Knut Vikström Precht
Bio. Knut Vikström Precht.
Knut is a dancer and performer currently based in Berlin. Born, raised and educated in Sweden, he has worked and performed all over Europe and toured on four continents. After completing his studies at the University of Dance and Circus(DOCH/UniArts) in Stockholm in 2013, he has been involved in contexts of street performance, dance films, theatre productions and performance art alongside his main focus on contemporary dance performance. He joined Ultima Vez – Wim Vandekeybus 2015 – 2018 for the rehearsal and tour of In Spite of Wishing and Wanting – Revival, and has co-created and performed works of numerous other directors and choreographers such as Linda Kapetanea & Jozef Frucek/RootLessRoot (GR/SK), Luke Murphy(IRL), Per Sundberg/Dansinitiativet (SWE) and Carl Olof Berg (SWE). He has been teaching internationally since 2019, mainly together with Lito Anastasopoulou, but also solo. This allows him to further explore and share his sincere joy and interest in movement, interaction, expression and communication.
About the class:
During this week’s classes I’ll be the conductor of our daily common wake-up, warm-up and dance expression exploration. Based upon a dynamic blend of my experiences in different dance styles, training disciplines and performance, the aim of the week is to offer a thorough warmup class which guides us from detailed anatomical mapping of the body, through more physically challenging coordination, strength and stamina, to a place, body and experience of dance, musicality and shared spatial presence (ambitious! but possible). We will move between the pleasure in discipline, and the joy of dancing.
There are three main parts.
The classes start with a standing/stationary practice to carefully tune in and awaken our body system; joint massage, shaking, balancing, grounding, stretching, strengthening, seeing, breathing.
We then practice different ways of advancing through the space. Starting on the floor, gradually ascending; sliding, rolling, crawling, sabiendemonia walking, running, hopping. Some strict forms, some other improvisational.
The danciest third part revolves around physical exploration of improvisation tasks, aiming to fill up our toolboxes, expand potentials and define expressions. They comprise a mixture of geometrical concepts, anatomical explorations and mental/creative approaches to our dances. While doing all that, we will also deal with some fundamental questions, like:
How can I make this dance work, and how can I make it matter?
(we might also practice a couple of cool moves, and hear some great music)