Z wielką radością przedstawiamy program warsztatów letnich FIZYCZNYzGAGAcamp! Po raz kolejny nasze centrum będzie gościć światowej sławy tancerzy i pedagogów! W programie 😉 wymarzone zajęcia: poranna joga, Gaga, repertuar Ohada Naharina oraz taniec fizyczny. Zapraszamy osoby z doświadczeniem tanecznym, na poziomie średnio zaawansowanym i zaawansowanym.

UWAGA !!! Brak wolnych miejsc !!! Zapraszamy do zgłaszania się na listę rezerwową (obowiązuje karta zgłoszenia)

29 sierpnia – 2 września 2016

Nowohuckie Centrum Kultury – Krakowskie Centrum Choreograficzne

Pedagodzy: Iyar Elezra (repertuar Ohada Naharina, Gaga), Thomas Steyaert (taniec fizyczny), Małgorzata Markov (joga)

Grafik (pn-pt):

9:30-10:30 joga

10:45-12:00 Gaga/dancers

12:15-13:45 repertuar Ohada Naharina

13:45-15:00 przerwa obiadowa

15:00-17:30 taniec fizyczny

= 6 h 15 minut dziennie, w sumie 31 h 15 minut


Oferujemy możliwość noclegu w Nowohuckim Centrum Kultury w formie miejsca w sali zbiorowej z dostępem do sanitariatów oraz pryszniców. Uczestnik powinien we własnym zakresie zapewnić sobie karimatę lub materac oraz śpiwór.


Na terenie Nowohuckiego Centrum Kultury można również codziennie zjeść obiad w Marchewka Bistro. Smacznie, tanio i zdrowo 😉 Uczestnikom warsztatów przysługuje 20% zniżki na obiady.

Wieczorami zapraszamy do wspólnego spędzania czasu, integracji, basenów, saun, filmów i zwiedzania Krakowa.

Cena warsztatów:

cena promocyjna terminowa: 850 zł przy zgłoszeniu i wpłacie I raty w wysokości 450 zł do dnia 30 czerwca, płatność II raty do 22 lipca

cena promocyjna dla Pracowni PRO: 750 zł przy zgłoszeniu i wpłacie I raty w wysokości 450 zł do 30 czerwca, II rata do 22 lipca

cena regularna: 1100 zł przy zgłoszeniu i wpłacie po 30 czerwca w miarę wolnych miejsc

cena noclegu w NCK od 28 sierpnia do 4 września: 100 zł

Karta Zgłoszenia



foto główne: Katarzyna Machniewicz


Thomas Steyaert For various years Thomas Steyaert worked with Wim Vandekeybus/Ultima Vez and danced in Blush (2002), Sonic Boom (2003) and the reprise of Les Porteuses de Mauvaises Nouvelles (2004). He also played shortly in Puur (2006) and Spiegel (2008). From 2006 he decided to make his own work and founded Ponyhill vzw, a collective of artists active in dance, performance, music, photography, film and visual art. Over the years he created several dance works around Europe. Thomas Steyaert was also part of a group of artists connected to the KVS (Royal Flemish Theater, BE) and Ultima Vez which organized cultural exchange programs between Belgium and the Democratic Republic of Congo (2007-2010). Since 2009 Thomas Steyaert is working with Raul Maia on an ongoing artistic process based on the development of a real-time, non-representational kinetic movement system. Until now the research resulted in two stage performances, The Ballet of Sam Hogue and Augustus Benjamin and The Ballet of Albertina Macchiavello, Johnny McLay and Ignatz van Stereo, in many site specific performances and in several video works. Within the same context he also develops his individual approach and practise. In 2014 Thomas was invited by WASP (Working Art Space an Production) in Bucharest to create score#21 – Method of Elimination.  In 2015/2016 he was again invited by WASP and l’AGORA, Montpellier to make ‘Solatium’. The music was made by Amenra, a Belgian post-metal band. The last few years Thomas became a close collaborater with Haris Pasovic from  East West   Theatre   Company,  Sarajevo BIH. He also works together with Nermin Hamzagic and Selma Spahic, two artists based in Sarajevo and connected to MESS international theater festival. Early 2016 he started the collective ‘Moving Island’, based in Sarajevo. The collective focusses mainly on social-artistic work. Thomas also teaches workshops, paints, creates soundscapes and music.

fot. Stefaan Temmerman

Iyar Elezra born in Jerusalem, Iyar Elezra studied at the Jerusalem Academy of Music and Dance. She joined the Batsheva Ensemble in 2005 and was promoted to Batsheva Dance Company in 2008.

Czym jest Gaga?

Gaga is a movement language which Ohad Naharin developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members.  The language of Gaga originated from the belief in the healing, dynamic, ever-changing power of movement.

Gaga is a new way of gaining knowledge and self-awareness through your body. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for their elimination. The work improves instinctive movement and connects conscious and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes, accompanied by music, each person with himself and others.

Gaga/dancers is open to professional dancers and dance students.

“Gaga challenges multi-layer tasks.

We are aware of the connection between effort and pleasure,  we are aware of the distance between our body parts, we are aware of the friction between flesh and bones, we sense the weight of our body parts, yet, our form is not shaped by gravity . . . We are aware of where we hold unnecessary tension, we let go only to bring life and efficient movement to where we let go . . . We are turning on the volume of  listening to our body, we appreciate small gestures, we are measuring and playing with the texture of our flesh and skin, we might be silly, we can laugh at ourselves.  We connect to the sense of “plenty of time,” especially when we move fast, we learn to love our sweat, we discover our passion to move and connect it to effort, we discover both the animal we are and the power of our imagination.  We are “body builders with a soft spine.”

We learn to appreciate understatement and exaggeration, we become more delicate and we recognize the importance of the flow of energy and information through our body in all directions.  We learn to apply our force in an efficient way and we learn to use “other” forces.

We discover the advantage of soft flesh and sensitive hands, we learn to connect to groove even when there is no music.

We are aware of people in the room and we realize that we are not in the center of it all. We become more aware of our form since we never look at ourselves in a mirror; there are no mirrors.  We connect to the sense of the endlessness of possibilities.  Yielding is constant while we are ready to snap . . .

We explore multi-dimensional movement, we enjoy the burning sensation in our muscles,  we are aware of our explosive power and sometimes we use it.  We change our movement habits by finding new ones, we can be calm and alert at once.

We become available . . .”

-Ohad Naharin

Ohad Naharin has been hailed as one of the world’s preeminent contemporary choreographers.  As Artistic Director of Batsheva Dance Company since 1990, he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography.  His works have also been performed by prominent companies including Nederlands Dans Theater, the Paris Opera Ballet, Les Grand Ballets Canadiens de Montréal, Compañía Nacional de Danza (Spain), Cullberg Ballet (Sweden), Cedar Lake Contemporary Ballet (New York), and Alvin Ailey American Dance Theater (New York).  Naharin is also the originator of an innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.

fot. Ascaf