Teachers for the first edition of Sanskar International Dance Festival which concluded on Jan 31, 2020

David Zambrano

David Zambrano is the creator of Flying low and Passing Through dance techniques. For over 35 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Living and making work in Amsterdam and Brussels, and teaching/performing internationally, Zambrano is an ambassador and liaison across many borders, bringing together artists from all over the planet for his projects. An inspiring teacher, thrilling performer, and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many and impacted the dance world from several angles.

About his workshop AT SANSKAR 2020

FLYING LOW: This workshop focusses mainly on the dancers’ relationship with the floor. The class utilizes simple movement patterns that involve breathing, speed and the release of energy throughout the body in order to activate the relationship between the center and the joints, moving in and out of the ground more efficiently by maintaining a centered state. There is a focus on the skeletal structure that will help improve the dancers’ physical perception and alertness. The class includes partnering work and movement phrases, which explore the primary laws of physics: cohesion and expansion.


IMPROVISATION: Learning to use one’s life experience, being able to consciously and continuously shape one’s energy integrating the body and mind, time and space through the practice of dance improvisation, students learn to create instant pieces of dance onstage in front of an audience. The workshop begins with students improvising solos, duets, and small groups utilizing the class as an audience. Zambrano pushes the students to realize that there is always something more inside and that performing is spontaneous.

Sanjukta sinha

Sanjukta Sinha is an internationally acclaimed Kathak dancer. Her work is termed as 'Kathak in it’s New Vocabulary'; She is presently working with Kadamb Center for Dance and Music under the guidance of Padmabhushan Smt. Kumudini Lakhia. She is a new age kathak dancer with a cutting edge style of her own. She has immense energy which is seen in her "Nritta" and lyrical charm in her "Abhinaya".

A solo dancer of distinction she has also performed ensembles and has also collaborated with several international artists from across various dance forms, keen to create a contemporary expression of dance based on Kathak. She has recently been awarded the prestigious ‘Bismillah Khan Yuva Puraskar’ by the Sangeet Natak Academy. She has performed globally in major dance festivals of the world like Alchemy Festival at South Bank Theatre London, December Dance at Bruges Belgium, Erasing Borders festival in New York and many more.

About her workshop

KATHAK CUTTING EDGE: Sanjukta's workshops are based on the insights of the body through the optimal use of muscles, the correct way of holding the spine and extension of movements from the center of the body. Sanjukta says a good body posture is not only a technical requirement but also a way to strengthen communication in dance. The workshop will take you through in-depth knowledge of Indian classical dance form 'Kathak' but in a new vocabulary.


Wim Vandekeybus

For Wim Vandekeybus (Belgium) the animal has been present in his life since the beginning. His father was a vet, taking his son with him when he was called to deliver baby horses. In 1986 Vandekeybus started Ultima Vez with the premiere of What the Body Does Not Remember, which won a Bessie Award for its innovation. And now after more than 30 years and a whole series of shows and films, Wim Vandekeybus is still searching for novelty and innovation through different media (dance, music, theatre, ..).

“For me, the form has to be different every time,” he explains. “This is why on one occasion I might create an extremely musical show (nieuwZwart), then for my next project I base a film on the experiences of one man (Monkey Sandwich), why I then might switch to a classical mythology play (Oedipus/bêt noir or Die Bakchen) or even an analytical piece in which theatricality plays a major part (Talk to the Demon).” In all these very different productions, Ultima Vez nevertheless remains true to its own movement idiom. Tension, conflict, body versus mind, risks, and impulses. Physicality, passion, intuition, instinct.

About his workshop

ULTIMA VEZ METHODS: The specificity of the creation process and the physical, energetic movement is what Wim Vanderkeybus is known for. During this workshop, participants will explore and confront the company’s universe through improvisations, contact and partner work. Wim Vanderkeybus is known to challenge his dancers and push them to tap into themselves to find the unknown.


Vittoria de ferrari sapetto

Vittoria De Ferrari Sapetto was born in Rio De Janeiro and moved to Brussels in 2002 since then she has been dancing and touring the world for several choreographers. She’s worked with notable names in the industry such as Jan Fabre, Sidi Larbi Cherkaoui, Damien Jalet, and Akram Khan. Since 2013 she has created several works which have been performed around the world in prestigious dance festivals. She choreographed and danced in the film “Beautiful Things” directed by Giorgio Ferrero. The film was selected for the Biennale cinema of Venice 2017 and won the first place.
She has been teaching classes and workshops in Europe and abroad. She is a regular teacher of the SEAD in Salzburg, Artesis in Antwerp, HJS in Amsterdam, B12 in Berlin, Attakalari in Bangalore and Circuit-Est in Montreal to name a few among several dance academies and festivals around the world.

About her workshop

ARTYLOGICA: Vittoria’s classes will focus on searching for new pathways in order to enrich one’s movement vocabulary. Her movement research is dedicated to using physicality inspired by martial arts, small group and partner work, and exploration of logic in the art of dance. The journey that each person will have is related to the place where each of us is at that moment, so we will work on opening the door and “let the things happen” instead of desperately searching for answers. Her movement research ‘Artylogica’ is about finding one solution among a million logical solutions available that can function specifically for you.


Pradeep Sattwamaya

Pradeep had the blessed opportunity to be accepted as a disciple by his guru Paramhamsa Swami Niranjanananda Saraswati where he spent 2 full years living and imbibing yoga along the banks of the river Ganga in Bihar. He completed his first 12-year phase of discipleship in 2016. Pradeep has also studied the Mysore Astanga Yoga and Iyengar Yoga. He is currently pursuing his studies in Ayurveda and modern Neuroscience. He started his practice as 7-year-old learning from his father and currently travels across India, Europe and Asia teaching yoga. Pradeep currently resides and teaches at Yoga Sattwa in Mysore. He has been training and mentoring over 2000 budding yoga teachers since 2006.

About his workshop

YOGASATTWA: The workshop with help the participant connects to the physical body through a classical approach to asanas which are traditional yoga poses. These asanas help connect the body and mind and bring them in alignment through breath to come together as one. The module will invite the participants to appreciate the coordination between body and breath and hence use the breath to leverage the best out of the body. Through the various mental and physical exercises we will experience stillness amidst movement and bring together all our senses to unity.


Roberto Olivan

This international creator started his training at the Institut del Teatre in Barcelona and P.A.R.T.S. in Brussels. The Belgian capital was the key point in the strengthening of his artistic career. He took his first steps as a professional dancer at Rosas dance company, directed by Anne Teresa De Keersmaeker. He also performed under the direction of renowned directors such as Robert Wilson, Tom Jansen, and Josse de Pauw. Currently, Roberto is the director of the dance company R.O.P.A. – Roberto Olivan Performing Arts. He also is the artistic director and founder of the Festival Deltebre Dansa, an international event that takes place annually since 2004. Olivan creates commissioned works for dance companies, universities, dance institutions and schools all over the world. His career has been recognized all over the world and he has received many prestigious awards for his contribution to the field of arts.

About his workshop

INSTINCT AS A SOURCE OF MOVEMENT: Roberto Olivan forges dance from physicality, body power and technique, taking the body to extreme situations. His goal is to encourage losing the fear of moving in a specific context. The workshop is especially focused on generating dance material from our animal instincts and our own creativity. Moreover, it strengthens group confidence by building safe conclusions from
difficult situations. After learning and using many kinds of dance techniques, Olivan discovered their limitations for artistic expression. Whilst accepting the necessity for these conventional techniques, he knows that using them exclusively curtails freedom in dance and in the performers. This is why Olivan is embarked on a constant quest for the freedom that creates singular forms, refining his technique in order to develop a unique language that can be recognized as his own style, a language focused on speed and precision.


Francisco Cordova

Francisco Córdova is the director of his company Physical Momentum where he currently celebrates 11 years of his creative career. He directs Festival ATLAS and the training program Movement Techniques in Mexico and Barcelona. He holds a Master in Theatre studies and Stages direction and Master in Stage lighting by the Institute of Theatre in Barcelona, Spain. Graduated in Contemporary Dance in Mexico. He studied in Montreal, Canada, with the Le Jeune Ballet du Québec Company (JBQ), and in New York, USA, with Ballet Hispánico (BH). 
He is a student of the techniques of David Zambrano. The press considers him one of the seven new emerging creators and young promises as an artistic director. Since 2006 he has been developing his movement practice Body Action which he has taught across festivals, companies and schools in Europe, Asia, and Latin America.

About his workshop

BODY ACTION: Francisco’s Body Action module is experiential learning based on the construction of physical actions. It pushes the participant to move from a common language and not from common dance codes. It deconstructs the established and predetermined languages of dance. The class is a representation of control and physical intuition. The purpose is to create physical, mental and emotional states from point of physicality. It takes the body to its maximum capabilities and directs students to find the truth in their bodies. It urges them to make contact with their own way of moving and take information drawing from their intuition.

Usha Nangiar

Usha was the first female student to join Ammannur Chachucakyar Smaraka Gurukulam in 1980. A degree holder in statistics, she dedicated her life for Kutiyattam and also worked to popularise the art form. After being denied to play male roles she was motivated to play and explore female roles in Koodiyattam. She has conducted many workshops and lecture demonstrations based on Kutiyattam. She has also presented many papers in different seminars like ‘the feminine characters in Kutiyattam, ‘The role of women in Kutiyattam’, Kuttu and Kutiyattam, the role of Nangiar in Kutiyattam, the growth of Kutiyattam and many more. Although she has practiced the art form for almost 30 years, she’s constantly honing her skills. She describes Koodiyattam with the Malayalam word ‘attakam’, the substance that holds everything together.

About her workshop

KOODIYATTAM: It is the only surviving art form that uses dramas from ancient Sanskrit theatre. Koodiyattam blends ritual, sacred traditional precepts, and rehearsed elements with creative improvisation. Performances are long and drawn-out, usually lasting several days. Koodiyattam performers must be skilled in the four main Abhinayas (arts of expression) described in the Natyashastra, India’s great classic on the Theater:

Āngika (movement of the body), Vāchika (speech), Āhārya (external accessories, such as costumes, props, ornaments and lighting), and Sāttvika (an actor’s expression of real natural emotion, achieved by identifying with some personal experience). Koodiyattam makes use of a stylized, highly evolved mime language that emphasizes facial expressions and hand gestures. Complicated gesture language, chanting and exaggerated expressions of the face and eyes.


© 2019 by Sanskar, India