Carolien Dokter

Carolien Dokter

Carolien Dokter (NL, 1957)has been trained as a dancer and studied for a year studied mime in Paris. At the present she is a dance teacher and coach at the HKU and active as photographer. She has a passion for physical theatre that ignore borders and she initiated in the past a variety of collaborations and cross disciplinary projects (Stelling (1993), dance miovie Meissie Meissie (2002, with ao. Kees Hin) and Dustbin Blues (2014, with componist Wouter van Bemmel).) How music affected the perception of the image is a constant subject in her practice.


Caroline competed at the Holland Festival with the productions Sequel Converter (1981) and Vertigo (1985). With Dubbelspoor she was in 1988 in New York on the Pepsico Festival. In addition, she directed music theatre/dance performances (A touch of Weil, 1998, Pension Dolores, 2003 and the passion of Anna, 2009).


Carolien is one of the Initiators of the Sharing Practice. She works together with Anouk Saleming



Anouk Saleming

Anouk Salemingis a writer and teacher at the HKU. She writes plays for De Gasten and dance theatre Aya. In 2005 she received for her youth theatre pieces the Charlotte Köhler Stipend and she won in 2012 the international youth theatre price with Runnin'Blue. A number of plays are pissued at the Theatre book publishing house. Apart from plays, Anouk also writes prose and



Sharing Practice

Dansmakers Amsterdam initiates a new Open Practice. The weekly sessions are led by contemporary choreographers, performers and other professionals. Join the sessions and get to know new thinking and movement idioms of Amsterdam based dance professionals. Open to both practitioners and those who would like to lead the sessions.




Da sein ist Mit sein: going away searching, looking at something to arise on what is already in motion



The key in the sessions led by Caroline Dokter & Anouk Saleming will be about what it means to be really physically responsive. We question the direct connection between movement and the physical information previously stored in our body. Along similar lines, we examine the thought about our associative Visual ability.

During the warm-up, we draw in particular the attention to sound and breathing. Then all the internal and external senses are explored and put on sharp. On the basis of short assignments, we examine what is there, when form is made subordinate to movement. In other words: how physically responsive you really are. Fixed meanings are released, new admitted. We look at the mutual influence of movement on language & sound and at the influence of the spectator.

(still from Meissie Meissie)

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