Contemporary for Dancers
24.01. + 26.01.2023, 14:00–15:30
31.01. + 02.02.2023, 14:00–15:30
Training for Dancers
Mariko Koh originally from Kyoto, Japan. She began dance training at Sachiko Sakon Ballet studio and later received a BA from Kobe College(JP) in 2012, during her studies she gained her knowledge of contemporary dance by Toru Shimazaki, classic ballet by Jan Nuyts, Owen Montague and Martha Graham Technique by Naoko Murakosi, Graham Mckelvie. After graduation, she was a member of the Ballet junior de Genève(CH), worked with Alexander Ekman, Stijin Celis, Ken Ossola, Barack Marshall, Guilherme Botelho, Cindy Van Acker and Thierry Malandain. In 2013 she worked as a soloist dancer for Stadttheater Bremerhaven(DE). After that she started working as a freelance dancer throughout Europe, joining productions of Unterwegs Theater Heidelberg(DE), the Grand Théâtre de la Ville du Luxembourg(LUX) and Forum Schlosspark in Ludwigsburg(DE). In 2016 she started working with Steptext Dance Project(DE), collaborating with Maqoma Gregory from Vuyani Dance Company(ZA) in 2017. In 2019 she was a part of the Opera production at La Monnaie(BE) choreographed by Fernando Melo and in 2020 at National Opera Comédie(FR) as well. In 2022 she performed a piece from Natalie Wagner at Network international Danza Puglia(IT). Currently she is a guest dancer in Of Curious Nature(DE), was part of the new creation of ORT with Mattia Russo and Antonio de Rosa from Kor’sia(ES). And she became a certified
teacher of Countertechnique in summer 2022.
Countertechnique® – Class description
The Countertechnique® class is a contemporary dance technique class. It stretches, coordinates and strengthens the body, making the dancer sweat, build stamina and really move.
The class starts with a recurring set of exercises, allowing dancers to investigate the Countertechnique® principles in detail. The second half of the class consists of changing components, working towards luscious movement combinations or jumping at the end.
The Countertechnique® class results in dancers using less energy, losing their fear of taking risks and gaining speed in changing direction.