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Margie Gillis teaches her unique approach to dance
"from the inside out" in classes of various formats.
1- Masterclasses
2- Workshops
3- Lectures
4- Lecture-demonstrations
5- Classes for non-dancers
6- Questions and Answers
** Technical requirements
"Dancing from the Inside Out"
"My approach to dance and choreography is based on "listening" to the connection between thought, emotion, sprit and body.
This is the natural kinetic process whereby our inner "landscape" translates into electrical impulses that transmit to the muscles the message as to how and with what quality to move."
1- Masterclasses for dance students and professionals
1 hour 30 minutes in length
What is the miracle of who we are? This masterclass is designed to encourage the dancer to rediscover the wisdom of the body.
The Class has been carefully constructed to re-inspire the dancer with the awe and curiosity that initiate movement.
The work strives to increase openness for continued experimentation, exploration and understanding through movement.
The Class is based on sensitising the dancer to the connection between thought, emotion, spirit and body.
This is the natural kinetic process whereby our inner "landscape" translates into electrical impulses that move through our nervous system
transmitting the message to the muscles and connective tissue as to how and with what quality to move.
Through the use of dance exercises, "games", imagery and guided movement motifs, the dancer is reawakened to the joy of movement.
We work with the body's natural impulses towards health and the extraordinary possibilities of expression.
The Class is designed to be fun but is surprisingly challenging, requiring focus and taking the dancer through a full body warm-up .
The dancers are encouraged to "listen" to their body, their impulses, their inner conversations and emotions;
and to use this information to expand their existing physical, artistic and creative capacities.
In this Class, dancers learn to hear and trust their inner landscape and imbue the shape, line and articulation of their movement with fuller meaning and beauty.
The "motifs" I teach are designed to deepen the dancers' performance capacities, their knowledge of the choreographic process and possibilities,
and to reinforce and expand the imagery, focus and techniques that they use daily.
The dancer learns to move towards health, fuller expression, creativity and the knowledge of how to share, give and be responsible to and for his/her own unique artistry as a "Human Dancer".
This masterclass is applicable to dance students, professional dancers, choreographers and teachers of classic and modern styles.
2. Workshops
2 hours to 2 weeks.
The workshop format deals with masterclass information but develops deeper into the subject matter of "Who is dancing?"
The workshops' content depends on time constraints and on Ms. Gillis' perception of what "motifs" would be of most value to the group.
The subject matter explored can include:
• How to dance from the inside out by listening to the body wisdom/soul;
• Relationship to and use of sound/music;
• Creation of movement, dance, ritual;
• Choreographer-dancer-audience: point of view and inter relationship;
• Use of architecture and space;
• Relationship of ideas to modes of manifestation;
• Relationship to concepts and qualities used regularly in dance: line, shape, articulation, balance,position, etc.;
• Relationship to qualities, for example: fluid, rigid, strengths, gentleness, textures;
• Neuromuscular response to and use of: emotions, colours, ideas;
• Health/neuromuscular system: listening to the body. (varied techniques to explore and to use as health support and problem-solving, for injury prevention and recovery);
• Artistry, performance technique, bliss (with support for group and individual problem-solving);
• Dynamics of risk-taking: Yes, No, How, Safety;
• Responsibility to and for Creation, Freedom, Art, Self and Audience;
• Use of body wisdom;
• Use of simplicity in creation, art and health;
• Creator as vessel: "a place of listening".
3. Lectures
20 minutes to 1 hour in length.
Lectures begin with an introduction followed by a mixture of question/answer and directed dialogue.
Lectures are shaped to the focus of the group. For example: general public, advanced dance students, teachers, theatre groups, healthcare professionals.
Lectures are a combination of autobiographical "life of a solo dancer" information and exploration into the soul of creation, dancing from the inside out, responsibility, and communication.
Note : Visuals can be supplied if requested and if the sponsor has the appropriate equipment available
4. Lectures-demonstrations
45 minutes to 1 hour in length.
In this format, Ms. Gillis dances 2 or 3 of the shorter works from her repertoire, then follows with a lecture (see description above).
The lecture-demonstration is very effective when done either in a theatre (with proper set-up, rehearsal and lights) or in a studio setting.
The requirements are:
• A minimum of 20 feet X 20 feet for dancing; Extra space is required for audience seating;
• A place to change costumes and/or washroom;
• A sprung floor. No cement, no carpet, no linoleum or wood directly laid on cement. No exceptions.
• CD format sound equipment with adequate volume and quality for the space;
• Microphones for Ms Gillis, animator, and audience if required by size of space.
5. Classes for non-dancers
1 hour 30 minutes in length
The masterclass is available in modified form for non-dancers, beginners, or those in related fields such as: theatre, athletics, healthcare, psychology, new age, and art etc.
Classes for non-dancers must be negotiated in advance. Participants have to be willing and able to move and to be responsible for their own basic physical health.
The sponsor must offer a safe environment for class. See technical requirements for masterclasses and workshops.
6. Questions and Answers
20 to 45 minutes in length.
A Question and Answer session is a dialogue between the audience and Ms. Gillis.
It may be moderated by a speaker chosen by the sponsor or it may be conducted by Ms. Gillis herself.
It may take place after a performance, but in that case Ms. Gillis will have just danced a show. She would be more articulate at a separately set-up time.
Q & A sessions require a microphone for Ms. Gillis and another microphone for the audience, or a room small enough for exchange and dialogue.
Requirements for workshops and masterclasses
These requirements are to ensure that there are no injuries in class.
Any deviation from, or inability to comply with these requirements must be communicated to us well in advance.
Please note: for classes requested for those who are new to dance, all participants must be in good shape, prepared for and capable of movement,
and responsible for the health of their own bodies.
Given advance notice, we will do our utmost to see if and how we can adapt the class for the safety and enjoyment of the participants.
1. Floor resilience
• A sprung floor (a floor with "give" to avoid injuries to joints)
Note: Many school gym floors are not sprung and are not appropriate or safe for bare feet or the falls and rolls of modern dance.
2. Floor surface
• A "marley" (a special dance floor covering) or the equivalent (an exercise floor)
• A wood floor that is smooth with no danger of splinters
• It must be clean.
Note: Carpet is not acceptable – it causes rash and skin burn.
3. Size
The studio/room must be large enough to accommodate the class : approximately 7 square feet per person
and a minimum of 20 feet X 20 feet to accommodate the movement that "travels", i.e.: running, jumping, rolling etc.
4. Sound
A CD player with a speaker system adequate to cover the whole space in quality sound.
5. Temperature
The studio/room must be heated and/or ventilated depending on the season.
6. Space
The studio/room must be free of chairs and tables unless they are stacked off to the side. The room must have enough space to dance in.
Dancers/participants are asked to move in bare feet and, because they move, lie, jump on and over the floor, we are very serious about the above requirements.