): Zosya Leutina, Elena Muchnaya
Festival musician: Vadim Shirobokov
Festival program
//  Jams
//  Contact Improvisation Classes
//  Technical classes
//  Movement Labs
//  Somatic practices
//  Laboratory "Movement in a drawing"
//  Singing circles

Festival structure
Our official arrival at the camp is on July, 1st at 19:00.
Departure from the camp is on July, 10th at 21:00.

Below is the structure of the festival:

Singing circles
Drawing (Laboratory)

Katya Basalaeva (Novosibirsk)
Currently, my interest in CI practice has been balancing somewhere on the border of physics and metaphysics. I'm interested in a layer of reality where the boundary between the self and the non-self is thinning and consciousness can find itself in the we-body. I like contact improvisation that is about a clear, timeous and appropriate action in a shared field of attention and about a study of the possibilities of a continuously changing form.
Dance as the actualization of the capabilities of the human body/consciousness through a meeting with specific physical tasks that arise from moment to moment.
The practice of ultimate being in the true present.

Ilya Belenkov (Moscow)
Laboratory in the field of contact improvisation

For many years I have been practicing and teaching the body, movement and awareness. in recent years, I have been almost continuously interested in the question of a single shared body and consciousness. and contact dance, like any other practice, is of interest to me first of all as a practice of transforming internal body reality, that is, in fact, as an ascetic practice.

I like to teach things that I don't quite know myself. I love to teach how to dissect and re-create reality. I love being with someone on the shaky border of understanding and direct experience.

since the material I work with is extremely complex, that is, literally located on the border of understanding and perception, I work in very simple forms, using images, poetic text and touch as ways of thinking that help the mind to become realized and act in a new body.

Georgy Popov (Moscow)
The information is coming soon...

Julia Dolgova (St. Petersburg)

Wherever my searches for physicality, awareness, meaning, mechanics or reasons for movement take me, contact improvisation and jam remain the background that always shines through new experience and comes close when there is a need for trials, practice, interaction and confrontation with physical reality. For me it is always an invitation to be in a familiar place, but not to return, but to review the practice and re-designate internal guidelines.

This time I don't want to take any specific aspect of contact interaction, but I want to take a general look at what the dance consists of, what jam consists of. Movement, weight, lifts, awareness, sensitivity, body, duet space, shared jam space, look, observation, change, choice, partner, dialogue ... what components support us in building a dance, without which components jam loses its volume, and we lose our involvement in what is happening? What do we rely on if the supports disappear? What do we rely on if the teacher's instructions disappear? And this is exactly what happens when we find ourselves in a situation of improvisation or a jam.

We will dwell on some aspects of physicality and space and then continue to look into the general. We will dance a lot, reconstructing the space of jam and its infinite forms, saying important things and paying attention to details. I don't want to skip over the special moments, where perhaps the most inconvenience or tension arises. I want to be able to stop and see the dance not as adding something new but as unpacking, unfolding, developing what is already happening.

Elena Muchnaya (Novosibirsk)
Singing circles

Olya Venyaminova (Novosibirsk)
Performer, teacher, choreographer and methodologist. I have an academic education in choreography which does not matter in the practice of CI. Contact improvisation for me is a kind of quest that does not have unambiguous solutions. Everything has the right to life, but the goal is the dance that happened. I admire people and look for my way. Leaving and returning, I remain in the orbit of contact improvisation. CI does not tolerate copies and imitations, only being in constant study and being a personality, you meet with the dance.

In my classes at the festival, I want to concentrate on a topic of "Beginning". In different contexts. How to start moving? How to find momentum to start your dance? How to start when meeting with a partner? How to find where a lift begins and how to use this beginning?

I hope this will be interesting to those who are just starting and those who are not afraid to start everything from the very beginning.

Vadim Shirobokov (Izhevsk)
make a sound as if you throw a stone into quiet water and carefully watch how the circles diverge and how they disappear. Creating a sound you destroy the still surface of silence and create waves. they diverge in all directions and disappear. and again stillness and silence. it appears itself. it does not need to be created. it just exists. no matter how and what stone falls, the circles diverge and disappear.

maybe we are these stones ?!

Musician, composer, sound artist, sound performer.

Member of Russian and international music, dance, spiritual festivals, trainings and retreats. Has creative collaborations with artists of contemporary art and performance, dance therapists, psychologists, psychotherapists.

The official musician of festivals of contact improvisation in Russia, Ukraine, Georgia, Israel, France.

Zosia Leutina (Novosibirsk)
I am a person who draws. Through some experiments in my life, I managed to find out that not to draw is not mine. Other things are added and taken away, but drawing remains.

Why drawing is exactly at this festival? Because it seems to me that at least minimal drawing skills are useful to everyone, like writing skills. Drawing is another way to see and think, and it's very useful. Because for a long time I have been friends with the organizers and many participants of the festival and the community of people involved in contact improvisation is very close and appeals to me.

And during last festival it was discovered that people who dance and feel their bodies better than others and who take a pencil for the first time, are able to draw people. They feel it in their body, and this is very important for the exercises that I give. So the result is interesting and inspiring for both sides.

Alexander Kosco (Israel)

Teacher of body-oriented programs, dance/movement therapist, voice researcher, traveler and performer.

In contact improvisation, Alexander explores being in the moment, expanding consciousness, individual creativity and creativity with a partner.

"Every meeting, every moment of a joint dance is a chance to meet and master a new aspect of oneself. It's also a chance to learn something about human nature that cannot be detected by any other way. "

Ilnur Nagumanov and Anna Bogoslovskaya (Yekaterinburg)
Ilnur Nagumanov
my interest in CI: to create a permanent research laboratory (this is already happening) in which, through regular practice of movement and non-movement, awareness and presence, touching, deep immersion in bodily processes, flesh of life and consciousness … through dance, lab's participants would be in the process of conscious creation of oneself and the world. and dissolution.

Anna Bogoslovskaya
my interest is in dance.
togetherness: one consciousness/one physicality for two of us, how to get together to the space where "us" doesn't exist.
time: extend, always know oneself, give rise to a shared movement in time.