Michael Loehr

Contemporary for Dancers 

17.05.–21.05.21, 12:00–13:30

Training for Dancers


Michael Loehr studied contemporary dance at the Cologne University of Music and Dance, and subsequently received a scholarship to visit the annual summer academy in Kyoto, Japan. He worked with Tanztheater Bielefeld and Tanzcompagnie Oldenburg, where he danced in pieces by Rami Be’er, Shlomi Bitton, Ingun Bjørnsgaard, Lionel Hoche, Jan Pusch, Jo Strømgren, Guy Weizman & Roni Haver and Gregor Zöllig. Since 2009, Michael is based in Berlin. Next to creating his own work and his involvement in the choreographic collective, `Something Machine´, he has been collaborating with Ahn Eun-Me Company, Alessandra Corti, Clint Lutes, Emanuel Gat Dance, Unterwegstheater Heidelberg, and has performed at numerous dance festivals around the world. In addition, he works as the choreographic assistant of Amala Dianor and Emanuel Gat, and is regularly invited to give company training and to teach classes or workshops for dancers of all backgrounds and levels. His work as a teacher and rehearsal director has led him to collaborate with institutions such as Ballet de Lorraine, Ballet National de Marseille, Budapest Dance Theatre, Candoco Dance Company, Cedar Lake Contemporary Ballet, Jin Xing Dance Theatre, Landestheater Linz, Prix de Lausanne and VA Wölfl’s Neuer Tanz.

Class description

My class develops from plain and pure body-work / work-out exercises, through short floor- and standing combinations, into more complex choreographic sequences. Some of the basic principles which are constantly worked with are: finding, strengthening and shifting the center, being on and off balance, resting and exploding into space, moving expansively and taking risks. The class is very physical, energetic and athletic, but it also focuses on increasing the physical awareness. This allows one to work within a frame where he/she can push their individual limits while keeping the body safe. It‘s an essential part of the class to discover and make full use of the logic that underlies every movement phrase. Based on that understanding, I want to encourage the participants to make their own decisions, so they can find their own way of playing with quality, musicality and dynamics while strengthening their individual expression as a performer.