(27 December – 5 January 2027)
Hello everyone!
We are very happy to announce you the 13th edition of Winter Jam of Arts 2026 – 2027 festival in a wonderful farm in north Rome, surrounded by a large forest!
The event includes many labs of Contact improvisation, of somatics, of Alexander technique, of improvisation and physical theatre!
As well as many jams and plenty of traditional Italian and vegetarian food!
The last year retreat focused on oriental philosophy and principles was very appreciated and full booked! This year the festival will focus on "joy, connection and trust".
In nowadays been positive, creating space for feeling joy is a revolutionary action... our contact impro, somatics and physical theatre lessons will focus through the technique on how we can be more present, more conscious, more connected with ourselves and others, and to trust each other.
We will explore the state of a "joyful authenticity" in a respectful ambient and a peaceful location in the nature that will host us!
IMPORTANT: The lessons are structured to be accessible to all levels: completely beginners and advanced can learn and improve own skills, dance, knowledge, technical and improvisation abilities.
You are all invited to dance, relax, experiment, improvise connect with the nature, meet people from all around the globe (last year we had participants coming from more than 30 countries and 4 continents!)
(SPOKEN LANGUAGE ON LABS: ENGLISH & ITALIAN)
The festival will take place on 27 December – 5 January and is composed by 3 events,
- First event will be 27 – 30 December
- Second event 30 December – 2 January
- Third event 2 – 5 January.
You can participate to one, two or three events!
The retreat includes:
– 32 hours of lessons
– More than 72 hours of jams
– Live music
– Excursions in the nature.
– Big, well heated apartments and dormitory.
– Big circular dance space
– Traditional Italian and vegetarian food.
The teachers are: (see below their amazing curriculums and descriptions of their workshops)
- Susaanne Martin (Germany)
- Catalina Mahecha (Colombia)
- Ippokratis Veneris (Greece)
- Ivan Truol (Chile)
- Antonella Massimo (Italia)
extracts of jams
voice choral lab
moments
Note: To participate to the festival you don’t need to be dancers or artists since the idea of the Jam of Arts festivals is aimed to people who want to experiment with arts and movement, regardless having or not prior experience. The goal is to explore different skills and capabilities that exist within us, study various disciplines and enjoy!
Prices and registration informations:
Prices A:
– the fee for one event (27 – 30 December or 2 – 5 January) sleeping in dormitory is 250€.
- the fee for the event of 30 December – 2 January sleeping in dormitory is 270€.
- the fee for participating at two events (7 days, 27 December – 2 January or 30 December – 5 January) sleeping in dormitory is 460€.
- For three events, (10 days, 27 December – 5 January), the price is 595€.
In the fees are included all the workshops, all the events, all the meals, single bed in dormitory, sheets, towels and blankets. (places are limited)
photos of dormitory
Prices B
– the fee for one event (27 – 30 December or 2 – 5 January) sleeping in apartment is 270€
– the fee for the event of 30 December – 2 January sleeping in apartment is 290€.
– the fee for participating at two events (7 days, 27 December – 2 January or 30 December – 5 January) sleeping in apartment is 495€.
– For three events, (10 days, 27 December – 5 January), the price is 645€.
In the fees are included all the workshops, all the events, all the meals, single bed in apartment, sheets, blankets and towels.. (places are limited)
photos of the appartments
For more information’s and registrations, you have to write an email to: registration@jamofarts.com
Write us your choice (which events and accomodation option) and we will send you the prepayment quote and all the details for the money transfer.
For more direct communications and because very often our replies ends on spam, please write us also your phone number.
tel: +39 3287213546 (also whatsapp, telegram and viber)
Arrival details:
It's very easy arrive to the retreat!
From Rome Fiumicino Airport you have to take a train until Trastevere station and then change and take the train for Bracciano (55 minutes). There will be our collaborators that will brings you to the retreat (takes about 5-7 minutes). Thats all!
iIf you arrive by car send us a message to give you more informations.
Travel tickets advice’s:
If airplanes becoming expensive, good alternative ways to come to Rome are: night trains, Flixbus, Blablacar.
NOTE: For the organisation of the festival we will need some helpers who wll have a reduction of the fee. If you want to candidate yourself, please send an email, specifying which event/events you want to join at: registration@jamofarts.com.
(SCROLL DOWN FOR THE TEACHERS BIOS AND WORKSHOPS DESCRIPTIONS)
A few words about the place that hosts the festival. Under the ground of the farm is flowing a famous water source that is creating much energy in the place. Next to the farm we find two ancient roman bridges, water cascades, a big cave, streams, many many trees and a bit farther a big lake.. follows some photos of the landscape.
Teachers bios and lessons
Susanne Martin is a Berlin-based choreographer, performer, researcher, and teacher in Contact Improvisation,
contemporary dance and performance.
As contact impro teacher has been invited to teach as main teacher in numerous International festivals as: Sweden Contact Fest, Freiburg contact festival, UkraineContact Fest, Danscentrum Väst Göteborg, Contact Impro Fest of Bucharest, ZIP-Festival, Italy, Tanzhaus Switzerland, Tanzfabrik Berlin, Somatische Akademie Berlin and others.
Some of her studies are:
- PhD Performing Arts, Middlesex University London (2011-2016)
- MA Solo/Dance/Authorship, Hochschulübergreifendes Zentrum Tanz Berlin (2007-
2009)
- Stage Dance, Folkwang University of the Arts Essen (1992-1994)
- BA Dance Pedagogy, Codarts Rotterdam (1987-1991)
On the performing field, she presents her work internationally in solo performances and collaborative stage works. Her artistic practice and research focus on improvisation, contact improvisation, critical practices and narrations of age(ing), artistic research methods, and improvisation-based approaches to knowledge production and knowledge dissemination.
Selected performances:
Critical Mass Ensemble, Paartanz #1, TAOI - The Art of Improvisation, beau milieu / Au bas mot, Salon Raumverstehen, Doctor D. meets Doctor V.,The Fountain of Age, The Fountain of Youth and many others.
Academic teachings:
- Evangelische Hochschule Berlin
- Ecole Polytechnique Federale de Lausanne (EPFL), Schwitzerland
- Transart Institute, (USA & UK)
- Middlesex University London, UK
- University of Northampton, UK
- University of Roehampton, UK
- Bowdoin College Brunswick, USA
For more informations videos and publications visit: www.susannemartin.de
Title of the workshop of Susanne Martin of 27 – 30 December: Dealing with some kilograms mystery!
In this workshop we focus on the pleasures (and maybe worries) around dancing with partners of different sizes and partners that are heavier or lighter than yourself.
We find ways to bring the weight of our bodies carefully and consciously.
We learn to make ourselves heavy, when necessary.
We learn to find satisfying duets that do not need all of our kilos.
We find the special beauty of beginning a new dance, with a new partner, no matter if big or small, heavy or light.
Let’s improve our virtuosity in creating joyful dances together.
Title of the class of Susanne Martin of 30 December – 2 January: "The eyes and the other senses in Contact Improvisation"
There are several ways to find joy, orientation and safety while dancing. We play with the beautiful difference between dancing CI with open eyes and with closed eyes.
We play with ways of watching while dancing and ways of watching the dances of the others.
We play with ways of watching while dancing and ways of watching the dances of the others.
We let our doing and watching of CI dances get inspired by the ears – listening to sounds, silences and music.
We explore the tactile and the skin and how smart that interacts with our visual sense.
Let’s see how much fun we can find in the amazing interrelations of the senses when dancing Contact Improvisation.
Title of the workshops of Susanne Martin of 2 – 5 January: “How to fully immerse myself in the dance”
I think we all wish to experience joy, flow, ease and a dose of surprise when we do Contact Improvisation, no matter if we are beginners or experienced dancers.
Here are the good news:
The more I immerse myself in the state of dance, the more I find unique possibilities, pathways, surprising developments from moment to moment.
In Contact Improvisation (as in all interactive and improvised artistic activities, I guess) we
take part in a beautifully complex, unfixed and constantly emerging situation. That means, on the one hand, that we do not have to carry a maximum load of responsibility for the situation. On the other hand, we always do have an influence on what is going on and the direction the dance takes.
In this workshop I share my personal tools and strategies that allow me to immerse myself in the interactive and emergent dance of Contact Improvisation again and again – through different situations, through changing physical abilities, and with many different partners – since 30 years.
I’m looking forward to meet you on the dance floor!
In 2009, she was introduced to Contact Improvisation by Cristiane Boullosa, whose work deeply inspired her. Since then, she has trained with various teachers, dancers, and performers such as Diana Bonilla, Mayling Bisogno, Jonathan Martinau, Lucía Marote, Lucio Baglivo, Camille Hanson, Linda Buffali, Martin Keogh, Itay Yatouv, Karl Frost, João Fiadeiro, Jess Curtis, Charlie Morrisey, and Katja Mustonen, among others, and she feels particularly influenced by the somatic approach (Body-Mind Centering) of Patricia Gracia, Valburga Glatz, and Urs Stauffer, as well as by Mónica Valenciano and Patricia Caballero in the art of improvisation, performance, and the performing arts.
Between 2014 and 2016, she simultaneously completed the Contact Improvisation Training in Madrid and the Integrative Body Process (PCI) Training—an exploration of the body and movement from a psychophysical perspective. Her pedagogical work is grounded in somatic inquiry, authentic movement, and the poetic dimension that creates worlds through movement and improvisation.
Her interest in the body and its healing potential led her to train as a Gestalt therapist specializing in group work with Alejandro Spangenberg and Leticia Cayota (ATMAN, Montevideo Gestalt Center, 2018–2026)
She has taught Contact Improvisation at the Karen Taft Dance School, Escuela de Danza Creativa (2018–2020, Madrid), and Espacio que Vuela, Madrid); She led workshops at the CI Festival in Cardedeu (2017 and 2020, Catalonia), the WIM Festival (What is Music Festival, Burgos, Spain, 2016 and 2018), and was a guest instructor at the Madrid Contact Training Program. Teatro La Máscara, Universidad del Valle (Cali, Colombia, 2017–2021), Madrid Contact Festival (2022), Asturias Contact Festival (2022), Barriga CI Camp (Portugal), EHKIE Festival (2023, Basque Country). Teacher of improvisation and bodywork at Itineranzza (dance and music training in natural spaces, 2021–2022). Facilitator of body-based research in contexts of development and social inclusion within the framework of the Community of Madrid’s “Espacios de Igualdad” (2021–2026).
She is currently part of the teaching team for the Madrid Contact Improvisation Training (FCI) and continues a long-term project in dance and voice pedagogy alongside Tata Quintana (2021–2026).
Over the years, this pedagogical space has become a path of self-discovery and deep accompaniment to the processes revealed through dance and bodywork.
Her main project, *Cuerpo Mágico*, is the result of her research into states of dance that link artistic experience and ritual.
Since 2017, she has been a member of an artists collective led by Brandon LaBelle, where she has developed various video art and performance projects: “Aurality and Environment” (video installation), “Ghost Project” (video installation), “Creature,” a solo performance, Norway; and “The Third Archive” (video installation, 2025).
She also collaborates with the musician Pau Sotelo on a duo project combining improvised music and dance, with their first piece, “Crepitar,” premiering in June 2026.
for more informations you can visit: catalinamahechaci.wixsite.com/danza
Theme of the workshop of Catalina Mahecha of 27 - 30 December: TIMING: THE ART OF SYNCHRONY IN CONTACT IMPROVISATION
In this workshop, we’ll practice the ability to observe “the right moment,” as well as the attention and presence needed to journey together hrough shared weight and move in harmony with biomechanical forces.
Recognizing these forces and how we relate to them allows us to use them to our advantage.
We’ll harness gravity to fall and fly, and inertia to maintain the flow; we’ll roll to conserve the energy of movement.
Allowing ourselves to be moved helps us lighten the effort and recognize opportunities to shift states at the real-time pace of dance, paying attention to what’s happening in our bodies and in our relationships with others.
The focus of synchronicity is, above all, on restoring the body’s ability to respond to physically attune ourselves so that we become increasingly sensitive to what is alive, to the real forces that emerge in dance.
We cultivate a state of deep listening where the body guides us through the unknown.
Theme of the workshop of Catalina Mahecha of 2 – 5 January: WATER BODIES
We invoke the nature of water from a somatic and poetic perspective, as a way to bring the experience of fluid movement into the body.
Dances that find their way, that navigate the landscape of bodies, that experience adaptability, continuity, and the regeneration of the energy of movement.
In this workshop, we will explore the flow of movement and how it is expressed in solo dance and in our relationships with others. Through somatic practice, we will train ourselves to soften the body and become more sensitive and open to the unpredictability of dance.
Water, as a metaphor, allows us to connect with that which continues, which does not stagnate, and which does not conform to a predictable or concrete form. This practice helps us not to hold on, to let go, to recognize the nature of flow, to avoid freezing forms, and to work through our expectations. It helps us inhabit real dances rather than ideal ones to be present and accompany what is happening, not what we would like to happen.
Nature compels us to surrender to the truth; improvisation helps us stay alert to the new, to return again and again to physical sensation, to bodily experience as the compass of our dialogue.
Ippokratis Veneris Teacher, dancer, choreographer, deepen and studies dance and other arts since young age.
– Lives in Rome where graduated at school for professional dancera “l’officina” where studied release technique, Dupuy technique, contact improvisation, instant improvisation and composition.
Has studied Contact impro and/or collaborated with: Jess Curtis, Ka Rustler, Ray Chung, Simone Forti, Eszter Gal, Cgallrlie Morrissey, Daniel Leokoff, Siminetta Alessandria, Mirca Makinen, Urs Stauffer, Sabine Parzer, Baris Mihci, Benno Voorham, Thomas Kamp,, Russel Maliphant, Emio Greco, Iwona Olzowska and many others.
Has studied Contact impro and/or collaborated with:
Jess Curtis, Ka Rustler, Ray Chung, Simone Forti, Eszter Gal, Cgallrlie Morrissey, Daniel Leokoff, Siminetta Alessandria, Mirca Makinen, Urs Stauffer, Sabine Parzer, Baris Mihci, Benno Voorham, Thomas Kamp,, Russel Maliphant, Emio Greco, Iwona Olzowska and many others.
In his lessons of contact inserts elements from the various disciplines that has studied extensively over the years as: floorwork, release technique, experiential anatomy, applied anatomy, dupuy technique, acrobalance, martial arts, afro dance, ballet, alexander technic, chi kung, dance theatre and much more.
– In the past collaborated with the UNIVERSITY OF ROME “Roma 3”, department of “Philosophy of Education” giving lectures about “Pedagogy, C.I. and personal researches on teaching”.
– for two years he received an open scholarship in Brussels (PARTS-ROSAS Dance Company) and in Rome by the region of Lazio to proceed with his research on dance theater projects. His original works (“Buongiorno Amore”, “Afroditi”, presented at Olympic theatre and Theatre Greco) combine together elements of theatre and dance.
– Was professor in the professional theatre school “il Cantiere Teatrale”.
– 2018 award: His work as choreography director for the Pina Bausch “The Nelken line in Rome”. An international project of 25 dancers of 11 different countries. Receives the second award of Lazio Film Festival Commission.
– Has collaborated -teaching and making shows of improvisation- with the Italian National Organization of Theatre.
– Teaches regularly Contact Improvisation in Rome and around europe developing his own method.
– Has collaborated with Roberto Castello-Aldes for “Narrate” premium UBU as the best dance theatre production of the year in Italy and many others.
– The previous years decided to stop making shows and concentrate his energies on the research about the human nature and the wisdom of our bodies.
- Currently is working on the editing of the new physiccal theatre piece "Muhasir" narrating the story of a couple living under war (choreographer and dancer).
– Co-founder of CORE an association of choreographers of central Italy to promote the rights of the live performing arts.
– Co-founder of RomaContact a collective of dancers who promote and give shows of improvisation and Contact Improvisation.– As a choreographer, dancer and improviser has organized and participated at different events, in the last ten years.
– Has studied with many choreographers and participating at numerous workshops of physical-theatre, contemporary dance, choreographic composition and contact improvisation.
Theme of the workshop of Ippokratis Veneris (event 27 – 30 December) “the net”
In this workshop we will explore the many ways that we can be connected with one or more partners.
We will use also some objects as long sticks to create connections, find creative solutions, challenge us, transforming continuously our discovered solutions to new ones. Using contact imoro and the connections-net that we will create we will keep on challenging us, creating body and mind plasticity versus a playful dance.
The technic will become a way of flowing in various states of body and mind.
Theme of the workshop of Ippokratis Veneris (event 30 December – 2 January): “Flowing in liquid landscapes”
How can we be stable when needed, giving support to our partner and how can we transform it, becoming liquid and flowing in an organic way during our dances?
Understand therough our bodies and conmnection with partner when is the proper moment to transform the created bodies structure to a new bodies landscape.
The focus will not be on "running" from something to something else but be present, live the present moment "catching" the momentum and I would say that practically there is no "dance", only presence, a continuous be present and flowing in the present moment enjoying life' enjoying energy' enjoying be here and now sharing Trthis travel with partners and the entire universe
Let's dance Let's flow! Let's be
Theme of the workshop of Ippokratis Veneris (2 – 5 January):
“ from the flow to the acro just play a bit!”
Okay in this class we will play.
Using the spirals, the support, on the floor on the middle and standing position we will explore how to give and take weight supporting the each other.
We will investigate some simple (and easy to follow from everyone) acrobatic principles that we will apply and start using them in creative and organic ways.
Well understood "technique applied to fantasy" will be the keywords!
I was born in La Spezia and in the 80s I moved to London.
Despite I was practicing various movement disciplines and I was teaching Yoga I began to suffer from recurrent headaches and backaches.
I was then introduced to the Alexander Technique by a friend.
The benefits were so immediate that I decided to train as an Alexander teacher.
Since 1992 I have lived and worked in Rome both in a private studio and in numerous public institution such as The National Accademy of Dance , The Conservatory Santa Cecilia, the School of Dramatic Art Silvio D’ Amico.
I have been invited to teach the Alexander Technique in various Conservatories in Italy and abroad such as Musikene Centro Superior de Musica ( San Sebastian, Spain) .
I am very grateful to F. M.Alexander for the enrichment that his work has brought into my life and I am very grateful to my teacher Shoshana kaminitz for being able to train with her.
I am co-founder and Vice President of the Association of Italian Teachers of the Alexander Technique ( AIITA)
Introductory Seminars on the Alexander Technique – open to everyone.
The Alexander Technique is a practical method for learning to use your body with less effort and greater intelligence. It is neither a form of exercise nor a relaxation technique; rather, it is an education in how you think, sit, walk, move and breathe.
What we will cover in these two sessions:
- Truly understanding what posture is (it is not about forcing yourself to stand up straight).
- Experiencing the fundamental principle: freedom of the head, neck, and back.
- Learning to pause before reacting automatically—the key to breaking free from habits.
Simple exercises -performed while sitting, standing, or walking- that you can immediately apply to your daily life.
Who is this for?
Everyone. No prior experience is necessary. It is beneficial for computer users, musicians, actors, teachers, and athletes, as well as anyone suffering from back pain or stress caused by daily habits.
a few words about the Alexander technique workshop of Antonella Massimo(retreat of 27 – 30 December and 30 December - 2 January)
Introductory Seminars on the Alexander Technique – open to everyone.
The Alexander Technique is a practical method for learning to use your body with less effort and greater intelligence. It is neither a form of exercise nor a relaxation technique; rather, it is an education in how you think, sit, walk, move and breathe.
What we will cover in these two sessions:
- Truly understanding what posture is (it is not about forcing yourself to stand up straight).
- Experiencing the fundamental principle: freedom of the head, neck, and back.
- Learning to pause before reacting automatically—the key to breaking free from habits.
Simple exercises -performed while sitting, standing, or walking- that you can immediately apply to your daily life.
Who is this for?
Everyone. No prior experience is necessary. It is beneficial for computer users, musicians, actors, teachers, and athletes, as well as anyone suffering from back pain or stress caused by daily habits.
Theme of the workshop of Chiara Cortez (2 – 5 January)
“Traces in Space: Composing with Voice, Movement and Presen
Ivan Truol
Actor, dancer, choreographer, and teacher, trained at the Escuela de Teatro de la Universidad de Chile.
He has worked with, among others, Sosta Palmizi, Corte Sconta, Adriana Borriello, Marco Baliani, Gigi Dall’Aglio, and Giorgio Barberio Corsetti in performances performed in Chile, Brazil, Italy, France, Germany, Spain, Belgium, England, the United States, and Canada, and in film in Giuseppe Tornatore's film The Legend of 1900 by 1937.
Founder and co-artistic director since 2010 of the Training and Production Center La Scatola dell'Arte and since 1997 of the Atacama Company, funded by the MIC Ministry of Culture, for which he has created numerous choreographies presented at international festivals in Italy, Brazil, France, Germany, Spain, Portugal, Belgium, and Poland.
He has taught at the DAF Dance Arts Faculty, the IALS, the AIAD Academy Teatro Quirino Vittorio Gassman, the Q Academy Teatro Quirinetta, the Cassiopea Academy in Rome, the Academy of Art in Arezzo, and at the Dance High Schools of Teramo, the I.I.S. F. Filelfo in Tolentino (MC), and the Convitto Nazionale Vittorio Emanuele II in Rome,
as well as at the Instituto de Estudios Secundarios de la University of Chile and the University of Corsica Pasquale Paoli. Since 2022, he has been the artistic director of the District Dance Festival in Rome and, since 2023, of the ATP Atacama Training Program, a higher education project.
In 2024, the National Academy of Dance in Rome, an institution of higher culture,
commissioned him to choreograph "Connections" for the School of Contemporary Dance
- First Three-Year Contemporary Course, presented as part of the
Final Performance "Le Monere: The Kingdom of Transformation" at the Teatro
Grande Accademia Nazionale di Danza.
Winter Jam of Arts 2027
Theme of the workshops of Ivan Truol: “The Practice of Improvisation”
The workshop will focus on improvisation, understood as a process of alchemical integration between movement, feeling, and thought.
We will seek a mental and physical state of availability, openness, and courage, immersing ourselves in the world of the unconscious to perceive states of being that surprise us. It is a work that includes and unites physical and psychic abilities and allows us to produce an artistic image.
