OPENLAB’s Season 7 – Spring 2019 Sessions.

Spring Term 2019

This image for “OPENLAB’s Spring Term 2019” is a derivative of “DSC_0014” by Phillip, used under CC BY-SA 2.0. This image is licensed under CC BY-SA 2.0 by Antonio de la Fe.

Our last OPENLAB session before the Winter Break is a ‘Facilitated OL’ with Katharina Joy Book. But, fear not! We have a new series of OPENLAB sessions programmed for the Spring Term at Chisenhale Dance Space.

OPENLAB’s Season 7 will continue in 2019 starting with a ‘White Canvas’ session on Friday 11 January, followed by a programme alternating both ‘White Canvas’ and ‘Facilitated OL sessions.

Here it is the Spring Term’s line-up for your diaries:

Friday 11 January – A ‘White Canvas’ from 10 am-12 pm.
Friday 25 January – A ‘Facilitated OL with Antonio de la Fe from 10 am-1 pm.
Friday 1 February – A ‘White Canvas’ from 10 am-12 pm.
Friday 15 February – A ‘Facilitated OL with Laura Burns from 10 am-1 pm.
Friday 8 March – A ‘White Canvas’ from 10 am-12 pm.
Friday 22 March – A ‘Facilitated OL with Irene Cena from 10 am-1 pm.
Friday 5 April – A ‘Facilitated OL with Catherine Duquette from 10 am-1 pm.


What’s OPENLAB?

OPENLAB is a model for professional self-development for performers devised by Antonio de la Fe. It hosts open sessions for anyone interested in a shared space for performance practice. In this way, OPENLAB could be understood as a co-working space for performers. At the same time, OPENLAB proposes a frame of work that revolves around a basic question: what does ‘to perform’ entail?

OPENLAB’s model is fluid: always changing, always open to dialogue within the group. OPENLAB sessions are developed by a constantly changing group of people. Any person can join the group at any time according to their personal needs and circumstances. Each member of the group may use these sessions the best way they suit them. Generally, the members of the group are artists interested in performance, movement, the body and in the actions the body can deploy as an artistic medium.

What’s the difference between ‘White Canvas’ and ‘Facilitated OL sessions?

OPENLAB will continue alternating between ‘White Canvas’ sessions and ‘Facilitated OL sessions.

‘White Canvas’ sessions don’t have an outspoken facilitator or pre-decided theme. We will aim to have a participant in the studio that will serve as an anchor for other participants who may feel they need it. Participants may still be responsible for their own time in the studio but this time they’ll have not only the support from doing it with others but also the support from the anchor person. The possibility for ad lib exchange within the group is also always there. ‘White Canvas’ sessions are 2-hour long.

‘Facilitated OL are sessions with a theme and a facilitator guiding the group throughout. ‘Facilitated OL sessions are 3-hour long.

All sessions take place at Chisenhale Dance Space and are pay-what-you-can (recommended donation £5 for the ‘White Canvas’ and £7 for the ‘Facilitated OL sessions).

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Season 7, Session 8: “movement tracking (& the bear in the stadium)” – a ‘Facilitated OPENLAB’ with Katharina Joy

December’s ‘Facilitated OPENLAB will be:

movement tracking (& the bear in the stadium)
with Katharina Joy

MO_TRA

This session will take place on Friday 7 December, 10 am-1 pm at Chisenhale Dance Space’s Research Studio.

“The viewer responds to the kinetic quality of the radiant words by following their movement–and their arrested patterns – with her eyes.”
(Carrie Noland, 2002. Digital Gestures.)

– these tiny movements of attention we will work to make tangible in the session.
It is an open-ended, playful literary analysis, attempted through movement – tracking reactions to text, (written, spoken, heard) and building on these responses.

I bring recordings, of noise or speech, I offer text to read aloud; and I offer text in different two- and three-dimensional formats, or compositions, to encounter via movement.

Beginning with exercises to sharpen reaction to words and garnering energy, we will then try to reach a state of concentration-confusion-immersion in language-being in one’s own head – comparable to states of mind in works of fiction like Finnegan’s Wake by James Joyce, or Anne Carson’s poetry, or E.E. Cummings’s. We look at textual analysis as a physical experience in real time – by paying attention to punctuation, whitespace, associations with certain words or rhythms, and the other people in the room. Free writing and silence/listening will also be part of the session.

The aim is to create an envelopment in material, an environment that keeps generating – both for the individual mover and the group.


Remember:

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe.

The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OL sessions) and of £5 for the 2-hour long ones (‘White Canvas’).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ

Season 7, Session 6: “The Cosmic Body: Moving Toward Stillness” – a ‘Facilitated OPENLAB’ with Marina White Raven.

November’s ‘Facilitated OPENLAB will be:

The Cosmic Body: Moving Toward Stillness
with Marina White Raven

tumblr_n7ftw0VqTr1qm7xk1o4_1280

This session will take place on Friday 16 November, 10 am-1 pm at Chisenhale Dance Space’s Research Studio.

We move alone, at our own pace, in our own style and according to our current physical, mental and emotional state. We take time to arrive, watching and witnessing the breath, the body, other bodies. We notice where there is ease and where there is resistance; connecting and disconnecting, reaching out and reaching in, coming together and falling apart.

The focus of the session is to release tension, identify and move through resistance and explore and tune into finer frequencies and each other. There is an invitation to drop old patterns of thought and action and become open to new pathways for the body and mind.

Arrive at this OPENLAB ready to move, write, make marks, touch, feel, play, share, witness and be witnessed. Be prepared to expand, become and go beyond.


Remember:

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe.

The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OL sessions) and of £5 for the 2-hour long ones (‘White Canvas’).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ

Season 7, Session 4: “Play and Performance” – a ‘Facilitated OPENLAB’ with Butch Merigoni.

October’s ‘Facilitated OPENLAB will be:

Play and Performance
with Butch Merigoni

W:P 7

Photo credit: Cynthia Post Hunt.

This session will take place on Friday 19 October, 10 am-1 pm at Chisenhale Dance Space’s Research Studio.

Trusting in the unpredictable nature of art-making can be tough. Especially when the road we’re on isn’t paved. But if viewed through the lens of play, our work can become less heavy. In this laboratory, we’ll use playground games and purposeless activities to explore the elusive nature of collaborative performance making.

We’ll start with games like ‘tag’ and ‘capture the flag’. These activities will ground us in the present moment, help us manage uncertainty and encourage risk-taking. Following this will be purposeless tasks like ‘stack/climb/drag’ and ‘repeat that sequence’. These activities are a place from which unplanned happenings can emerge.

This lab encourages a flexible and inquisitive approach to collaborative performance making. It asks that we dive into those grey areas between intention and unplanned outcome with a centred and courageous mindset.


Remember:

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe.

The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OL sessions) and of £5 for the 2-hour long ones (‘White Canvas’).

Chisenhale Dance Space
64-84 Chisenhale Road
London

Season 7, Session 2: “MIRROR / / WINDOW / / RIFT” – a ‘Facilitated OPENLAB’ with Shannon Stewart.

 OPENLAB’s first facilitated session this season will be:

 MIRROR / / WINDOW / / RIFT
with Shannon Stewart

SS_Adam_Sekuler

Photo Credit: Adam Sekuler

This session will take place on Friday 14 September, 10 am-1 pm at Chisenhale Dance Space’s Research Studio.

MIRROR / WINDOW / RIFT is a series of practices that bring attention to the experiences and implications of watching and being watched. How can we be in a mutually beneficial place of sensing and changing without inhibition? For OPENLAB, this is aimed at performers and watchers of performance. We will use tools/actions/scores that are familiar but slightly re-configured to look for rifts, illegible or unfamiliar spaces. Can we co-exist there?

MIRROR / / WINDOW / / RIFT is part of body-based theory practice*—an open source term I have proposed for putting improvisational and somatic practices and proposals in conversation with queer, feminist, crip and critical race theory. Within this framework, the threads of research are manifold so I will focus this session on one strand of inquiry that I’ve been busy with this year called watch her transform.

Here are some questions we will bring into the room:

What is looking at/watching/witnessing/observing?
How have we embodied very different stakes around watching/being watched based on POV?
How are we constantly changing? How do we experience and share the experience of non-fixity across lines of performer/watcher?
Do we need as much (re)training to see/watch/observe differently as we need training to undo movement patterns and problematic embodiments?
How do we share transformation without projecting onto another?


Remember:

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe (antonio.delafeguedes@gmail.com).

The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OL sessions) and of £5 for the 2-hour long ones (‘White Canvas’).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ


* More on body-based theory practice:

Critical theorists from many disciplines propose that we formulate our identities through repeated quotations, embodied gestures and acts that circulate and reinforce one another. These things are understood as individual but enacted collectively and reinforce interlocking systems and modes of being that further systems of domination, exploitation and violence but also (maybe more hopefully) forms of resistance, disruption, reimagining.

As a dance artist, it is interesting to conceive and reconceive of bodily conditioning and training and discrepancies between conscious and unconscious, intentional and unintentional, complicit and coerced. This learned “repertoire of life” is part of everyday existence but is also the very practice of dance – repeated bodily motions, repeated hierarchies, repeated and reinforced trajectories. Queer theorists and gender theorists suggest ways in which we can reorient or subvert our embodied inclinations. Is/can dance be a hopeful intervention in the space between conscious and unconscious? And in what form? A workshop? A forum? A Performance? A protest?

In cross-pollinating queer theory with physical practice, it is my intent to propose that the practice is the theory itself and the theory is the practice –that it is in the doing/experiencing that the theory is manifest and activated.

 

Season 7 – Sessions 1, 3, 5 and 7: ‘White Canvas’ Sessions.

Photo credit: Cynthia Post Hunt – OPENLAB Autumn 2018

Photo credit: Cynthia Post Hunt

This Autumn Term OPENLAB will kick off with a ‘White Canvas’ Session.

This term these sessions will fall on Fridays 7 September, 5 October, 2 November and 30 November 2018. The will always take place from 10 am to 12 pm in Chisenhale Dance Space’s Research Studio.

At the ‘White Canvas’ sessions, there are no outspoken facilitators. This means that each person is responsible and free for their own facilitation. The idea is: “don’t be shy and do your own thing, put in practice your own performing and let your idiosyncrasy dictate your own work… or not.” In each session, there will be a regular openlabber participating in the session and at the same time, they will act as “an anchor” for those in the room needing support and/or guidance.

At the OPENLAB’s ‘White Canvas’ sessions there are no rights or wrongs, just the joy of coming to the room and sharing the space with others, both influenced and yet unaffected by them… or is that impossible?

On Friday 7 September, Robert Vesty will be the anchor for the session. Other anchors for the all other ‘White Canvas’ sessions in the autumn to be confirmed.


Remember:

Sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

Sessions can be facilitated by any participant of OPENLAB. If you’d like to facilitate one of these sessions in the future send an email to Antonio de la Fe: antonio.delafeguedes@gmail.com

The sessions function in a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We recommend a £5 contribution for the 2-hour long sessions (‘White Canvas’ sessions) and £7 contribution for the 3-hour long sessions (‘Facilitated OL sessions).

OPENLAB’s Season 7 is coming – Autumn Sessions.

OPENLAB 18:19 Autumn

In this image, Anne-Gaëlle Thiriot during last season’s ‘Facilitated OLsession with Joe Stevens.

We have passed half-way the summer; so, it is time to get an update about what’s happening with OPENLAB this coming autumn.

OPENLAB‘s Season 7 will kick off on Friday 7 September at Chisenhale Dance Space. The season will start with a ‘White Canvas’ session and it will continue with a programme alternating both ‘White Canvas’ and ‘Facilitated OL sessions.

Here it the Autumn Term’s line-up for your diaries:

Friday 7 September – A ‘White Canvas’ from 10 am-12 pm.

Friday 14 September – A ‘Facilitated OL’ with Shannon Stewartfrom 10 am-1 pm:
MIRROR / / WINDOW / / RIFT.

Friday 5 October – A ‘White Canvas’ from 10 am-12 pm.

Friday 19 October – A ‘Facilitated OL’ with Butch Merigoni from 10 am-1 pm:
Play and Performance
.

Friday 2 November – A White Canvas’ from 10 am-12 pm.

Friday 16 November – A ‘Facilitated OL’ with Marina White Rave from 10 am-1 pm:
The Cosmic Body: Moving Toward Stillness.

Friday 30 November – A ‘White Canvas’ from 10 am-12 pm.

Friday 7 December – A ‘Facilitated OL’ with Katharina Joy from 10 am-1 pm:
movement tracking (& the bear in the stadium).

* Shannon Stewart is a New Orleans-based artist invited to the UK by Christopher Matthews as part of a 2-day event of curated dance classes and talks at Chisenhale Dance Space. Shannon will be teaching two classes: PERMISSION TO DANCE – QUEERNIQUE and WHAT DOES THIS BODY MAKE? on Wednesday 12 and Thursday 13 September. OPENLAB is collaborating with Christopher Matthews and Janine Harrington to further introduce Shannon Stewart and her work within the context of a ‘Facilitated OL session on Friday 14 September.

What’s OPENLAB?

OPENLAB is a model for professional self-development for performers devised by Antonio de la Fe. It hosts open sessions for anyone interested in a shared space for performance practice. In this way, OPENLAB could be understood as a co-working space for performers. At the same time, OPENLAB proposes a frame of work that revolves around a basic question: what does ‘to perform’ entail?

OPENLAB’s model is fluid: always changing, always open to dialogue within the group. OPENLAB sessions are developed by a constantly changing group of people. Any person can join the group at any time according to the personal needs and circumstances. Each member of the group may use these sessions the best way they suit them. Generally, the members of the group are artists interested in performance, movement, the body and in the actions the body can deploy as an artistic medium.

What’s the difference between ‘White Canvas’ and ‘Facilitated OL sessions?

In the Spring Term, OPENLAB will continue alternating between ‘White Canvas’ sessions and ‘Facilitated OL’ sessions.

‘White Canvas’ sessions don’t have an outspoken facilitator or pre-decided theme. We will aim to have a participant in the studio that will serve as an anchor for other participants who may feel they need it. Participants may still be responsible for their own time in the studio but this time they’ll have not only the support from doing it with others but also the support from the anchor person. The possibility for ad lib exchange within the group is also always there. ‘White Canvas’ sessions are 2-hour long.

‘Facilitated OL are sessions with a theme and a facilitator guiding the group throughout.

About Mira Hirtz’s Facilitated OPENLAB on the exploration of the suspicious body and on somatic research within groups

A reflection on my, Mira’s, Facilitated OPENLAB on the 6th of July 2018 – season 6, session 21.

Again,
the suspicious body.
This notion has been in my mind, in my artistic research and artworks for a while now.

What is this inquiry about? It’s a question about social relations outside of a dance studio, some sort of political question (…) being taken into a dance studio. Being taken into it in order to look at social relations present in here, the dance studio itself; and in order to research the relations outside; and in order to research the potential of this practice of asking in- and outside questions for creative processes.

That is a lot to inquire. I am by now used to the nature of my research questions and methodologies that seems to look for this complexity. I enjoy it, I want to embrace it through collective and somatic practice. So taking this inquiry into a dance studio is both in order to use the ‘grounding’ effect of somatic work and in order to make the complexity inside of the dance studio visible, as the inquiry reveals that the dance studio context is also to be questioned in its assumptions about openness, tolerance; generally, in its dynamics of social relation.

This is going on in my head and body. How to communicate this complexity, and embrace it, and research it with a group? This is a task to be formed. A practice in itself.

1st idea: Set a collective frame by an exercise, and then to derivate from it.

This just results in different behaviour, the ‘other’ behaviour. What is suspicion then, I asked the group? Something about pretending not to, hiding in a norm, but having another intention: either playing along with the norm in order to break it or unintentionally being a person that is somewhere between norms and other. BETWEEN.

“the truth is I don’t know you suspicious body I will always call you suspicious before I can know you” [X]

Suspicious bodies haven’t yet broken the norm completely, not yet begun a terrorist attack, not yet started a carnival in the middle of the road, not yet disrupted the safe space of intimate somatic exploration. (Yes, this is a provocation. These events may be very far apart from each other and lining them up is a very reductive argumentation. Still, I am curious about its effect.)

How do we know when a norm is about to be broken, broken already? Collective reading of climate in social dynamics is such a powerful situation, we all agreed.

After the game:

2nd idea: Half of the group observes the other half and picks out one by one who appears to be the most suspicious body

“We don’t know what he has in mind.” “She looks like pretending to be relaxed.” “He mimes the others.” “She deliberately wants him to look suspicious.”

This game brought up thoughts on authenticity: if somebody looks authentic or not, and if what somebody does seems to be peacefully engaged shaped our judgements of suspicion, and all of these judgements changed due to the context it was read in. So to follow your sensations in movement may look genuinely trustful when others do the same, but may look unpredictable if others start to have a conversation.

Why does the suspicious body interest me so much, and why the participants? When they say, they are interested in its political dimension, that does not say anything precise. When they tell me about how to read codes in a mass protest and involuntarily spreading the wrong signals, it is more specific. When they talk about self-perception as a being not sure what to expect from, that is another specification. For myself, I ask about the usages and dangers of planting the seed of suspicion in the frame of identifying or naming a body: identifying somebody who is about to commit a crime is useful, but what is potentially harmful can be discussed as well. How do I argue that a terrorist is harmful but a body movement that is using space differently due to a differing functioning of body/mind/sociality may not be? How can I justify and how can we make sure our collective justifications are protecting human values and yet not end up in rigid protective anxiety?

 

beingsafeisscary

(Thank you Banu Cennetoğlu for this artwork at documenta 14)

Can a question stemming from everyday social relations inform my dance practice? Yes. How? “Can I slip under your skin and behave and move and breath and dance and shout suspiciously with you?” [X]

Can I research a question that is situated in everyday life be answered within the dance studio? Not sure. I think at this point some reflection about the relation of life and art, a reflection of social art and political art would be of benefit. But (a but is not really appropriate, as it is not really a contradiction) I am more concerned here with the very practicality of delivering a research session and researching myself, concerned with the momentary reality of people in space and our interest and ability to ask, answer, translate between frames we build and built.

Dear suspicious body, “Why am I trying to include you in a sphere of comfort, or is it you…Can’t we just accept that this is a forever new and wild world an let go of trying to organise information?” [X]

Season 6, Sessions 21: “Explorations on the Suspicious Body” – a ‘Facilitated OL’ with Mira Hirtz.

OPENLAB‘s 6th edition will close this July with a ‘Facilitated OL.

This session – Explorations on the Suspicious Body – will be facilitated by Mira Hirtz on Friday 6 July, 10 am-1 pm at Chisenhale Dance Space:

openlab_2

Nowadays in public space and transport we are often encouraged to look for suspicious events. I ask myself: what is a suspicious body? What does it look like, what does it behave like, how does it derive from the norm in a way that one could recognise it? I wonder if this rather terrifying and excluding manner of being together in publicity can be turned into a reflective state towards rules and norms. Could we as movers turn it into both reflective and playful observations, curiosities, hidings and further practices? How can imaginations become explicit, stigmatisations obscene, and derivations sensually motivated?

I will propose somatic and movement explorations as well as discussions and writing exercises in order to investigate these questions. And then, let’s jam!

Mira Hirtz is a mover and somatic practitioner currently studying the MFA Creative Practice at Trinity and Laban Conservatoire and Independent Dance. Before moving to London she finished her Masters in art theory on the topic of audience participation in performance art and worked as an art mediator for documenta14 in Germany. Mira is curious about somatic knowledge and exploring formats such as Jams in Contact Improvisation, and eager to mingle disciplines to question terms and concepts both theoretically and dancing.

 


Remember:

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe (antonio.delafeguedes@gmail.com).

The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OL’ sessions) and of £5 for the 2-hour long ones (‘White Canvas’).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ

Season 6, Sessions 19 & 20: “The Primal Body” – a ‘Facilitated OL’ with Galit Criden & ‘White Canvas.’

There will be two OPENLAB sessions in June.

On Friday 8 June, 10 am-1 pm, we will have The Primal Body – a ‘Facilitated OL’ with Galit Criden:

walking

How unusual it is nowadays to wander, to let oneself be taken by an experience and to truly observe within one’s reality. In this session, we will experiment wondering in our urban reality in a sensory tour throughout the topography of the city.

Walking through observation is the act of wondering accompanied by all sensations. This combined performance experiment will emphasis on the nomadic state in which people are situated these days. We will practice leaving the studio and working outside, letting the conditions affect our bodies. We will explore what actions such as walking and listening can do to our understanding of culture and how the body serves as an interpretative experiential tool. Within the busiest, loudest context, I invite us all to check together the most basic aspects of primal body: What do we want? How to start moving? When to stop? How far can we go? How much do we let ourselves drift?

WHAT CAN YOU EXPECT?

The participants will gather in the studio, where they will be guided through a short preparation for the walk, and from there, they would leave two by two to wonder, triggering observation and play between the streets. Through a simple and automatic action such as walking, I wish to touch one’s habits through one’s barest foundation and by exploring their function to learn something about the relation between the individual and their relation to the environment around them.

We’ll practice something like what comes before it becomes dance, the formation of dance – the primal body. To experience being in the body in space, we will try to practice being visible and present, to identify the situation as it is. (in-studio and out). Freeing the body and finding the logic at that moment. Here and now.

Galit Criden is choreographer and movement teacher. She holds a BEd and a graduate of the School of Visual Theater and a graduate of the David Yellin Academic college of Education. She is a co-founder of ‘ New-Stuff’ group: A theater, performance, plastic art group. She performed in various places around Israel and abroad. Her performances include: ‘Observation Room’, ‘Work Big’, ‘Singular’, ‘Phase II’ and BodySpeak’ and more. She received in 2017 Rabinovitz a prize for excellence in dance. Currently, she is an artist in the Fest’Fectory compound, Bat-Yam, Israel.

 

On Friday 22 June, 10 am-12 pm, we will continue with a ‘White Canvas’ with Flora Wellesley Wesley as an anchor (if one is needed by anyone).

 


Remember:

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe (antonio.delafeguedes@gmail.com).

The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OL’ sessions) and of £5 for the 2-hour long ones (‘White Canvas’).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ