HERE IS A LIST OF A FEW CONFIRMED PRESENTERS AND CONTENT SESSIONS:

Welcoming Words, Vladimir Angelov, Dance ICONS, Inc. USA

Vladimir Angelov, Founding Artistic and Executive Director of the International Choreographers’ Organization and Networking Services – Dance ICONS, Inc. in Washington, DC, welcomes presenters and attendees to the first live online global conference focused on choreographers’ education, artistic training, and creative growth through mentorship. Following a brief introduction and overview of the conference mission and program, the first day of sharing sessions will begin.

Wise_Bodies, Mario Piazza, Accademia Nazionale di Danza, ITALY

Wise_Bodies explores how receptive visions can be embodied through choreography. The creative process is approached as an open daily diary, gathering images and ideas while testing forms of expression and interpretation. Through creative experimentation and reflection on the connections between people and their surroundings, initial ideas can  organize themselves organically. The project’s receptivity also includes site-specific dance and inclusive actions that position dance beyond the concert stage.

Origins of Movement, Sifiso E. Kweyama, JazzArt Dance Theater, SOUTH AFRICA

Origins of Movement is a teaching methodology that generates original movement vocabulary from everyday practices rooted in African rural life, with reference to Zulu cultural traditions. Activities such as waking up, cattle milking, and hunting constitute embodied sources for movement generation. By privileging lived experience over abstract dance teaching conventions, this methodology facilitates culturally situated, intuitive creative practice, enabling dance artists to articulate embodied knowledge, affirm cultural identity, and develop authentic movement languages grounded in indigenous experience.

Intuitive Threading, Susan Kempster, Central School of Ballet, UNITED KINGDOM

Intuitive Threading's goal is to move “beyond technique,” release control, and find more instinctive, deeper body-mind connections. The aim is to unlock the choreographers’ intuition through “physical listening” during improvisation. By bypassing rational thought and focusing on bodily sensations, participants in a project can synchronize their nervous systems, build partnering sensitivity, and develop risk-taking and alert responsiveness. At high synchronization, creators can spontaneously structure a dance piece, discovering what emerges in the moment instead of relying on pre-planned mechanics.

Methods of Mentorship and Feedback, Peter DiMuro/Public Display of Motion, USA

Effective choreographic feedback and mentorship clarifies artistic intent and helps bridge the distance between an artist’s vision and, ultimately, a work’s performance. Rather than relying on critical judgment, productive feedback cultivates a problem-solving framework to help the work become more itself - more the choreographer’s intention. Through questions and dialogues, the role of the mentor, who acts as an artistic confidant to the choreographer, is to help translate internal concepts, images, and impulses into a fully realized, clear and tangible presentation.

R.E.A.L. Jillian Harris, Temple University, USA

R.E.A.L., which stands for Relational Embodied Active Learning, is a movement-generation method grounded in interpersonal neurobiology (IPNB), cognitive science, and learning theory. Through improvisation and collaborative choreography, participants disrupt habitual movement patterns, expand creative agency, and deepen embodied awareness. Adaptable across diverse populations and settings, R.E.A.L. acknowledges the parallels between learning and creating and draws upon the theory proposed by IPNB that “mind” extends beyond our own bodies, our own brains.

Digital Drift – AI and Choreography, Nile H. Russell, American Dance Festival, USA

Digital Drift – AI and Choreography explores the implications of A.I. as both artistic collaborator and creator in the studio through discussion, critique, practice, and application. This ongoing inquiry examines whether engaging with A.I. tools as creative catalysts—and developing practical strategies for integrating them into the choreographic process—can expand the possibilities of movement research and creation.

BluePrint, Raphael Miro-Holzer, BlueBox, AUSTRIA

BluePrint draws on its architectural meaning as a method for generating choreography through prompts that activate dancers’ physical responses. By using creative tasks such as ChoreoText, ChoreoImage, and ChoreoMapping, semantic expressions transform into kinetic forms, drawings become three-dimensional movement, and individual movement solos evolve into group dance compositions.​ By integrating language and images into movement and spatial formations, the method enables choreographers to reveal their unique interpretations and shared authorship.

More information will be announced within the next few weeks as we receive confirmations from the selected presenters.

Please stay tuned and we appreciate your patience.