KCC Dance Intensive

KCC Dance Intensive

We are very glad to present you the program of our summer workshops during KCC Dance Intensive! Once again, our Centre will host the world famous dancers and teachers! In the program dream classes: Countertechnique, Gaga, Physical Dance and GoPiYoga. We invite dancers with dance experience on intermediate or advanced level.

27th August – 1st September 2018

Nowa Huta Cultural Centre – Krakow Choreographic Centre

Workshops: Gaga, GoPiYoga, Physical Dance, Countertechnique

Teachers: Gosia Mielech (founder of DanceLab, cooperation: Polish Dance Theatre, Bytom Dance and Movement Theater ROZBARK, Uri Ivgi & Johan Greben, Ohad Naharin, Bosmat Nossan), Patricia Hastewell (cooperation: Yasmin Vardimon Dance Company), Yi-Chun Liu (cooperation: Peeping Tom, Ann van den Broek, Anouk van Dijk, Scapino Ballet Rotterdam)

Schedule (Monday – Saturday):

10.00 a.m. – 12.00 a.m. Countertechnique
12:15 a.m. – 1.30 p.m. Gaga Dancers
1:30 p.m. – 3.00 p.m.  Lunch Break
3.00 p.m. – 5.00 p.m. – Physical Dance
= 6h 15 min. per day


We offer a possibility of accommodation in Nowa Huta Cultural Centre in the form of place to sleep in the collective room, with access to toilets and showers. Each participant should ensure foam pad or a mattress and sleeping bag on her/ his own.


Possibility to buy lunch/dinner at Bistro Marchewka, located in the Nowa Huta Cultural Center (local, delicious and healthy food!) For participants of KCC Dance Intensive full package in the form of soup and second course + water for 6 days in the amount of 72 PLN (12 PLN for a two-course dinner). Payment in Marchewka Bistro on the first day of the workshops.

Extra events:

In the evenings we invite you to spend time together, integration, swimming pools, saunas, movies and exploring Krakow.

Price of the workshops:

Regular price of the workshops and accomodation is 350 euro. The payment should be made till 20th of August. Place is guaranteed after making the full payment.

Application form 


Contact: kcc@nck.krakow.pl

main photo: Aleksander Hordziej

TEACHERS of KCC Dance Intensive


photo: Kwiatkowska

Gosia Mielech is a dancer, choreographer, GAGA teacher and a dance educator. She completed the Gaga Teacher’s Training Course in 2018 under the artistic direction of Bosmat Nossan and Saar Harari. She graduated from Olga Slawska-Lipczynska’s Ballet School in Poznan, Poland. As a soloist of the Polish Dance Theatre in Poznań (2007–2012), she had a chance to dance in a range of pieces by Polish and international choreographers, including Ohad Naharin, Yossi Berg, Jacek Przybyłowicz, Ewa Wycichowska, Gunhild Bjørnsgaard, Susanne Jaresand, Thierry Verger and many others.

She founded DanceLab – an independent dance company in 2012. She choreographed and produced dance performances including: Sababa, NILREB, Anonymous and I’mperfect. Gosia performs DanceLab’s repertoire worldwide, including recent performances in London, Lisbon, Stockholm, Moss, Jerusalem, Tel Aviv, Berlin, Nurnberg, Poznan, Krakow, Wroclaw, Warsaw and others. She received an award for “the most abstract idea” at Licht.Blicke Festival in Nurnberg, Germany where

she presented two of her performances. Gosia invites guest choreographers to create for the group; Shi Pratt choreographed a piece called “We Bleed The Same Color”.

Gosia works as an independent artist, taking part in many artistic collaborations and projects. She worked with Israeli – Dutch choreographers Uri Ivgi & Johan Greben, based in Amsterdam. During that time she performed brand new productions and existing performances by Ivgi&Greben. She participated in a project called ‘’Collective Jumps”, choreographed by a Berlin based artist Isabelle Schad.

She was invited by the Polish Institute in Tel Aviv and Ballet School in Poland, to join Polish- Israeli artistic exchange as a choreographer representing Poland. While being in Tel Aviv she was rehearsing, giving master classes for the students of Ironi Alef Art School.

She’s artistically involved in different interdisciplinary art projects: she’s performing in, choreographing and directing music videos, dance movies and photo sessions. She frequently collaborates with musicians, including: Ray Wilson, Apparat, Dj An on Bast and others.

Gosia is teaching DanceLab’s repertoire and giving workshops of Gaga, contemporary dance, improvisation, Vinyasa yoga and Pilates, nationally and internationally. She is the founder of GoPiYoga – a form of movement suitable for dancers and non dancers.



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.


GoPiYoga Is for you. It’s a movement that inspires you to change, to evolve. It’s a moving language that soothes your mind, invigorates your body and brings harmony. GoPiYoga was created out of a great desire to share passion and love of movement and to discover the endless potential of your body and mind.

Private, professional Yoga and Pilates instruction is an investment in your practice and in yourself. GoPiYoga offers private and semi-private classes to target your specific needs. I will set an agenda based on your priorities – mastering a challenging pose, learning correct pose posture and alignment – focusing on your body and your practice.

GoPiYoga group classes are tailored to consider all levels of fitness and ability.

Our genetics, background, lifestyle and occupation, all have a huge impact on how our bodies look and feel. Every activity you do regularly, from holding your baby, working in an office, to lifting weights, jogging or dancing professionally, shapes your body. Years of use, misuse and abuse lead to discomfort, pain, injuries, premature aging as well as permanent nervous tension and stress.

GoPiYoga, Pilates and Yoga can undo this misuse; awake your deep intelligent muscles, recover the body and improve your wellbeing.



Patricia Hastewell was born in Barcelona in 1991, she discovers at a very early age her passion for dance. She combines dance with her other interests (sports, photography and social studies) until 2013 when she receives a Bachelor degree from the Law department of the University of Barcelona and finishes her dance understudies at AREA Barcelona. She graduates from the Salzburg Experimental Academy of Dance SEAD, where she collaborates with artists such as Eduardo Torroja, Sita Ostheimer, The Slovaks, Francisco Córdova Azuela, Manuel Ronda, among others. In Salzburg she awakens her choreographical interest that results in different pieces, ̈ May it please the court ̈ 2015, ‘’Bardo Vals’’ 2017 and ‘’All these places have their moments̈ 2016 was performed in different venues around Europe and won of the audience price at the ‘’Certamen Coreográfico de Madrid’’ in 2016.

Patricia currently is a member of the Jasmin Vardimon Company and collaborates with the collective that she co-created La Otra Familia.

physical dance

The class will work on technique and creativity, through set material and through improvisation. The goal is to acquire the maximum of physical awareness, in order to access all our full potential. I look for adaptability, different textures, speeds, qualities, rhythms, dynamics to broaden our own performance. I see technique as a tool to access more possibilities of awareness and of physical expression. We will work on floor work, on grounding the body (leg stability and mobility, kicks, lunges, horse stance work), and on dynamic movement (running, spinning, jumping).

Through improvisation we will study how to access what we want to communicate, wich tools can we use (velocity, tension, flexibility) to transform our physical speech. We look for detailed movement within the engagement of the full body.
I believe in the expressive power of dance. The goal is to strengthen the specificity of each body to find a honest, powerful and individual way of moving.


Yi-Chun Liu

photo: Bryndis Ragna Brynjolfsdottir

At the age of 5, she began with Kung-fu and basic Chinese opera training, and went on to study ballet, contemporary dance, improvisation, Martial Arts and Tai-Chi-Dao-In. In 2007, she graduated from Taipei National University of the Arts. She joined Peeping Tom in 2013 for Vader. She continued to work on the family trilogy with Moeder (2016) and will also perform in Kind (2019). Apart from Peeping Tom, she has worked or is currently working with Anouk van Dijk (NL), Shang-chi Sun (DE/TW), Ann Van den Broek (BE), Scapino Ballet Rotterdam (NL), Paul Selwyn Norton (NL/AU), Balletto Teatro di Torino (IT) and Cloud Gate Dance Theater 1 (TW). She worked as artistic assistant with Franck Chartier in the award-winning Peeping Tom co-production The lost room (2015) and later in The hidden floor (2017). Her solo piece O premiered in Rotterdam in 2012 and has since evolved into a duet, performing in Amsterdam and The Hague. She is working on her alphabetical series in discussion to the concept “Act of Performance”. Yi-Chun is also a certified Countertechnique teacher since 2012, which helped her to develop a versatile career as a performer and researcher. She offers laboratorial workshops alongside Peeping Tom tours.


Countertechnique provides tools for body and mind to deal with the demanding dance practice of the 21st century. It is a movement system to help the dancer think about the dancing body, focusing on the process of incorporating information into action. Within a clear structure of exercises, the Countertechnique class thoroughly prepares the body for rehearsal and performance, enabling dancers to move bigger, more fluidy and more spatially, while becoming stronger and more flexible.

The Countertechnique theory is organized around two principal notions: the ‘toolbox’ and ‘scanning’. The toolbox is the systematically organized collection of tools for body and mind with which Countertechnique works, often visualized as a virtual map that dancers carry with them. Scanning defines the process of dancers continuously and actively observing their mindset and body in order to choose the most appropriate tool(s) from the toolbox for the situation they find themselves in. Scanning allows dan­cers to make active use of the toolbox in their daily practice of training, rehearsing and performing.