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educational training programme for
contemporary performers and/or choreographers 

mòdulmap is an educational training programme directed at dancers and choreographers who have completed their studies and are now in the process of becoming profesionals or for existing profesionals who are looking to further their knowledge and skills. módulmap is an exploration of the various languages of movement, the body and the different tools and technologies which are employed in the creation of new works.

mòdulmap offers to the students a singular training programm, wide, compacted and specialized, unique in the sector, that allows an immersion in the learning process, interacting with national and international professionals, active creators in different fields of dance and performing arts. 

mòdulmap offers to dancers and/or choreographers who have completed their studies and are now in the process of becoming profesionals and to professionals and teachers of the sector away of upgrading and deepen their knowledge of the languages of movement, body and different tools and technologies used in the creative process.

mòdulmap is Ángels Margarit / cia. Mudances proposal to expand and increase m.a.p.-mudances aula pedagógicaactivities. This project is itinerant in nature and involves the participation of other related organisations. In this occasion we collaborate with lacaldera.


mòdulmap #2 - February

at lacaldera

from 4th February to 1st March 2013
daily from 09.30 to 15.00

Option 1 - entire month
Option 2 - per weeks

* fees and discounts at the end of the page


from 4th to 8th February
Victoria Szpunberg and Constanza Brncic
Dramaturgy and dance workshop
from 09.30 to 15.00



from 11th to 15th and from 18th to 22nd February
Thomas McManus
Course description "Hypothetical Stream" by W. Forsythe 
Composition and repertoire
from 11 to 15, from 09.30 to 15.00
from 18 to 22, from 12.00 to 15.00

The dancers will be offered a workshop around the theme of a piece from the Forsythe repertoire called," Hypothetical Stream". The dancers will learn basic skills in figurative improvisation, drawing lines with the body, correlating to and inspired by the drawings of GiambattistaTiepolo. The drawings have many different characters in them and the dancers will create connections between these characters and the associative stories that come out of the dancer's physical interaction with movements suggested within the drawings. Remembering both intended and unintended movements the dancers will create their own solos and group material to work on. The Forsythe piece called "Hypothetical Stream" is really a forum in which dancers are asked to analyze classical drawings by the Italian painter to find geometrical relations within the paintings' subjects. The tools the dancers will use to analyze the drawings are outlined on the Forsythe CD Rom, "Improvisation Technologies". As we familiarize ourselves from day to day with the material on the CD Rom the students will begin to see the paintings in very different ways. This allows the student to see the material not as a fixed picture of a dance but rather more like a 3-dimensional sculpture that can be taken apart, examined in detail, remolded and put back together in different configurations. This will lead them to a comfortable balance between the conscious, analytical decision making and the unconscious, associative flow that is the other, more intuitive, half of this improvisation experience. After a few days of this it will seem natural to discuss and constructively criticize the decisions of speed-slowness, hardness-softness, simplicity-complexity and the other elements that make an abstract dance reach out to a public with more than just visual stimulation.

Thomas McManus 1963 U.S.A. Coming from a farm on the great plains of Illinois, Thomas is a graduate of the North Carolina School of the Arts. Early work and experience was found in New York through venues such as improvisational performances at Westbeth Studios, dancing with a Chamber Ballet repertory company, a season with American Ballet Theater II, and the Broadway musical Cats. A desire to live and work in Europe led him to Germany where he danced from 1986-99 with William Forsythe and the Ballett Frankfurt taking part in most of the newly created ballets during that time. Since 1999 he has been a member of the performance group "commerce" which he founded together with Nik Haffner. He is currently choreographing for many different venues, teaches Forsythe repertory to major Ballet companies and teaches improvisation workshops all over Europe and America. 


from 18th to 22nd February
Sabine Dahrendorf
The curiosity and the movement: Feldenkrais for dancers 
from 09.30 to 11.30



from 25th February to 1st March
Lipi Hernandez
Creation Laboratory 
from 09.30 to 15.00



from 04 February to 01 March - 550,00 € 

from 04 to 08 February - 170,00 € 
from 11 to 15 February - 190,00 € 
from 18 to 22 February - 180,00 € 
from 25 February to 01 March - 170,00 € 

* 10 % discount for associates to professional dance associations
* 10 % discount for two workshops / two weeks of mòdulmap #2
* 10 % discount if you did mòdulmap #1


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a canary torsi Recap: 2012

Marlon asked me to share this with the Dance-Tech community. It is a canary torsi's year end newsletter recapping the group's work in 2012:

2012 was an intensely creative and rewarding year for a canary torsi. We have so much to share, we thought we would present the highlights in a visual and fun recap.

We kicked it off in January with the production of the dance video, Heather O, at Kirby Theater at Amherst College (my alma mater) performed by Kimberly Young and designed with Kathy Couch + Stephan Moore.

As if one project in January were not enough, we presented the lab performances of Five Performers Demonstrate a Field as part of a five-week Floating Points Residency at the pioneering experimental performance center, ISSUE Project Room, with composer Ben Bernstein, installation designer Charles Houghton, performers Amity Jones and Marina Libel, and musicians Anna Garcia and Peter Lanctot.

In March, we had our first of several residencies with our primary partner--the innovative Vermont Performance Lab--on the development of our newest participatory installation project, The People to Come. We attended Town Meeting at Marlboro's historic Town House, where the preview of the piece would be performed. In July, I returned to work with local artist and photographer, Jess Weitz, to launch the website for the project,, by taking over 50 portraits during Marlboro's Summer Sale. These became the first audience submissions uploaded to the site.
In May, we had our Media Fellowship Residency at the national choreographic center, Maggie Allesee National Center for Choreography. Web Director Sam Lerner, designer Kathy Couch and I worked with three focus groups to develop the accompanying website for The People to Come: We were joined by performer Luke Miller who performed the first work-in-progress using audience-created submissions to create a dance in front of the audience.
 July was a flurry of activity. In addition to my visit to Vermont to work with photographer Jess Weitz, we presented the sold-out remount of 2011's highly successful, Paradis, for the Brooklyn Botanic Garden presented by New York Live Arts. It was met with critical and audience acclaim:

"A dance evolves within me over time. What isn’t memorable eventually slips away, while other moments may become more vivid. An entire scene can be condensed into a single image. I’ve always felt this with performance, but never have I experienced this evolution so intensely, as I did after seeing Paradis by Yanira Castro | a canary torsi."
– Christine Shan Shan Hou, Idiom
We ended the month with a special one-night only event, Invisible Dog Interior, Heather O, at The Invisible Dog Art Center, performed by Kimberly Young and Peter Schmitz with lighting and environment by Kathy Couch and sound by Stephan Moore. 
In a year that has been so full, the highlight was the creation and premiere of our newest participatory performance installation, The People to Come. With an installation by Couch, sound by Moore and five incredible performers: Simon Courchel, Luke Miller, Peter Musante, Peter Schmitz and Darrin Wright, People is my next step in a line of questioning: What is the divide between spectator and participant? People is a work made with and in front of the audience. It was built with the support of four major residency centers: Vermont Performance Lab; the venerable 40-year institution, The Yard; Lower Manhattan Cultural Council’s Swing Space program; and Maggie Allesee National Center for Choreography (MANCC). The piece premiered at Granoff Center for the Creative Arts thanks to Brown University's Creative Arts Council. Check out and see over 400 submissions from audiences we visited in Providence, RI; Marlboro, VT; Tallahassee, FL and Martha’s Vineyard, MA. None of these presentations would have been possible without the amazing support of an Expeditions grant from the New England Foundation for the Arts.

2013 holds even more in store. We are touring People to Space Gallery in Portland, ME and presenting the New York premiere at the The Invisible Dog (June 22-29). We have been honored with a multi-year (!!) commitment from MANCC, and with a multi-year residency from Dance New Amsterdam to start developing our next work, Court/Garden, with another amazing cast: Simon Courchel, Luke Miller, Stuart Singer, Pamela Vail and Darrin Wright.
As 2012 draws to a close, we at a canary torsi wish to thank everyone who contributed so much to our work this year. Whether you came to a show, gave us a portrait, shared the stage with a performer or contributed a sound score -- you were part of the impact.
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Time Dance

Time Dance (online film version)


Tempo Dance Festival 2012 | Time Dance and Soma Songs | Daniel Belton and Good Company Arts
Q Theatre, 305 Queen St, Auckland, 17 Oct 2012 | Reviewed by Jennifer Nikolai, 18 Oct 2012

Two pieces intricately layered with parallel through-lines, gave audiences an extraordinary experience that left us wanting more. Good Company Arts, Stroma and collaborators have a history of producing numerous award-winning projects making dance theatre works and art films on the subject of human movement.

Seeing both for the first time, the experience of the new work Time Dance was contextualized by SOMA SONGS, clearly an initial investigation into concepts that Time Dance explored further, but with a life of its own. As stated in the programme- yes, it IS “a testimony to the creative team behind SOMA SONGS that 7 years after it's first release, this unique project is gaining new interest on the international stage.”

In both works we experience a playful study of human movement and our relationship to our origins, to nature and more dominantly to the history of 20th and 21st century technologies in motion capture, photography and cinematography.

Time Dance is sophisticated and equally accessible, timeless and international in scope. It resonates as a reference to the conception of moving image, to the pioneers of modern dance, to the algebraic systems surrounding human movement. In relationship to these large systems, Time Dance pays attention to detail, through smaller studies repeated, augmented and transformed. Such attention to detail is refreshing, at such a high caliber.

Imagine what audiences initially experienced when they saw the first moving images on screen. We were exposed to a similar rare experience of viewing silent cinema with accompanying live musicians playing a stunning musical score. Live and pre-recorded sounds intertwined, as did musicians, dancers and conductors, alternating roles.

The marriage between human movement studies and the dancing subject has a long history, to which Time Dance has now substantially contributed. For those of us who see dance as an ideal form to investigate moving image technologies and time; this work gives weight to dance as the form that integrates the human figure and our more timeless relationship to geometry, geography, our journey, our planet and the passage of time.

The live and digital dancer make these studies more than a possibility, they become poetry in this work. The dance composition and performance of movement vocabulary linked thoughtfully, accurately, beautifully to the history of modern dance, human movement studies and studies in light. Dance and the moving image create a language that gives each of these subjects respect and consideration.

Time is manipulated, altered and manufactured through the duration of the performance experience. The pace at which these collaborative artists have determined the length and subject matter within the arc of the larger work as a whole, is so satisfying. Each of the seven studies is developed with individual nuances that allow viewers to be entertained investigators, a delightful combination in such a proposed study.

The moment where we get a close-up of the dancers in their duet, we get lost in who they are, how they move and their larger relationship to space. We see them, we want to see more, we get to see just enough, and we move on.

This element of tease and surprise returns again when we finally get to see a live performer enter the performance space, as she looks at herself, projected. Her presence is enormous, she occupies all of the space and yet she moves minimally in this live space, in dialog with herself and the environment. Geometry, geography, duration all meet in this moment. As the piece climaxes and then concludes, the experience of the work seems to have occurred so rapidly, with such satisfaction. Collaborators appear for a curtain call, there is a short interval and then we get more!

SOMA SONGS was a delightful accompaniment to Time Dance in its more playful manner, showing first attempts to explore space with stone. Again, investigating human relationship to materials in search of stories of architecture, the delightful play with scale as space and sound, was made even more playful with puzzles, landscape and echoes of initial studies in human movement with male subjects.. Experimentation with light parallel to geographic stratification again references time and the relationships between human-made and natural forms.

The live VJ and live audio processing performances were just as fascinating to watch as visual and sound cues rapidly moved again, so quickly through this work; a stunning accompaniment to Time Dance.

The relationships between SOMA SONGS and Time Dance make for a beautiful programme. Performances on screen and stage were equally stunning, giving full support to this intricate conceptual web that Belton and his numerous highly acclaimed collaborators have designed.

These works are internationally transferrable, timeless, accessible and sophisticated. Thank you for a stunning collaboration, may we see more. We want more.

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