This course proposes to explore the language of contemporary African dance, its energy and rhythms
Content of the workshop :
Method :
Competences aimed at :
Dominique is trained in cotemporary/modern and African dance. Her interest in Mandinka dance led to numerous trips to Mali and Burkina Faso, where she improved her practice amidst the dancers in the National Ballet of Bamako and in the Yelemba de Bobo-Dioulasso (Burkina Faso) dance troupe. Her goal is to create conversations between contemporary dance and the traditional African forms. Her discovery of the Silvestre Technique in 2003, which links Afro-Brazilian and modern dance, echoed this pursuit and greatly influenced her work and direction in dance. This was also the year she founded the Yata Dans’ association with Luanda Mori.
She danced with Filibert Tologo (Kouman/2006 and Entre-Deux/2007), with Luanda Mori (Sopro-Souffle/2010), Alidou Yanogo (La trace des pas de l'invisible/2013, Tounga/2016 and Sia/2021). She danced and acted in the play Myriam Boukris (Cie Tohu Wa Bohu) "Dis Mémé, c'était comment ta vie?" 2015, "Je suis Boue" 2017 and "Sauve-moi" 2022).
She also teaches contemporary African dance to adults, teenagers and children.
PLACE :
CMP Vidollet, ch. de Vincy 2bis, 1201 Genève
TIMETABLE :
Tuesday from 6pm to 8pm
FEES :
25.- CHF per class if paid quarterly, 300.- CHF for a 10-class card valid for 13 weeks, 35.- CHF per individual class
CONTACT :
076 615 78 73
Email : dominiquerey2002@yahoo.fr
Site web : www.yatadans.ch
Page Facebook : Association Yata Dans'
Page instagram : dominique_coursafro
NEXT DATES: October 4, November 1, December 6, January 10, February 7 & March 7 from 3:30 p.m. to 7:00 p.m.
Regula Büchler
Created to any style of music and from different traditions, Sacred Circle Dance invites us to celebrate life in all its richness. To dance, you don’t need any prior knowledge or a partner. There is no age limit.
New program
With Mariya Khan
These dances belong to several distinct categories: work dances, ritual dances, military dances and women's traditional dances. Attention is drawn to the upper part of the body: the head, the movements of the arms and hands, as well as the dancer's facial expression.
Manuel Castan / Daniel Renzi
2 teachers for different approaches to developing flamenco practice.