תום וקסלר

Tom Weksler – Tom has been practicing Capoeira, Martial Arts and diffrent froms of acrobatic disciplines from a young age. Tom graduated in 2009 from “The Workshop For Dancers and Choreographers in Haifa”. Since 2010 Tom has been dancing with “Inbal Pinto and Avshallom Pollak Dance Company” and in 2014 will be joining a new production of “Rootlessroot” and “Dot504” led by Jozef Fruckek and Linda Kapetnea.

“The right art is purposeless, aimless. The more obstinately you try to learn how to shoot the arrow for the sake of hitting the goal, the less you will succeed in the one and the further the other will recede. What stands in your way is that you have a much too willful will. You think that what you do not do yourself does not happen.”
― Eugen Herrigel

The workshop will consist of 3 parts:

Warm – Up: My concept of Warm up is based on a mover’s need to tune into a clear and subtle quality before his practice and execution. The routine I follow and teach is inspired by concepts of Chaya (Shadow) Yoga and particularly the “Balakarma” series (stepping into strengh). The warm up routine emphasizes the opening of the darkest parts of our bodies – our legs, which are also the most distant from our eyes. Demanding postures alongside gentle flow with circular motions and spiralls will be introduced in order to provide better conciousness in the lower parts. The second principle I attempt to unfold is preparations (or preludes) to low movement while maintaining the gentle functions of the wrists and neck as tools for maintaining blance, sensing the space and organically digest physical information – internal and external.

FloorWork: My technique of floor work serves as a “risk management” mechanism which ultimately leads to freedom in a much larger scale than usually experienced by performers of a single discipline. I introduce dynamics of falling, rolling, collapsing, flipping and melting down in order to reduce and eventually maybe eliminate the type of actions we usually refer to as “failure” in dance, athletics and martial arts.
the practice is composed both of simple, almost “daily” actions alongside “complicated” acrobatic risks without a distinguish between them or judgment of important and unimportant. This approach allows a blend of influences from the Animal Kingdom, Capoeira, Tae Kwon Do, Parkour and Bboying to fall efortlessly into an empty category of functional motions.

Archery: The “Archery” practice is my sincere attempt to create a practice of movement which lies in the space between fight and expression free of gestures.
The practice can be donw tihe 2 movers and up, and involves the development of both circular and sharp reactions which leads to high levels of awareness and a fluent and “tactical” mind. The practice takes the from of diffrent “games” which can wear strict rules and objectives or just a physical play of examining and interacting – a play we are all familliar with but tend to lose during our mature life in modern society.
Upon practicing Archery one can feel either like he or she is involved in a very skillful combat or in a tnago dance full of risks and traps.
Important to note that the name “Archery” ultimately holds nothing behind it as it constantly changes and flows into the shape the practitioners make up according to their needs and passions