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At the request of our many dog-loving friends, clients and partners across the nation, we'd like to share the following digital collection of color handouts addressing a wide variety of dog care and safety topics! In addition, feel free to use the "Local Trainers" feature above to contact your nearest trainer if you would like hard copies OR if you are interested in building a behaviour tips section on your own website utilising our content. We had our lesson only a week ago, and so naturally expect there to be ongoing improvements, but currently we are extremely pleased with the methods we have learnt, that are proving extremely effective.
Bark Busters are looking for special individuals who are looking to become a dog trainer and dog behaviour therapist. Mit dem RSS-Angebot von K3 erhalten Sie die aktuellen Informationen zu allen Veranstaltungen selbst dann, wenn Sie keinen Internetbrowser geoffnet haben. In what ways can we address the special needs of children and teenagers arriving in Germany as refugees?
Based on principles of Feldenkrais and release technique, the practice focuses on one’s connection to the body from the inside out: awakening physical connections, stimulating sensibility, to then integrating these into movement schemes.
Focusing on the deeply intuitive working methodology of choreographer Samir Akika, Gregor Runge – dance dramaturge at the Theater Bremen – outlines how dramaturgical work can strengthen unstable artistic positions. The training is inspired by yoga, somatic approaches, floor work and other release techniques.
As a production dramaturge as well as in the role of curator, Anne Kersting focuses on the dramaturgy of observation. This class is a confrontation with different movement languages, such as kung fu, tango argentino, sign language, capoeira and more, all melting together to a rich contemporary vocabulary. Choreographer Martin Nachbar and dramaturge Jeroen Peeters share a close artistic working relationship. In Embrace the Space the adolescents experiment under Friederike Lampert’s direction with the different possibilities of shaping the choreographic space with body and clothes. Marc Vlemmix and Andrew Greenwood provide a practical introduction to their teaching method for working with people with Parkinson’s and other neurodegenerative impairments to enhance their quality of life through dance. The training focuses on physically understanding which impulses lead us to move with which qualities. Within a clear structure ending in a movement combination that articulates outwards into the space, this counter technique training prepares the body for subsequent rehearsals, performances or simply helps to get ready for the day.
The Probebuhne Eins (Rehearsal Stage One) format provides insight into choreographic and artistic processes and various approaches to handling contents, form and aesthetics in a context not tied to a specific production. Musicality and the interplay transition between dynamics and movement qualities make a good dancer. Stiftung Tanz is based in Berlin and supports dancers in transitioning to a new profession after the end of an active dance career. The training is designed for dancers, who wish to employ the special technical qualities of ballet in their work. The main proposition of this class is to move away from any ideology, style, form or aesthetic and to examine physical abilities through different situations that force us to move.
A class of high physicality based on elements of flying low, parkour, break dance, martial arts and capoeira in order to establish a language in common, and explore the limits of each one, stretching them until the limit and further. The Countertechnique, developed by Anouk van Dijk, is a physical and mental form of training. Mandeep Raikhy is visiting Kampnagel with his piece Male Ant and will be giving an introduction to his methodology in a master class. The class focuses on the connection between creativity and imagination in the dancer's work. The training usually starts with exercises to one specific organ or system of the body, physically, mentally and emotionally.
In Cristina’s practice, the dynamics of the class increase progressively using imagery: several states of consistency of the body and density of the space are explored.
The training aims to explore the relationship between visual perception and proprioception. The training is based on the Weissmann Technique, a contemporary movement approach that, although based on modern dance, has developed it further into a new method used to explore movement in a highly physical and dynamical way as well as learn to dance with joy. Everyone has built a cave out of blankets and boxes at some point or carved a sword out of a stick. The workshop provides a practical introduction on the subject of choreographic processes in dance, theatre and performance and offers the chance to become acquainted with the tools of the trade for a playful handling of movement, especially for those with little or no choreographic experience.
As part of the rehearsal process to Glas, the second part of her trilogy on the relationship between dance and the audience, Hamburg-based choreographer Jenny Beyer is hosting a collaborative laboratory. Some exercises and games of this class awaken the playful bodies, spirit, intuition and instinctive motion but the class also pays attention to technical aspects, exploring physical mechanisms that allow us to reach physical extremes while protecting the body at the same time.

The participants are led through a series of structured exercises incorporating elements of yoga, release, Limon and Flying Low technique that gradually and steadily prepare them for complex patterns and challenging choreographic sequences.
In the first half of the class the participants train reflexes, balance and the peripheral vision.
A contemporary training relating the hands to the pelvis, using structured exercises as well as explorative tasks to physically experience their link, connection and distance. The class unfolds slowly and gradually, a guided warm-up incorporates somatic practices and an embodied movement approach. In our new K3 Youth Club production, teenage performers deal with various aspects of economic growth and the social and technical acceleration that it entails. While the debate about collaboration in the field of dance has been running extensively, it easily falls into a trap of confusing a discourse about it with a practice of it.
The training builds on somatic approaches, release work and the gravity associated principles of qigong and t’ai chi ch’uan. Most of us already use body posture as part of training our gundogs; think of the hand signals we use when telling our dogs to get out and go back.
Body language is also key for communication, not only person-to-person and dog-to-dog, but across species as well. This is one of the many reasons why dogs are so endearing and seem to know what we’re thinking and feeling; they’re reading our body language, which is in turn shouting at them and telling them what we feel.
With amazing noses smelling our mood changes and acute observation skills, dogs can read us like a book. An easy way to understand the silent signals passed among a pack of dogs when they’re hunting is to think of soldiers on manoeuvres. Their bodies like arrows, they have all their focus on their prey, either on their own or as a pack, with their gaze will be boring into the animal that they are marking.
Dogs are the only animals on the planet that will follow the point and it’s believed that this communication skill, along with the bark, was developed as part of domestication. They also follow our gaze, as they would other dogs and try to communicate with us using the gaze. When you watch inexperienced dogs out on a shoot, they start off by watching the Guns and the birds on the ground as well as the other dogs with a bit of wide-eyed wonder. I decided to incorporate the gaze into my training techniques after I undertook an experiment to discover whether dogs followed the gaze over the learned behaviour of following the point command. Sitting the dogs one at a time on a mark between two tennis balls, the owners sent their dog for the indicated ball either using the head turn (gaze) combined with ‘get out’, the point combined with ‘get out’ or, and this was the decider for me, turning their head in one direction and pointing in the other, also combined with ‘get out’. What astounded us all on the field was that even though these dogs were well trained in the left and right commands, they not only followed the gaze equally well when given on its own, but an equal number of dogs ignored the hand signal in favour of following the gaze.
It really highlighted to me that we need to change the way we use our bodies, weight distribution and, more importantly, our gaze, when training our dogs; not only for when they’re working at distance from us, but also when they are working at our sides.
Next time, we’ll look at the practicalities of using the gaze and body language for training the ‘get on’, the ‘get out’ and the ‘go back’ commands and how, by incorporating ‘canine communication’, we can give our dogs a heads up as to what we want them to do next. It is designed to help owners resolve their dog's behaviour and obedience problems and to provide customers with the satisfaction of ongoing support and peace of mind.
We had previously been getting up at 5am every morning due to barking, but we have put her suggestions into place and can now stay in bad while still stopping the barking. It begins with a concentration on breathing and then develops into more and more complex movement sequences. This is an offer for everyone who is interested in an exchange between people with and without experience in dance as well as with and without handicaps.
Based on our own bodies, own physique, own body schemata, we deal with various internal bodily connections. She moves through the glamorous emptiness of the stage space on roller skates while developing a simultaneously powerful and fragile movement language. His unique style of choreography, infused with honesty and raw physicality has won Hofesh and his Company world-wide acclaim. However, the predetermined sequence of exercises is deliberately rearranged and combined with modern techniques. We work with the sensory image of melting outwards into the multi-dimensional body, with a playfull awareness of the breathing pulse, with listening to the response of gravity in any situation.
It develops from pure bodywork to complex choreographic movement sequences with a focus on expansive movements and floor work.
Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Its aim is to increase the overall awareness of dancers and to connect movement with thinking in a really efficent way.

The participants will learn to observe dance from the perspective of movement principles, patterns and connections in the body.
It is based on analytical thought and physical feelings in different situations, as experienced by the body. Using the Body-Mind Centering® approach, we will try out specific exercises for the exploration of perceptual elements by applying images and movement in the class. All interested in an exchange between people with and without prior dance experience as well as with or without disabilities are welcome to participate. In a universe of colours and structures, dancer Eva Svaneblom demonstrates ways in which everyday objects, garments and bodies swap their properties, abilities and functions.
In them, dance vocabulary and sing-song, instructions and praise, accents and mumbo-jumbo, poetry and pop songs mingle.
Passion as in flamenco, erotic seduction as in burlesque – the performer’s poses reveal and deconstruct the many approaches of different styles. It starts out with a warm-up for the body, the awareness and the senses by using mobility, strength and stretch for traveling in space. Simple soccer tricks and exercises are applied in an atmosphere of play, creativity and musicality and create a strong sense of presence, action and intent.
Placing and sending the hands or pelvis in the space, will bring the bodies to move on different levels. It provides a framework for discovering and strengthening the body and adding flexibility, stamina, and agility while lightening the senses and imagination. Softly and respectfully the participants perceive, feel and explore walking patterns, imagery, awareness of bodily systems and the action of touch and being touched.
Qi work, as well as the exploration of structures and swirls, play with the relationship between buoyancy and weight, emptiness and abundance, elasticity and balance. If a dog is unhappy then every other dog knows about it and responds accordingly by avoiding the dog like the plague for fear of being reprimanded. Due to their amazing noses smelling changes in our mood and their acute observation skills, dogs really can read us like a book. When they’re ready to go in for the kill, their weight will move from being centered over their paws, or slightly back, during the stalk, to forward and into full attack mode.
Dogs have learned that good things are generally at the other end of an outstretched arm, for example their food bowl and the great outdoors, as we instruct them to go through doorways. Whenever I take my dogs to the vet, the first thing they do is sit and look at the treat jar in the corner, telling the vet in no uncertain terms what it is they want. As they settle down, they quickly learn to follow the gaze of the more experienced dogs, stop being so focused on the Guns on the field and tend to watch the sky more. For many gundog owners there can be nothing more exciting and rewarding than shooting over their own dog. What exercises give a sense of orientation and freedom in order to deal with complex musical compositions? Choreographer Meike Klapprodt and media pedagogue Claudia Meiners will be offering dance, film and costume workshops.
The participants use their imagination as well as triggering their senses with the information around.
Whose purpose is it anyway?Journalists today are plagued by the need to develop clever strategies for (self)improvement.
How many times have you asked a friend if they’re okay and they fold their arms, purse their lips and say “yes, I’m fine.” Although it’s obvious that they’re not, polite society dictates that we don’t push and instead we take what they’ve said at face value. A lot of us, however, tend to rush through this invaluable part of training and end up with dogs that are a bit hit and miss at following the signals we give them. They are learning, through watching and following the gaze of another, when they can take their eyes off the bird in the sky and when they need to follow through and mark the pricked bird.
24 children tell the tale of trying to catch the Robber Hotzenplotz using bodies, pens and words.
This could be because we inadvertently give mixed messages to the dogs — maybe body language contradicts the arm movement (the point) or the gaze. Although they can learn this for themselves, it’s a long process, which is greatly hastened when they have an experienced gaze to follow.

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