The video training kit consists of a series of audiovisual materials that capture key aspects of Siniparksi's practical and pedagogical approach. It includes exercises, excerpts from workshops, participant feedback, and moments from the creative process.
Videographers : Orestis Alexiadis – Quo Vadis , Miran Barjaković – Free Dance , Ιsabelle Mahenc – Ascen-Danse
Video editor : Inga Groß – Seneca Intensiv
Photographer : Inga Groß
A.1. Using physical contact, in continuity with contemporary dance fundamentals :
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A guided exploration of balance and connection through touch, inviting participants to experience the grounding and uplifting power of physical dialogue within a safe, shared space. This experiential tool emphasises the role of gravity in creating a responsive and secure environment for meaningful connection
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"Awakening the Body Through Touch – An Introduction to Contemporary Dance Fundamentals"
In this video, we explore touch as the most immediate and universal sense,a gateway to awakening the body and introducing core elements of contemporary dance. Through guided physical explorations, participants begin to connect with their bodies, mobilize their joints and become aware of space and sensory stimuli. This somatic process gradually and organically leads to contact with another body, creating a natural progression from individual awareness to shared movement experience. Designed for co-creative contexts, this practice supports inclusivity, embodied presence, and relational awareness in group settings.
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"The Space Between Us: From Hug to Dance"
Through improvisation, participants explore how a hug can shift in form and meaning: one person may stay while the other leaves, both may wish to remain in the shape, or neither may want to engage. The gesture becomes a terrain for exploring proximity, resistance, consent, and connection, transforming a common act into a rich field of bodily dialogue and expressive potential.
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"In Sync: Trust and Care in Blind Movement"
An exploration of connection, safety, and communication through partnered movement with closed eyes. This documentary captures a Siniparksi co-creation dance workshop in which participants navigate trust and care through guided touch and embodied presence.
A.2. Using indirect contact in order to avoid touching and explore all kind of contact possibilities :
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"Gaze : interacting by looking "
Establishing a connection through the eyes in the tool “Gaze” is the first step to make contact without words and without directly touching. Getting in contact by the gaze offers a possibility to introduce interaction and further physical contact in a very smooth way. Using the gaze as interaction between people allows the group to see every participant and to let movement happen naturally out of sharing a connection. It fosters trust between the participants and encourages physical and emotional presence.
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"Playing with sounds of voice for physical inspiration"
The exercise “Playing with sound of voice” offers a playful approach to integrate non-verbal sound cues and to create a dialogue with sounds and movements, especially for a group with language barriers.
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"Bamboo sticks : connecting and taking care"
The “Bamboo sticks” tool makes it possible to bring people into contact with each other quickly through indirect contact.
Using intermediaries can facilitate connection without direct contact. If one partner doesn’t take care of the connection and balance of the object in between, it will fall. The participants are obliged to take care of their partners, promoting a sense of group cohesion.
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"Trust in Motion: Co-Creating Through Indirect Contact"
This experiential resource offers an engaging exploration of trust, connection, and collaboration through movement, using bamboo sticks as a means of indirect contact. Suitable for dancers of all levels and backgrounds, it guides participants in pairs and groups to explore breath, space, and non-verbal connection—building awareness, care, and presence without direct touch. It is perfect for dance educators, professionals, and anyone interested in deepening their experience of co-creative movement and connection.
Photographer : Fotografika
B.1. Using daily gestures
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In this video, daily gestures and movements are used as a way to remember names and how different they can be from one culture to another. Also, how these movements can create a dialogue, story or set a mood, here you can also see the tools of going from names into movement, NameMotion.
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Transforming everyday gestures—such as walking or watching—into choreography helps bring the group into synchronized movement.
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"From Daily Gestures to Dance - Exploring the Hug"
This video focuses on daily gestures, such as greeting someone upon arrival or saying goodbye. Using familiar movements like the hug as a starting point, participants are invited to explore how these habitual actions can gradually unfold into dance-like expressions. The exercise encourages experimentation with different ways of embracing and departing from another body, shifting from the known into the creative unknown. Alongside the physical exploration, attention is given to the emotional resonance embedded in these simple gestures, and how such feelings can be embodied and carried into one’s personal movement language.
B.2. Using emotions
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"Watching a show : spectators emotions as a catalyst"
Simulating the act of watching a show in a theater can serve as a catalyst for dance creation. The tool 'Imagine Watching a Show' draws on everyday gestures—charged with emotional expression—to generate a sequence of movements.
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"Emoji cards : adding expressive layer"
Using emojis as inspiration can be a playful and effective way to generate movement or to add an emotional, expressive layer to one existing movement. Presenting a mood visualised by an “Emoji” card can help to alter the quality of dance and give participants a chance to explore emotional expression.
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"Emotions in Motion: Reflecting on Dance Together"
This experiential tool guides participants through a creative reflection process following a dance co-creation workshop. Through drawing, writing, or any form of artistic expression, dancers explore and share their feelings and experiences from the movement session. Designed for educators, professionals, and dancers of all levels, this tool encourages open emotional awareness and deepens the connection between body, mind, and community.
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"Text in Motion: Generating Dance from Emotion and Meaning"
This task explores how song lyrics or poems can serve as powerful starting points for movement creation. Dancers engage in activities that involve reading a text with different intentions—emotional, political—and then translating those interpretations into improvised movement. With the theme of love as its foundation, this tool emphasises the creative process of transforming spoken words into embodied expression, offering rich possibilities for co-creation, storytelling, and meaning-making through dance.
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"How to add emotion to movement"
In this video it’s described how adding an emotion to a movement can help participants use their full body and mimic and deepen the experience. Starting from movement or emotion is then the participant's choice.
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"Embodied Meaning- Symbol, Emotion, and the Expressive Dancer"
In this video, we explore the notion of performative presence and how a dancer gives meaning to movement. A simple, everyday object becomes a symbolic anchor, inviting participants to project emotional content into their physical expression. Through this process, movement transcends form and becomes a channel for emotion, memory, and imagination. Attention is given to how the inner dancer responds to the feelings that arise, and how these internal responses shape the quality, rhythm, and intention of the movement. The practice encourages emotional honesty, poetic transformation, and a deeper connection to one's expressive self.
B.3. Using everyday space
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"Bench as a mean for improvisation"
The tool “Bench” allows participants to explore movements in relation to a bench and related habitual movements. The participants can refer to the normal function of the bench, as well as transforming the object into something new.
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"Using familiar space in a different way"
This video demonstrates how everyday spaces can help, as participants may know how to behave in them and utilise that knowledge to create materials.
C. Movement creation, inspiration and creative expression from shared or diverse cultural references
Photographer : Orestis Alexiadis
C.1. Artistic references
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"From statues to self-directed movement"
In this video it shows how artistic references can help with inspiration and give another input to the participants than yourself.
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"How maps can help participants"
This video shows how visual aids can help the participants remember which scene comes after what and their placement.
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This video shows how to share your own inspiration and how this can be shared with participants, and how this story can change because of the participants and their input.
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"The Poem in Motion: Exploring Pulse, Voice and Movement"
This video captures a co-creative dance exploration inspired by poetry, live music and improvisation. Participants engage with pulse, spoken text and movement to develop expressive responses and collaborative compositions. Designed for both professionals and non-professionals, the activity invites dancers to connect voice and body through rhythm, imagery and shared creativity.
C.2. Collective memory references (i.e intangible cultural references)
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"Cultural references that Connect"
Our collective cultural references — such as native languages, childhood games, ways or greetings, personal dreams stories, or dance-related places — are valuable tools for engaging participants from diverse cultural backgrounds in movement. The dancers' varied responses bring a rich and unique palette of gestures to the process. It served as creative material, helping participants feel seen and heard. This personal and cultural input enriched the choreography with emotional depth and authenticity.
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"Greetings in Motion: A Co-Creation Dance Tool"
This task offers a creative approach to exploring greetings and farewells through dance improvisation. Designed for both professionals and non-professionals, it provides dance educators with a flexible tool to foster connection, inclusion, and co-creation within diverse groups. Through simple yet meaningful movement tasks, participants are invited to transform everyday gestures into shared, expressive experiences.
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"Childhood Games as Cultural Connectors in Co-Creation"
This video task invites participants to discover how childhood games can act as powerful cultural connectors within dance co-creation workshops. By engaging in playful improvisation inspired by these games, dancers are encouraged to explore creative movement and generate choreography ideas. The tool fosters a sense of connection, collaboration, and cultural exchange, making it suitable for diverse groups seeking to deepen their shared creative experience.
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"From Playground to Dancefloor: the dynamic of a simple game"
An ice-breaking tool, that introduce the fundamentals of contemporary dance with ease and set an equal space between choreographer and participants, reminding that the joy is not in the win but in the play.
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"The Discotheque : common understanding"
Finding common understanding in the cultural diversity, i.e around the discotheque, helps participants create their own choreography.
C.3. Common cultural objects
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The coat serves as a starting point for associations that can be used to create movement material. Guided exploration with such an object allows storytelling through dance. By discovering the object, its material, functions or meanings, a collective imagination can be explored It can serve as catalysts for storytelling, creating connections and adding layers of meaning to the choreography.
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"Dancing with Symbols: Performing the Invisible"
This video explores how a common cultural object—in this case, a coat—can become a starting point for embodied expression and group connection. As each person engages with the object, its physicality becomes a tool for transformation, emotional release, and meaning-making. The coat is no longer just an object, but a shared language—one that allows individual experiences to resonate within a collective context, fostering empathy, cohesion, and creative expression across diverse backgrounds.
Photographer : Inga Groß
D. Choreographers feedbacks and perspectives
D1. Each choreographer feedback on the experience about their feelings
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"Choreographers’ feelings during the workshop"
The choreographers involved in the project share their feedback on the experience.
D2. Each choreographer feedback on the experience about how they were enriched by it
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"Co-creation and diversity of population"
The choreographers involved in the project share what the project brought them in terms of co-creation working with a culturally diverse group
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"Co-creation and challenges of choreographers"
The choreographers involved in the project express what the project brought them in terms of co-creation with other choreographers and a group of dancers or non-dancers.
E. Participants feedback on their feelings after the experience and thoughts about this creative opportunity
Photographer : Orestis Alexiadis
Participants feedback on their feelings after the experience and thoughts about this creative opportunity
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"Feelings of participants during the workshop"
After each challenge, the participants were asked to share feedback on their feelings during the experience.
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"Participants’ growth on personal level"
After each challenge, the participants were asked to share thoughts about this creative opportunity. The video shows what co-creating with a culturally diverse population can bring to them.