Training for Dancers
David Bloom was born in Heidelberg, Germany, to a family from New York, NY. He has been playing the piano professionally since he was 16 years old, including a brief stint at the bar Marie’s Crisis in New York. He received his dance training mainly at the Academy of Music and Performing Arts in Frankfurt, Germany and also studied with William Forsythe, Kirstie Simson and Benoît Lachambre. He was a member of the dance ensemble at Staatstheater Darmstadt, and has collaborated on projects by Marco Santi, Michaël d’Auzon, Nir de Volff/Total Brutal, Micha Purucker, Ingo Reulecke, Canan Erek, Friederike Plafki, Felix Ruckert & Tino Sehgal. He has taught contemporary dance in a variety of contexts, and is also a graduate of Barbara Carellas’ Urban Tantra Professional Training Program. He has also studied BDSM and Tantra with teachers such as Joseph Kramer, Felix Ruckert, Osada Steve & Midori.Since graduating from the M.A. Choreography at the Inter-University Center for Dance (HZT) Berlin – where he has also been teaching since 2017 – he has been focusing mainly on his own choreographic work, including “Die Heilige und die Hure”, a solo for Felix Ruckert, and “enemy”, an interactive sauna dance piece. He also regularly curated the Berlin play party/choreographic installation “Friends & Lovers”, which inspired a trilogy of short films, that each premiered at the Berlin Porn Film Festival since October 2013. David is a recipient of a 2012 danceWEB Scholarship, and returned to the ImPulsTanz Festival to teach in 2015 and 2016.
PLEASURE – a Contemporary Technique Class. What does it mean to do something with our bodies communally? What can you get from taking a dance class together that you can’t get from any other experience? And what is contemporary dance “technique” in a world where anything goes? For the past couple of years, i’ve been intensely involved with somatic approaches to movement, and this class is an attempt to bring together that self-exploratory and potentially healing process with the more external structure of a contemporary technique class. I believe it is possible to remain aware and embodied even while enacting set exercises and sequences, and that this combination can give the performer a wide variety of options. Dance & choreography can become not just action, but equally non-action: receiving, observing, and listening. Pleasure can become a path to truly embodying given “steps”. The class begins from sensing the body itself somatically, and then brings awareness to the spacetime we are moving through, using a combination of improvisation proposals, technical “exercises”, and set movement sequences. I’m also very interested in the idea of “taking class” itself, what it means to do so and what intentions people bring to the space. We will use the energy of the group present on that particular day, at that particular time, to create a unique experience and a joyful practice. What you practice regularly is always what you become good at, and if you practice the joy of dance, the joy will grow.