Plesni studio Pegaz

Jorge Vasquez

Besides being personal involved in dance shows as a dancer, a part he is very successful at, he soon specializes in pedagogical work using experience attained during his education and professional work. Jazz dance has, for him, taken on a completely new dimension. He presents it to his students in a very poetic and emotional manner, with demanding technical elements. Combination of music and movement reach a perfect harmony.

As a jazz dance pedagogue he has worked at many respectable schools and dance academies (Alvin Ailey American Dance Center...1996, Steps 74th...1985/1996, David Howard's Dance Studio...1983,Tokyo, Japan - Broadway Dance Center.1984 -2001, Tokyo, Japan - Professional Dance Center...1991 – 1996, Amsterdam, Holland - Amsterdam Dance Center...1993 – 2003, Amsterdam, Holland - The Theatre School, (Guest Teacher)...1993/1996, Rotterdam, Holland - Rotterdam Dance Academy , (Guest Teacher) ...1993/1994/1998, Brugge, Belgium - Vlaamse Dance Academy 1992 - 1994,Monpellier, France - Summer Dance Workshop, assistant to Fred Benjamin...1991,Cologne, Germany - Cologne Dance Center, 1993 -1994, Jerusalem, Israel - The Jerusalem Rubin Academy of Music and Dance...1996, Zurich, Switzerland - Colombo Dance Factory - International Summer Kurse '98-'02, Costa Rica - Alegria - Center for Body and Soul - 1999-2003, Seoul, Korea- JMR Dance Co. – 2001, Austria, Innsbruck - Summer Dance Festival 2000-2003…
As a dancer he took part in numerous productions ( “Gaudi” Das Musical , Germany, "Madley Amsterdam", Holland, "Move!" Holland, "Ik: Jan Cremer" de Rock Opera, Holland, "Street Heat" (Dancer) Off Broadway Production, original company, N.Y. USA, "West Side Story" , Hartford Stage Company, Hartford Stage Company, "On the Town" "Ohad Naharin and Dancers" NYC, USA, "Fred Benjamin Dance Company" NYC, USA, and at the moment he is a part of
Printz Dance Project in San Francisco.

Keren Levi

Keren Levi was born in Haifa, Israel in 1972 and was raised in Kibbutz Parod in the Galil (north region). Sheworked in Israel with Kibbutz Dance Company and Batsheva Ensemble (artistic director, Ohad Naharin). Since moving to Europe in 1996 she has been dancing in various projects such as with Philippe Blanchard (SW), Clair Russ Ensemble (UK), Leine & Roebana, Hendler & Elshout, Joaquim Sabate, Club Guy & Roni (NL) and 2nd Nature Co. (AUS).
Keren is a regular guest teacher at AHK (both for SNDO and MTD) and at Fontys Dance Academy (Tilburg) and Salzburg Experimental Academy for Dance (SEAD). She also been invited to give professional training at HJS Amsterdam, Charleroi/Danses (Belgium),Ultima Vez (Brussels), Sasha Woltz (Berlin),Impulstanz (Vienna), CODA festival (Oslo) and Kalamata Dance Festival (Greece) among others.

In 1997 Keren received her first commission in The Netherlands from Dans Werk Plaats Amsterdam (DWA) to make Map, a solo piece. This was followed in 1998 with a commission from CaDans Festival to make the duet No Thought – No Form with Alfredo Fernandez. In 1999 Keren made the trio Commercial Break (DWA in co-production with Grand Theatre, Groningen) that was shown in Aerodance (Julidans Festival 1999).

In the end of 2000 Keren worked in Danceataliers, Rotterdam on the research Gravel (for 3 dancers and 3 musicians of new-jazz band ‘so horse’) that was performed later in Grand Theatre and in Cement Festival 2001. In that year she received her first subsidy from AFK together with Sanna Myllylahti for the double-bill performance En Nu Dit Hier where she made Nanoseconds (sextet) in collaboration with composer Tom Parkinson (UK/NL). This project was produced by Korzo Theatre, Den Haag and toured The Netherlands.

In 2002 Grand Theatre commissioned her to make The Bottom Line, a solo piece in collaboration with Sam Louwyck (BE) that was presented in Nordenzone Festival 2003, Melkweg Theatre Amsterdam and lately in CODA Festival, Oslo and in Milan.

In 2003 Keren worked on two studio projects: One-Minute-Solo (DWA/AFK and FAPK) and Ostriches (Dansateliers) a short duet made for Adva Zakai and Sarah van Lamsweerde.
One-Minute-Solo was a research in collaboration with filmmaker Ester Eva-Damen (NL) and composer Tom Parkinson about choreography and Haiku. This research was a study for Territory (AFK/ DWA/ Grand Theatre/ Monty Antwerp), Keren’s firs full-length evening piece which was premiered in November 2004 in Melkweg Theatre and is about to tour The Netherlands this autumn by invitation from the Nieuw Theatre Maker Series.

Territory continued the ongoing collaboration with Tom Parkinson and had kick-start an exchange with media artist Tammuz Binshtok (IL/NL).
This collaboration has continued with Faceless (FAPK/DWA/Grand Theatre), a new evening piece due to premiere in ‘Something Row’ Festival in February 2006.
During the winter of 2005 Keren has started a dialogue with Flemish choreographer Ugo Dehaes. This dialogue took shape this summer with Nothing, a two weeks research hosted by Monty where Ugo and Keren have developed the concept of couple-like, the duet the two are about to make next summer in co-production between Kwaad Bloed (BE) and DWA.

Jazz dance je modernija tehnika proizašla iz klasičnog baleta, kao uostalom i sve modernije plesne tehnike. Bazira se na baletnoj tehnici koja je nadopunjena opuštenijim plesnim elementima, odnosno slobodnijim pokretima. Pozicije nogu u jazzu su malo zatvorenije nego u baletu zbog čega je opterećenje bokovima za nijansu manje, ili potpuno zatovrene. No kod rekreativnih plesača baleta se ni ne zahtijeva potpuna otvorenost, već otvorenost u granicama mogućnosti pojedinca.

Otvorenost znači rotacijsku sposobnost bokova kako bi se dobio položaj nogu u kojem pete stoje jedna nasuprot druge, a prsti su otvoreni prema van.

Balet ima strože forme, dok je u jazzu dopušten veći stupanj stilske opuštenosti. Za jazz dance su također karakteristične izolacije u kojima se tijelo dijeli na dijelove, od kojih svaki dio radi svoj pokret, izoliran jedan od drugog. Balet se pleše na klasičnu muziku, a jazz dance na pop ili bilo koju drugu muziku. Kao i u baletu i društvenim plesovima, jazz dance se pleše i u paru, uključujući i podrške, a ne samo solo ili grupno.

Sadržaj
1 Osnovne vrste jazz dancea
1.1 Lirski jazz
1.2 Street jazz
1.3 Musical comedy jazz
1.4 MTV jazz
2 Povijest Jazz dancea


Osnovne vrste jazz dancea

Lirski jazzčuva u sebi pravilne linije tijela i pokreta
pokreti su fluidni i mekani
koristi puno baletnih elemenata
zove se još i mekani jazz
možemo ga vidjeti u filmovima poput West side story, Fame, Stayin' alive, Flashdance


Street jazz
noviji smjer jazz tehnike
uključuje energične i oštre izolacije i sinkopirani rad nogu
obično se izvodi na rock glazbu i na oštrije, energičnije pop ritmove
zastupljenost baletne tehnike je velika
zove se još i tvrdi jazz
može se vidjeti u filmu Center stage



Musical comedy jazz
teatralni jazz koji se izvodi u svim plesnim mjuziklima
za taj stil je karakteristično da pokreti naglašeno prate tijek priče komada u kojem se izvode
često se koriste rekviziti kao što su šeširi, štapovi, stolice i sl., a kostimi su blještavi i upadljivi
može ga se vidjeti u filmovima Annie, Cabaret, All that jazz, Chorus line


MTV jazz
najnoviji smjer tehnike koji je zastupljen u spotovima pjevača kao što su Justin Timberlake, Britney Spears, Christina Aguilera, Missy Elliot, Jennifer Lopez
nastao je u svrhu povećanja kvalitete scenskih nastupa pjevača
karakterizira ga oštrina i odsječenost pokreta
baletna tehnika je ovdje vrlo malo zastupljena, jer se bazira na oštrim, brzim i energičnim izolacijama i okretima tijela



Povijest Jazz dancea
Završetkom prvog svjetskog rata dolazi do društvene revolucije koja odbija običaje i vrijednosti prijašnjih generacija i čiji je moto bio živjeti život do kraja. Ples sada postaje manje formalan, a muzika koja izbija u prvi plan je jazz.

Jazz je muzika crnaca koji su europsku muziku obogatili afričkim ritmovima. Sama riječ u njihovom slengu znači «sex». Nastao je kao kontrast tradicionalnoj muzici, a sadrži u sebi ritmičke sekcije baseva, bubnjeva, trombona, klarineta i sl. Za njega su karakteristične sinkope, a svaki dobar jazz mora u sebi prezentirati i swing. Jedni od prvih plesova koji su se plesali na jazz su bili charleston, step i foxtrot.



Miješanjem baleta i gore navedenih plesova, formirao se stil plesa koji se prvo zvao "stage dancing", a kasnije je bio primenovan u naziv "jazz dance". Jazz je uglavnom bio muški ples s nešto žena, da bi kasnije postao jednako zastupljen i muškarcima i ženama.

Glavna karakteristika jazz dancea su izolacije u kojima se tijelo dijeli na dijelove, od kojih svaki dio radi svoj pokret izoliran jedan od drugog. Ta "aritmičnost / asimetričnost" je ujedno i karakteristika jazz muzike.

Danas se jazz dance izvodi na sve vrste glazbe.

Tako to objašnjava Wikipedia

Jučer su malene plesačice imale prvi sat ritmike u ovoj sezoni!

Veliko uzbuđenje, nove male prijateljice, teta Vedrana...

Biti će ovo lijepo druženje prepuno igre, plesa, muzike i pažljivo smišljenih pokreta malenih i onih većih plesačica.

Želim im puno veselja, i radosnih dolazaka u našu dvoranu!

Nataša
Plesni studio "Pegaz"


p.s. uskoro ću staviti slike malih ritmičarki!

S veseljem vas pozivamo i ove godine da nam se pridružite u plesu, vježbi, znoju, dobroj atmosferi i nastupima.

Predbilježbe novih i starih članova u novu plesnu sezonu traju od 04.09.-17.09.

Stare članove čeka mjesto koje trebaju potvrditi pozivom na broj mobitela, i ujedno saznati kojoj grupi sada pripadaju.
Novi članovi mogu se predbilježiti i dobiti sve informacije na
broj mob: 091/522-09-14

S veseljem vas očekujemo!
Početak rada studija je 18.09.2006.

Termine i cijene možete pogledati OVDJE

Popust od 10% imaju:
*djelatnici dječjeg vrtića Prečko i njihova djeca
*sestre (braća)
*majka i dijete

Popust od 20% imaju:
*tri polaznika iz uže obitelji (sestre i majka ili troje djece)



Pravo na izmjenu rasporeda zadržava
Plesni studio "Pegaz"