The Anniversary Edition of our Winter Intensive is BIG! It comprises a series of fascinating physically-diverse workshops by accomplished artists and movement practitioners who have long been associated with Dancehouse throughout it's 20 year history.

Get immersed in Skinner Release technique with Wendy Smith…learn the moves from Shelley Lasica's Vianne and Tracie Mitchell's Sure…taste what it would be like to perform NOWNOWNOW with Luke George….and explore the notion that your body is a 'house for dance' with the Jane Refshauge… 

Date: June 25 - July 6 (MON - FRI)
Time: 10am (all workshops 2 hrs, except Jane Refshauge's, 3hrs)
Costs: $20, $16, $14 (per workshop).
10 classes, $180, $145, $125
5 classes, $90, $70, $60

Bookings: 03 9347 2860 or



Skinner Releasing Technique 
2 classes, June 25 and July 4

In these 2 classes participants will utilize imagery to ease tensions and promote an effortless kind of moving, integrated with alignment of the whole body. We will also be playing with tactile exercises which will give the imagery immediate kinesthetic effect. Skinner Releasing Technique smoothly integrates technical growth with creative process. 

These classes are best taken as a pair but can be done independently. 

WENDY SMITH studied with Joan Skinner in Seattle Washington, USA and has been teaching the work for over 15 years. She danced with State of Flux and has been teaching Kinetic studies in the Tertiary dance programme at the VCA for the last 14 years. Wendy also runs Studio202 where she teaches Pilates and does massage. She is currently a candidate in the Structural Integration training. 

Alexander Technique, Ideo-kinesis & Dance
Two 3-hour workshops for any body, June 29 + July 6

Workshop 1: June 29   
Why Have a House for Dance?

Exploring the question of Why have a House for Dance? Remembering that the body is the first home within which we live, exploring our relationship to self, environment and community as a moving body in space. The ideo-kinetic principle of 'ideal postural pattern' (Todd, Sweigard), and the balanced upright position of the Alexander Technique will be studied through constructive rest position, semi-supine and movement improvisation. 

Central to this enquiry is the search for ways to explore any one part of the body, whilst keeping in mind the foundation principle that the body is an indivisible psycho-physical-spiritual unity moving in process "one after the other all at the same time" (Alexander).

Workshop 2: July 6
What is a House for Dance?

Exploring the question of What is a House for Dance? Remembering that the body is a vehicle through which we perceive and explore the world around us. The ideo-kinetic and Alexander Technique approaches to breath and respiration will be the study focus, through which this question is explored. 

"The diaphragm ... like the equator ... is the dividing line of two great halves of being: the conscious and the unconscious, the voluntary and the involuntary, the skeletal and the visceral" (Todd)

Jane wishes to respect those participants who have a sensitivity to wi-fi and wi-fi devices and requests that no smart phones,  i-pads/tablets or laptop computers are used during the workshop for note taking, and apologizes if this causes any inconvenience to others.

JANE REFSHAUGE (BA, MFA, DipDMT, MPS,  MAPS, AuSTAT, DTAA, PACFA Reg) was a founding committee member of DanceHouse. She has studied, performed and taught dance and movement disciplines, that have developed from the premise that the body is a "psycho-physical unity".  From 1979-1984 she lived, studied and performed in the USA. She studied Ideo-kinesis with Andre Bernard, Body-Mind Centring with Bonnie Bainbridge-Cohen, Kinetic Awareness with Elaine Summers, and the Alexander Technique with June Ekman and Marjorie Barstow among others. In 1984 she completed her MFA in acting studying with Olympia Dukakis at New York University. She was a founding member of The Deborah Hay Dance Company in 1980. From 1985-2000, she taught at the Victorian College of the Arts  in the School of Dance where she developed a programme that integrated kinaesthetic body awareness skills with the teaching of traditional dance techniques and the facilitation of new choreographic dance forms. She is a qualified teacher of the Alexander Technique (MATTS), a professional member of the Dance Therapy Association of Australia (IDTIA), and full member of the Australian Psychological Society, College of Counselling Psychologists (Masters in Psychoanalytic Studies, Monash). She currently works in private practice as a psychologist utilizing both dance movement therapy, the Alexander Technique and movement re-integration modalities.

Repertoire (Sure) and Critical Discussion
2 Workshops, June 26 and July 5

This unique workshop considers the commonly viewed opinion that movement is the element that binds dance and film. To begin, a warm up will focus on floor material before building into a series of alignment exercises that focus on evolving and exploring efficient movement pathways through the body.  Workshop participants will then learn the 'Forest Phrase' from Tracie Mitchell's acclaimed dance film Sure (1998). The doing of the phrase will lead into a group discussion that considers the notion of movement when choreographing dance with the camera.
"Making dance works with and for the screen involves a negotiation of dance and film languages and systems. The filmmaking discipline has a tendency to overwhelm that of the dance, the choreographic process and the complex identity of the dancing body. Arriving at this premise has opened up a different kind of journey within my own dance screen practice, in which the process of making work involves hunting out moments where the dance and film disciplines crossover/collide/engage/merge/ fracture/ attack and more. - to challenge the notion of dance as the subject for the camera to film and bring to the dance to the forefront of the process." Tracie Mitchell

TRACIE MITCHELL is an Australian born choreographer and filmmaker based in Melbourne. Her theatre and screen work is celebrated for its unique fusion of dance and film including 5 Green Room Nominations for Under the Weather , and Dame Peggy Van Praagh Award for Sure. She was a recipient of the prestigious Australia Council for the Arts Fellowship 2002 – 2004. As Artistic Director of Reeldance Inc. (2008 – 2010) she designed and implemented the 2009 International Dance on Screen Festival that toured to 16 venues throughout Australia. Currently she is completing her PhD titled; Moving Pictures: dance screen making as a choreographic process. Her research draws on her 20-year experience as a maker of dance and film.

Process, Choreography, Repertoire
2 workshops, July 2 + 3

First premiered in 2010, NOW NOW NOW is experiment-as-performance that explores energy, time and consciousness. The performers undertake conceptual live attempts to experience the question: can we be in the now?

"People seek to be in the moment, yet through the pursuit of this, move further and further away from it. I am drawn to the paradox of this notion and how it parallels the act of performance – which is happening, both in real time between the audience and the performer, and yet is highly constructed." – Luke George

In this workshop, Luke will share and further experiment with the process, concepts and performance practices behind the work including: performance practice; scores for improvisation; instruction based action; activating the voice and language; examining a sense of presence and the present.

LUKE GEORGE is a Melbourne based dance artist. His work has taken him through Australia, North America, Europe and Asia. He is best known for his work award winning performances with Phillip Adams BalletLab, Jo Lloyd and Chunky Move. Choreographic highlights include LIFESIZE, NOW NOW NOW and HOME. Luke was artistic director of Tasmanian youth dance company Stompin 2002-2008. In 2012 he will perform in a new work with Miguel Gutierrez and the Powerful People in New York City and tour his work NOW NOW NOW to Norway and the Netherlands.

Choreography and Repertoire (including Vianne)
2 Workshops, June 27 + 28

Shelley Lasica be teaching a class that makes complex links between thinking and dancing, focussing on thinking choreographically and context. She will be introducing participants to various aspects of her working methods and repertoire including her work Vianne (which was performed at FortyFive Downstairs in 2008 Dance Massive at Dancehouse in 2009)

SHELLEY LASICA has been performing solo and making ensemble work for 30 years in Australia and overseas.