The workshops have a limited capacity and places will be allocated according to the order of registration.



The workshop begins with the opening of the body and warming-up, for which we use different systems of games through which we can enable a fusion of different approaches to movement and dance. This series of exercises are focused on awakening and raising awareness of potential physical capabilities, concentration, opening up the sensory levels which include the experience of space and the experience of the moment, and assists the creation of common situations. Through numerous physical contact techniques we use improvisation as a model for something that will happen unexpectedly, and this unknown primarily depends on cooperation with others. The goal is to open perception. 

Our approach to all the participants is the same, regardless of their age (6-106). From working on the personal physical material, we look at the situation from the compositional point of view, creating a new common situation, open up numerous possibilities for communication.

Saturday 6th July 11:00h - EPFCA

Sunday 7th July 11:00h – EPFCA


Sanja Tropp Frühwald estudió danza contemporánea en la Academia de danza experimental de Salzburgo (SEAD). En 2007, fundó el VRUM Performing Arts Collective y se desempeñó como directora artística, coreógrafa y directora en más de 20 producciones, parcialmente presentadas internacionalmente. En 2005 fue la representante croata en la Bienal de Jóvenes Artistas de Europa y el Mediterráneo en Nápoles. En 2007 recibió la beca danceWEB dentro del Festival ImPulsTanz en Viena. 2009/10 representó a Croacia en el proyecto europeo «Choreoroam Europe», En 2009, Sanja fundó el Festival anual Dani Suvremenog Plesa en Varazdin en Croacia. También es miembro de Nomad Dance Academy Croatia. Entre 2012 y 2014 fue artista residente en el proyecto Nuevas identidades artísticas de la red Fresh Tracks Europe.
At the moment she is based both in Zagreb (Croatia) and Vienna (Austria) working as a performer, choreographer, director, programmer, producer and a dance pedagogue in the field of contemporary dance art. A majority of her work is dedicated to artistic innovation in the field of dance for young audience, audience development and intergenerational community work.


¿What are the rules of the game of at DANCE PERFORMANCE?

What makes a spectator watch a performance from beginning till end? How does the dancer evolve? What are the rules of the game? To dance is to play. Our tools are time, space, energy and the body. How to read the dance that we create? How to share, how to step into a process without knowing the results in advance? A clear frame and a lot of inspiration is required.With exercises that demand creativity we examine ourselves, create and communicate in dance and movement.

De Stilte

De Stilte wants children to move from the concrete world of the everyday to the abstract world of the senses. Our organization wants to stimulate children's self-awareness, but does not want to explain. Our organization wants children to feel and taste art. Recognition is a very important issue when we talk about our performances. When children recognize their own feelings and experience their own imagination, the performances are accessible. This is what our dance company wants to achieve. Children who don't play will never learn, our dance company wants to stimulate children's imagination, so they can play more and tell their own story, the story of imagination.

Sábado 6 de julio 11:00h –  Centro Federico García Lorca

Domingo 7 de julio 11:00h – Centro Federico García Lorca

Jack Timmermans

Jack Timmermans began teaching at the Mikojel Academy in Sittard in 1979. Simultaneously, he begins his four-year career at Danserscollectief where he dances and choreographies in a collective of four young professional dancers. In 1987, he accepted a scholarship at the Fontys Dance Academy in Tilburg, creating multiple choreographies for his students in the departments of jazz dance, expressionist dance theatre, expression dance and folkloric dance. Jack Timmermans decided to reduce his work as a teacher and expand his activities as a freelance choreographer, and in 1994 he created his own company, De Stilte. With his second show, he realizes his affinity for children and young people.
Jack Timmermans decided to reduce his work as a teacher and expand his activities as a freelance choreographer, and in 1994 he created his own company, De Stilte. With his second show, he realizes his affinity for children and young people.

«Desde que era un pequeño niño he experimentado la imaginación – tanto la mía como la de los demás- como mi salvación. Deseo de todo corazón ese tipo de imaginación para todos los niños del mundo.»


Dramaturgy in dance for young audiences

 A hammer, a saw, some files and a lot of sandpaper. And Gaffa tape, of course. Which tools do you need as a dramaturg for dance for a young audience? How does a dramaturg support production processes, starting from first ideas going through phases of concept development, research, rehearsals, reflection, artistic crisis, premiere, presentation and again reflection. Which different kind of definitions of a dramaturg exist in the field of dance for young audiences? What´s the difference between a dramaturg in an institution and a production dramaturg? How do dramaturgs define their profession and how do they implant this in the working field?

Questions like this and thoughts about formats, finding words for movement languages, participation, risks and responsibility, taboos, uncomfortable and safe spaces will come up in this workshop.

Saturday 6th July 10:00h –  EPFCA Granada

Sunday 7th July 10:00h –  EPFCA Granada

Copyright Foto: Katja Illner


Mijke Harmsen, nacida en 1981 en Renkum (Países Bajos), estudió arte y política artística en Groninga y Ciencias del Teatro en Amberes. Desde febrero de 2014 trabaja como dramaturga en tanzhaus nrw en Düsseldorf y como coordinadora del proyecto «Take-off: Junger Tanz». En él, recepciona espectáculos invitados, organiza coproducciones para público joven y desarrolla formatos de cooperación con escuelas y otras instituciones culturales.

Harmsen ha sustituido el uso de etiquetas estrictas por las series llamadas «Pequeños monstruos» (espectáculos para niños) y «Melancolía y músculos» (espectáculos para adolescentes), y ha puesto especial énfasis en los espacios de resonancia en torno a espectáculos para jóvenes espectadores. En festivales y foros, como «You´re a cyborg, but that´s ok», «You´re invited, if that´s ok? o «The Octopus Project», trata temas complejos que provienen de la vida cotidiana del público joven. También ha desarrollado diferentes formatos en los que niños y adolescentes se involucran en procesos artísticos o desarrollan sus propios conceptos y trabajos. Copyright Foto: Katja Illner






Universidad de Granada