YSHAR

Tribal Fusion Dance workshop :

it's a beginners level

the first part is about a little yoga conditioning, muscle strengthening, and warming up.
Then the second part focuses on the basic posture in tribal fusion dance including position of the arms, shoulders and legs
They will study how to do the snake arms to give a boneless impression, and control the energy.
The next part is on the chest : circles, chest lift
Then on the hips : circles, maya , taxeem, accent
and finally have a little introduction to bellyroll and bodywave.
The aim of the workshop is to begin to learn how to layer these movements...the core of the tribal fusion dance!

So I propose a 2 hours workshop for 40€. I can take 10 persons max.

DUBRAVKO LAPAINE

School of skills:TOPICS FOR DIDGERIDOO WORKSHOPS 2010

Topics presented here are my best knowledge of how to systematically present practice and theory of

didgeridoo playing that I have grasped up to the year 2010. Some topics are overlapping to a certain

extent, some require others as background and some are perfect complementary couples. Thus I would

like to make a plan of the topics for workshop together with you. More information and examples of many

of the mentioned subjects can be found on my websites

www.lapaine.com and www.duendedidgeridoo.com

.

For any questions, please do not hesitate to contact me at

doodeaux@gmail.com

Sincerely windfully yours,

PARALLEL PLAYING:

the core of my playing -it is about playing simultaneously more sounds, rhythms, melodies... Making the illusion of

an orchestra.

BIG topics.

LEVEL 1

-

Basi

cs of parallel playing

This workshop explains the principle of parallel playing. Dealing with three most prominent characters of

parallel playing

-

drone, toot and voice. Two main ways of breathing and making sounds are established and

further developed in to 10 systematic exe rcises. These exercises have a

dimension of depth, and can be practiced in a long period of time.

They help player obtain basic skills of parallel playing in a broad area.

Some of those exercises are easy, and some are not so easy, even though they all fall into cat egory "basic".

LEVEL 2

-

Articulations and phrases in parallel playing This workshop works with at least two thirds of material done in LEVEL 1. It further develops breathing and

leveling the sounds of PP, techniques like (th)underkick. We now include more actively tongue, mostly in

front manner, we pay more attention to the jaw, and learn how they interact in fast breathing games.

LEVEL 3

-

Dense playing

More complex breathing, more complex tongue articulations, mostly done

with back of the tongue. We explore variations and articulations of (th)underkick. We learn how to pron

ounce words while playing parallel.

We learn how to control lips to gain different layers of sounds on surface of same breathing and articulation.

We combine all from L1 and L2.

LEVEL 4

-

The "quiet" parallel playing

Most complex and physically demanding, here is explained how to switch off lips while and play with inside of

body, at full power and minimum volume. Here we discover the most intense exerci

ses for breathing. Voice is taken on a new level in precision, and "double voice" theory is explained. Tongue and lips control are also

developing to support the mechanism of playing. Here it is also

2.BALKAN AND(even more)COMPLEX RHYTHMS

Special richness of songs comes from its freedom in rhythm and time signatures. We deal here with big

measures that move song in a good way, and find the meaning of "groove" in them... We look for new

things that rhythms like 7/8 bring us and we learn how to catch the "essence" of grooves like 9/8 or 11/8...

We discover how to gain ability to play one rhythm over the other. This is sometimes explained on straight

rhythms for simplicity. In conclusion I give you my theory of counting rhythms with examples and practices in

didgeridoo language - BIG topic

3. SOUNDS

Here I would like to present the kingdom of didgeridoo sounds, from biggest to smallest. I would like to point

out some things that are less obvious. I refer to them as "sounds in between".

I would like to discuss what kind of "kick" makes most powerful kick, and what kind of sound passes (almost)

always through mix. I do not talk about beatboxing, I refer exclusively to sounds which are strongly bonded

with didgeridoo tube nature.

I would like to present in what relations is didgeridoo with other instruments and how can one adapt playing

in certain situations. I would also like to include partici pants' sounds to enrich the palette of sounds to the fullest.

BIG topic.

4.SINGING

Very important aspect of my playing, for me it's making "real" songs  - I do not talk here about composing melodies,

I just talk about how to sing, how to sing through tube, how to sing to the rhythm, how to sing real

and recognizable melodies  - this can be either small or very big topic, but there is practice with melodica or piano,

and lots of fun!

LEVEL 1 -includes basic singing to drone, not to be underestimated, and singing to simple rhythms

LEVEL 2 -includes singing and parallelplaying, on a bit higher level

5.LONG DIDGERIDOO THEORY

The title says enough for itself, but the emphasizes are how to play it freely like normal tubes, slow, fast, any

way, and also what we gain from that length -this is smaller topic, because it is hard to gain instant abilities

so more is left to the theory, although there is practice.

6.OPEN CLASS

This is all about you ever wondered about didgeridoo, and you think I might know the answer. Open

questions, I have no preparation for this, I just bring myself.

7.DIDGERIDOO PRACTICE

I show practices that I have done through time for strength and control of breathing, lips and voice. This is a

physical training necessary to play many of the mentioned topics. Strength and control allow easiness of

playing, and easiness allows beauty. The range of the exercises is from extremely easy to extremely hard,

from my point of view.

8.PA AND RECORDING TECHNIQUES

Very important subject for any performing didgeridoo artist. I show how one can deal with dynamic and

frequency problems in didgeridoo – microphone combination, and how to win this sound battle. It can sound

obvious, but it is also strongly in relationship to playing, and one can significantly improve overall playing by

understanding sound and being able to cope with it once it is transformed to electrical signal.

9.INSTRUMENT THEORY

In instrument theory I present didgeridoos from playing and sound aspect. I discuss why certain techniques

work on certain didgeridoos, how different tonal relations influence your composing domain, and what

situations can you expect from which instruments, in acoustic performing, PA performing or recording. This

aspects help in choosing the right instrument for the "job", or yourself.

10.COMPOSITION

Compositi on is the vastest topic and it can go into any of the previous topics. It specifically deals with how to

make a "real" song by a single tube. How can a song be live, recognizable, vibrant creature of its own. What

are certain principles that we can apply in song making, and how to not fall into traps. I present some

situations that I had to face in my song making, and how I dealt with them, what options and possibilities

were there to chose, and I like to work with some of the participants' songs, in mood to share their creature.

This topic does not require any knowledge, but many may show up along the way.

Durata: 4.5h

Cost:60€

ANDREA FERRONI

 Laboratorio multidisciplinale - Radici Folk Anima Moderna

Propone una panoramica  di tecniche e strumenti, assai diversi tra loro, ma uniti da alcune caratteristiche timbriche o esecutive che li rende complementari e unici allo stesso tempo: didjeridoo, scacciapensieri, flauto armonico, beatbox. Durante il seminario verranno proiettati alcuni video di strumenti inusuali (ed in via d'estizione) nel contesto musicale tradizionale d'origine e in quello moderno influenzato dai nuovi media e dalla globalizzazione. Un ponte che lega la tradizione di popoli e paesi lontani e li fa vivere di luce nuova in casa nostra, magari trasformandoli ma salvaguardandoli dall'oblio. A tutti i partecipanti verrà consegnato uno strumento da utilizzare durante il seminario.
Al termine del seminario si eseguirà un brano d'insieme con tutti i partecipanti.
Questo seminario è stato presentato la prima volta presso il festival internazionale EMMAS di Olbia.
L'idea: questo laboratorio intende riportare la musica suonata a chi l'ha inventata, la gente comune.
L'intento è quello di riportare la musica, anche quella colta, ad un pubblico vasto; proprio dove la musica popolare è nata. Mai lezione di musica è stata così divertente.
A chi è rivolto: a musicisti di qualsiasi genere e di qualsiasi età, ai NON musicisti che per qualsiasi motivo abbia tardato a praticare la musica suonata e soprattutto per coloro pensino che la musica suonata sia troppo complessa.
Agli appassionati di musica che non suoneranno mai uno strumento ma che vogliano comprendere maggiormente la musica e come questa nasca e si evolva.

Durata: 8 ore (4 ore sabato – 4 ore domenica)

Costo: 70€

Werbeck singing workshop by Mary Crnkovic Pilas - BlackMary

INGLESE

Singing, the vocal production of musical tones, is so basic to man its origins are long lost in antiquity and predate the development of spoken language. The voice is presumed to be the original musical instrument, and there is no human culture, no matter how remote or isolated, that does not sing.

 However, with the onset of the mechanical age, the majority of Western cultures ceased to sing and exchanged their own voices for “mechanical” voices – CDs, TVs, the internet, etc.  This has brought about a hardening of the voice, as well as the soul, less social contact and the belief that most people “can’t sing”. 

 The human voice does not need to be trained, it is already here ~ Valborg Webeck-Svärdström

Born in the forest region of Sweden at the end of the 19th century, Valborg Webeck-Svärdström was a natural born singer who “lost” her voice upon entering the Stockholm Academy of Music due to incorrect training.  At the Academy, the voice was considered as material, mechanical matter, to be “pushed” and “forced”.  In order to “re-find” her voice, she developed a new approach to singing with the assistance of Rudolf Steiner where the voice was not treated as material matter but rather, as a spiritual being.

  Unlike  other singing teachers, besides treating the voice as a spiritual being, Werbeck felt that the whole body was an instrument while the voice was a medium for “capturing” notes surrounding us in the cosmos.  When the body and soul are free, the voice can sing with ease.  When they are emprisoned, the voice will act as such and will sing with difficulty.  With the Werbeck method, the entire body is exercised so that the “emprisoned” voice can be uncovered and freed.

 In uncovering the voice, one also uncovers the therapeutic effects of singing, both mental and physical. For example, one study conducted at the University of Frankfurt in Germany, found that choral members had higher levels of immunoglobulin A and cortisol -- markers of enhanced immunity -- after they sang Mozart's "Requiem" than before. Just listening to the music did not have this effect.

 And in addition to these many benefits, the Werbeck singing method can also help improve one’s proficiency at other instruments, such as the didgeridoo for example.  Dubravko Lapaine, one of the leading contemporary didgeridoo players, is a practitioner of the Werbeck method.

  Werbeck Singing Workshops

 1 day morning workshop – 2 hours (10:00 – 12:00)

A one day morning workshop is made up of the following:

·         Introduction to the Werbeck method and her writings

·         Exercises to:

·         develop breathing

·         develop pitch

·         improve rhythm (3/4, 4/4, etc.)

·         improve mouth movements

·         help use the “head” voice

·         learn to how to use the tongue correctly

·         broaden the voice

·         rectify posture

·         improve colorotura

·         And of course, singing examples!

Minimum group: 10, maximum: 16.  The workshop is suitable for both beginners and advanced singers and musicians! 

 1 full day workshop – 4 hours (10:00 – 12:00, 14:00 – 16:00)

A full day workshop consists of the above mentioned as well as many more singing examples, choral work and individual work. 

ITALIANO

La voce si presume di essere l'originale strumento musicale, e non era mai una cultura umana, non importa quanto distanta o isolata, che non cantava. Però con l'inizio dell'era meccanica, la maggior parte delle culture occidentali hanno smesso di cantare e si scambiavano le proprie voci per i "voci meccanici".

Valborg Webeck-Svärdström, con l'aiuto di Rudolf Steiner, ha sviluppato un nuovo approccio al canto per riprendere il nostro strumento originale, la voce. Diverso delle altri metodi, la voce è trattata come un essere spirituale, un mezzo per "catturare" le note che ci circondano nel cosmo, mentre tutto il corpo viene considerato come un strumento unico. Quando il corpo e l'anima sono liberi, la voce può cantare con facilità. Quando è imprigionata, la voce reagisce e canta con difficoltà. Con il metodo Werbeck, l'intero corpo viene esercitato in modo che la voce "imprigionata" può essere scoperta e liberata.

BlackMary, la cantante del Druyd, farà con voi gli esercizi essenziali dal metodo Werbeck e vi darà tanti materiali anche per lavorare da soli.

Durata: 4 hours

Price: 60€

About Mary Crnković-Pilaš

Born in Australia, I had always wanted to pursue a music career.  After having completed my Bachelor of Arts with a Music and French major, I moved to Croatia and worked in the corporate world.

Four years ago, I decided to go back to my roots and my first love, music, and began taking private singing lessons with Prof. Baldo Mikulic, as well as attending his choir.  With his assistance, I learnt the Werbeck singing method and uncovered my voice.  I also uncovered myself and gained enormous strength which helps me in my day to day life. 

I also felt a longing to share my knowledge with others so that they too could uncover their voices and share in the benefits that singing brings.

IGOR NIEGO e PETER BRUNO

I SEGRETI DEL TAMBURELLO - tecniche musicali e terapeutiche

Forlì: Sabato 5 e Domenica 6 Giugno 2010
Forlimpopoli: Sabato 10 e Domenica 11 Luglio 2010

Khatawat e la Scuola di Musica Popolare di Forlimpopoli
in collaborazione con
Folrlimpopoli Didjin'Oz 2010
presentano ...
Suonare il tamburello siciliano (e stare meglio)

Docente: Igor Niego
con la collaborazione Peter Bruno (insegnante di Tai chi e Meditazione Zen)

Questo seminario usa il tamburello siciliano come uno strumento di ascolto, conoscenza e trasformazione delle energie che abitano il nostro corpo. Non si tratta solo di suonare: ci accorgeremo presto che le mani non sono abbastanza e che dovremo suonare con tutti i nostri muscoli. Lo strumento diventerà il canale dell'infinita musicalità del nostro corpo. E suoneremo. E staremo bene. E sai perché staremo bene?

La nostra pelle è come quella del tamburo: vibra.
Assorbe i ritmi attraverso i pori, fa risuonare il nostro corpo con il tamburo. E con gli altri corpi. E con gli altri tamburi.

Focalizzarsi sul tocco, ovvero sulla qualità del movimento come matrice del suono, crea consapevolezza sul tono muscolare, sulla capacità di respirare in armonia con la fluidità dei movimenti e sul gesto come possibilità di guarigione. La scioltezza della mano non è altro che lo specchio del rilassamento di tutto il corpo e la mente: la mano è un piccolo corpo che danza, e mentre danza suona.

Estendendo, ampliando e rallentando gli eleganti movimenti dei virtuosi suonatori siciliani di tamburello nasce una sorta di benefico T’ai chi alla siciliana, grazie al quale mi piace immaginare che, come nella tradizione taoista, sia possibile risvegliare la propria energia vitale (ki) grazie all'efficacia di movimenti circolari, a spirale o vortice e a forma di otto o infinito. L'accostamento del T'ai chi e Qi gong con il tamburello siciliano potrà sembrare bizzarro, ma da tempo queste due arti convivono nella mia ricerca, spingendomi a proporre anche ai miei allievi una possibile unione di questi mondi.
Informazioni di servizio

* Durante lo stage verranno effettuate riprese per la realizzazione di un documentario
* Il gruppo potrà essere suddiviso in base ai livelli in alcune fasi del laboratorio
* È richiesta disponibilità a lavorare col corpo, senza scarpe, senza strumento e sul contatto fisico
* Munirsi di abbigliamento comodo adatto al movimento: abiti larghi, morbidi e leggeri

Orari

 presso la Scuola di Musica Popolare di Forlimpopoli

Sabato 10 Luglio 2010

* 10-13 principianti + esperti
* 15-18 lavoro specifico con i principianti (gli esperti potranno partecipare)

Domenica 11 Luglio 2010

* 10-13 principianti + esperti
* 15-18 lavoro specifico con gli esperti (i principianti potranno partecipare come uditori)

Costi

* 2 giornate - 12 ore (10/11 Luglio): 100€
* Sconto 5% per Soci Khatawat - SMP - Casa del Cuculo (95€ oppure 142€)

Igor Niego

Suona nei gruppi Musica Officinalis, Al Qantarah, Dharamad e Theatrum Instrumentorum, con cui svolge una ricca attività concertistica e discografica nazionale ed internazionale. Insegna presso la Scuola di musica popolare di Forlimpopoli e tiene in molte città d'Italia seminari di percussioni.

Partendo dall'amore per la musica etnica ed antica si è orientato sempre di più verso la scoperta di ciò che connette intimamente le esperienze artistiche alle esperienze di cura della persona. A tal scopo ha studiato presso l’Università Popolare di MusicArTerapia a Firenze il metodo della Globalità dei Linguaggi ideato dalla Prof.ssa Stefania Guerra Lisi. Segue seminari sul potere curativo dell'arte di Alejandro e Cristobal Jodorowsky.

Lavora come MusicArTerapeuta in molti enti e associazioni di cultura e benessere nel settore pubblico e privato conducendo soprattutto laboratori espressivi nelle scuole sull'intercultura e l'integrazione dell'handicap.
Peter Bruno

Pratica T’ai Chi da 30 anni, allievo del Maestro Chou, (ITTCA: Associazione di T’ai Chi Chuan Internazionale, Londra) il quale, a sua volta, era discepolo di Cheng Man Chig, designato come discendente diretto del lignaggio di famiglia Yang. Durante questi 30 anni ha praticato il Buddhismo seguendo l’Ordine Buddhista Occidentale, e lignaggi Tibetani del Kagyu e Dzogchen. Insegna Tai chi e Meditazione Zen presso il Centro Culturale Khatawat
INFORMAZIONI