Ofir is a choreographer, dancer, acrobat and Capoerista from Israel. His performances and choreographic work deal with risk taking and a playful approach towards dancing and partnering. Ofir's work has been shown all around the world and his last piece CONCRETE is a series of outdoor site-specific works that are inspired by subcultures like Punk, Parkour, Breakdance, Skateboarding and other art forms that have a certain rebellious attitude towards societal norms. Ofir's own movement practice is very diverse and ranges from soft body work influenced by release technique and Feldenkrais all the way to acrobatics, hand/head balancing and to learning to breakdance from YouTube tutorials.
Robert was born in London and began studying boxing and martial arts at a young age. For many years he made an intensive study of the Chinese Internal styles, particularly Yang Taijiquan, alongside Qigong and other related methods. In the early 1990s he set up his own school and began widening his training into many other areas, from meditative practices to combatives and weapons work. In 2000 he became aware of the Russian art of Systema and was one of the first in the UK to be qualified as an Instructor, under Vladimir Vasiliev. He describes Systema as "an art that encompasses all aspects of living" and teaches it in the UK and throughout Europe. He has travelled several times to Moscow for training with Mikhail Ryabko, as well as many visits to Vladimir's school in Toronto. Robert teaches a wide range of people; from martial artists to professional dancers, military and security personnel, corporate and charity organisations and people of all ages interested in fitness and well-being. He is the author of numerous books, including Systema Solo Training and Fitness Over 40 and has produced an extensive range of training films. His teaching is characterised by practicality, humour and attention to detail. In his spare time Robert is a musician and writer and he now lives in rural North Bedfordshire with his wife and a small menagerie.
Laura Aris is a performer, choreographer and recognised international dance teacher. Currently she is working as a freelance artist developing her own creative practices, leading commissioned works, creating several solo works and many collaborative performances. Her performing experience includes a decade as a formal member of the renowned Belgium company Ultima Vez /Wim Vandekeybus (1999-2008). Previously she worked with Lanònima Imperial and she was associated to General Elèctrica artists collective in Barcelona (1996-1999). She co-created Ember artistic platform with Jorge Jáuregui (2009-2014). Laura has been movement assistant for several collaborations between Ivo Van Hove and Wim Vandekeybus (2017/2019).
"I use dance as Tool and not as Goal, and though it is not my intention, dance shapes my spirituality. I like to create theatrical discourses that are sustained by movement - constantly seeking generators of physicality and then setting necessary ﬁlters that maximise the content of my proposals. In dance, I ﬁnd an ephemeral logic that reveals particles of truth. Sometimes, the particles disappear at the end of the performative act, but sometimes, they endure. I am interested in the echo of movement".
Born in Wild East. Believes that reality is ultimately timeless and in the logic of the universe. Often named: dancer, performer and teacher. Rooted herself with FM practice, studding anthropology of culture and in SEAD, where she graduated with a double diploma in choreography and performing. For last 13 years, she has been following the Fighting Monkey path and this gave an axis to her teaching and life. As pedagogue she is motivated by an urge for movement - as consequence of being alive - and by endless will to share. Her teaching is totally based on FM practice and reaches dancers, actors, circus and sports people and all movers. Currently busy with: Fighting Monkey, TCM studies, stillness, awakening of the archetypes together with CHVE (collaboration "This Kind Of Bird...") and last but not least - searching for mindful shapelessness under the gaze of Lisbeth Gruwez.