Foto by Martino Nicoletti 03 copyright 2014

In the last ten years Martino Nicoletti has intensively worked and researched in the field of experimental dance, performance, and overall body awareness.

As a performer he trained in performance and Japanese Butoh dance, participating in workshops with Japanese, European and American masters including Masaki Iwana, Lindsay John, Akira Kasai, Yumiko Yoshioka and Slobodan Dan Paich. During several lengthy sojourns in Nepal he was also in contact with the shamanic tradition of eastern Nepal as well as with the Tantric Buddhist dance tradition of the Kathmandu Valley (Charya Nritya). In this connection he has taken part in numerous public performances in Italy, Thailand, Laos, Singapore and Nepal.

Foto by Martino Nicoletti 01 copyright 2014

THE DYNAMIC BODY AWARENESS TRAINING

Based on wide experience in ethnographic research in the Himalayas and on practical studies on performance arts and Japanese Butoh dance, the Dynamic Body Awareness (DBA) programme provides complete training aimed at actively connecting body, mind and emotions in order to discover the body’s original beauty and its intrinsic spontaneous expressivity.

Structured on a series of key elements (such as body posture, body and space awareness, breathing, visualization, movement, voice), this training is chiefly aimed at those with a sincere desire for greater contact with their own body and the universe of their deep emotions. This itinerary also aims at promoting integral conscious well-being, capable of enhancing our capacity to live our daily life and meet its challenges, as well as our relationship with ourselves, with others and with our environment and, finally, at providing a new perspective on our own personal and inter-personal intimate dimension.

The training is divided into two different integrated levels:

The first level mainly focuses on providing the basic tools needed to discover and stabilize our own personal bodily awareness. This stage comprises:

– exercises in grounding and relaxation;

– breathing, integrated with movement;

– static and dynamic visualisation;

– awareness of surrounding physic space and the corporeity of others;

– rhythmic awareness and the development of sensorial consciousness;

– integration of movement with specific emotional and mental states;

– static and dynamic exercises in the open air and in a natural environment;

The second level improves and applies the experience gained during the first stage, its goal being to stimulate and give shape to our inner spontaneous expressivity. Due to its specific character, this level of training is mostly aimed at those with experience in the context of experimental dance, performance or physical theatre.

Within this framework, the programme includes in-depth work on both body and emotions through:

– dynamic exercises aimed at transcending our customary use of the body and its ordinary functionality;

– visualisation exercises, integrated with breathing;

– vocal exercises, integrated with movement, sound, music and dynamic visualisation;

– exercises aimed at integrating images, feelings and memories in expressive movement.

At this level, training enhances relations between the body and specific environments – whether urban contexts or natural habitats (forest, sea, mountain, etc.) – so as to discover their specific character and qualities and to find the proper “tools” to enter into osmotic and synergetic contact with them.

At a subsequent stage, training also includes participation in residential workshops in the Himalayas (Nepal), the Hindukush (Pakistan), Thailand and Italy, focused on developing the knowledge and skills thus acquired, in direct contact with an absolutely intact natural environment and in close interaction with the performative and spiritual traditions of the areas.

Individual training. Beside involvement in workshops, training may also include work on a very personal basis (both for adults and children), aimed at targeting specific personal requirements and aspirations.

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