What is Kab and how was born
The question that is most frequently addressed to me is:
“how can your dancers be so harmonious and so powerful at the same time?”
My answer is:
“it is a side effect of the hard and polyhedric work that my choreography requires, a mix of dance and acrobatics”.
The question I asked myself instead is:
“why there is no method of study for a specific preparation aimed at a athlete/dancer that allows to work simultaneously on the basics of classical dance and on the muscular structuring necessary for acrobatics and aerial dance?”
no one has ever thought about it
and with the new kind of
performers that are developing
there is a great need.
Through the continuos research and experimentation developed for more than 20 years with Kataklò dancers to create a solid bridge between gymnastic and dance, thanks to the continuos confrontations with the sector technicians in the gymnastic, athletic, scientific, choreographic and theatrical fields I had the chance to verify the strengths and weakness of both the gymnasts and the dancers, evaluations that allow me today to present this new methodology.
DMoreover with the opening in 2010 of Kataklò Academy within DanceHaus Susanna Beltrami, the first high professional training academy for athletic dance theater performers, I had a further opportunity to experiment with gestures, to study postures and body attitudes on phisicality of each type.
Then, over time, with the collaboration of the dancer and choreographer Fabrizio Calanna teacher of classical and contemporary technique and with the availability of two dancers of the Company graduated from the Kataklò Academy, Giulio Crocetta ed Eleonora Guerrieri this new methodology has been defined giving life to the KAB Kataklò Aerial Barre method. Moreover the working protocols are executed in close relation with the original soundtrack specially composed by Andrea Pozzoli.
What is KAB and what is for?
KAB is a new study protocol that does not yet exist and combines the traditional foundation of classical dance study at the “barre” to the physical preparation and strengthening of the gymnast/acrobat.
For a new generation’s performer with the peculiarity of an athletic/physical/ acrobatic gesture, a new structured methodology and an analytical study were missing, able to become, as the barre for the classical, a daily appointement for studying the fundamental bases for artistic and choreographic work.
Today, the inclusion of a performer in contemporary, classical or theatrical shows is essential for the quality of his gesture, of his musicality and his stage presence whatever the performance required to him, wheter on the ground or in suspension.
For an already formed traditional dancer, KAB is a method of integration to the habitual study that inserts physical and motor demands for strenghtening and structuring.
With this training, in which the work is carried out with feet on the ground and in suspension with correctly balanced exercises, the body of the performer/dancer is structured both from the postural point of view, elegance, but also from the muscle strenghtening in all his districts.
In this way a complete dancer/athlete is formed, able to respond with confidence to the requests of integration of the acrobatic gesture to the choreographic one with power, quality, intensity and elegance.
Today the insertion of a performer in works with a contemporary, theatrical or classic is essential for the quality of his gesture, his harmony and his stage presence, whatever the performance requested to him would be choreutic, acrobatic or aerial.
In this way a complete dancer/ athlete is formed, able to respond with confidence to requests for the integration of the acrobatic gesture to the choreographic one with power, quality, intensity and elegance.