Class Description

20160813-gl-cttt-1436

Kira Blazek Ziaii is a certified Teacher of Anouk van Dijk’s Countertechnique®. She completed the Countertechnique® Teachers Training (CTTT) program in 2012, after previously attending two Countertechnique® Summer Intensive Workshop(s) as well as frequently participating in open classes and company classes. Blazek has also performed in two works by Anouk van Dijk;  Derivatives  and SHOT.

Since her certification, Kira has been teaching classes across the country. Teaching engagements have included: Dance Center of Oklahoma City Ballet, Hope Stone Dance, Princeton University, Gibney Dance Center in NYC, CityDance Conservatory at Strathmore, CalState Long Beach, Oklahoma University, and California Institute of the Arts.

Kira has led class series for companies such as Diavolo, Sarasota Contemporary Dance, and BODYTRAFFIC.  She has recently been appointed contemporary faculty at North Carolina School of the Arts.

She is available for master classes and workshops, please contact: kira@countertechnique.com

More information about the underlying principals:

By continuously and sequentially directing and counter directing parts of the body through space, Countertechnique® allows the moving dancer to work with an ever-changing dynamic balance. This dynamic balance reduces the pressure on the overall body structure and can be changed at any given moment. The consistent use of the counter direction in all movements is key to the technique; both the awareness and application of this principle is trained throughout the Countertechnique® class.

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.

In Countertechnique® classes, dancers are introduced step-by-step to the various tools – making sure, however, that the priority always lies with experiencing and enjoying the difference in moving, rather than first having to understand the tools intellectually. Classes are therefore very accessible, and can be taught to participants of all levels. Even so, gaining a full understanding of the different tools and being able to apply them in complex movement, instantaneously and often simultaneously, involves a learning process of several years, even for professional dancers. Throughout this process dancers increasingly become their own teachers, allowing them to practice and progress even at times when a teacher is not available.

www.countertechnique.com