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Optional Payment Systems
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Posted by: administrator - 12-16-2018, 07:41 AM - Forum: ASIRN HUBS, VENUES and PROJECTS - No Replies

Theater Agenda Brockmanngasse 89


  1. Fokus on 9 areas on foot while walking situation
  2. Try to locate the 9 areas while sitting and touching them with own hands or give the areas a soft massage
  3. Try to walk on 9 areas while focusing as well on weight distribution and side bend and other facilities of safe and economic walking:

Phase 1: swinging the leg from the pelvis and putting heel on the flour (looking for the ideal distance of one leg to the other)

Phase 2: bringing pelvis more and more to the future supported leg, while focusing on area 2 (mid of the outside leg) and area 3 (outsided foot -ball), while side bend to the more and more full leg; first lumbar area, than torso, then cerebral spine area, we are in a bi – lateral situation at that moment,

Phase 3: while sending the weight also on to the toes (from small to big) and bringing all the weight on to the leg, there will be a slight turning in developing with the leg behind, successively there will be a contra laterality with arm and leg…

Phase 4: swing the other leg


  1. one is walking, the other is accompanying with touching hands on different parts of body (those areas who are mainly looking upside)


  1. going through the different phases of C-star with undulation way of laboratory situation…which kind of undulation (horizontal, vertical, sagital) is in different kind of situations or phases possible and easy…

  1. sleeping scarab: small undulations around the horizontal axis (imagine every vertebra spiralling around the horizontal), being careful for the location of the spine (lumbar curve, torasic and cerebral area are connected), outside muscels of the under arm are connected with the flour
  2. lying Indian: before coming there we start to undulate through the sagital axis and slightly compensate with the head to the other side while bringing the pelvis towards the flour, right upper arm under the right rips
  3. the c in the star: swinging the leg and head in undulation way, like leg forward, head backward (again through the horizontal axis) while bringing the upper bag towards the flour and relaxing to the back open up to the star
  4. the star:  Arms are in “heart – connection” undulate through the spine from side to side, spiral through the sagital axis from vertebra to vertebra while bringing ri. ear towards ri. knee and le. ear towards le. knee
  5. coming again to the c in the star at the other side, swinging arms and head in opposite way and bringing leg to the
  6. sleeping scarab phase I being careful of the compensate movement of the head before swinging leg (side bend)

  1. everybody  is experimenting on the different phases with more care and time !

variation: hands on  while moving in pairs- one is rolling, the other is accompanying

  1. everybody tries to do c-star in a more fluent way but still with care and focus on the different phases

variation: hands on while moving in pairs – one is rolling, the other is accompanying

some sequence combining walking, side bend situations and c-star,

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  Optional Payment Systems
Posted by: administrator - 12-16-2018, 06:57 AM - Forum: PAYMENT OPTIONS - No Replies

ASIRN - VIEWER-ONLY 10 € (euros) per year
ASIRN - PARTICIPANT 24 € (euros) per year

Name - Frey Faust
IBAN - DE65664700240080877400
Address - Berlin/Germany

Frey Faust
Möckern Str. 79, Berlin
10965 Germany







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  how do u stop oversensitized muscles from taking over?
Posted by: Camelia - 12-14-2018, 01:17 AM - Forum: Comments - Questions - Requests - Replies (3)

very small technical question - if one muscle has developed a lot of trigger points say the upper trapezes and you want to stimulate a bit and get the lower trapezes to start doing a bit more of the work in attaching the blades together how might you deal with this situation if you observe that the upper trapezes kicks in and just gets the job done and the movement never reaches the lower trapezes. (let's say I am talking about an exercise where I am pulling on slings that are above me to get them down.  I want the lower trapezes to work more so that the shoulder blade is not so much in an oblique position as it rounds the shoulders in walking. This is a specific example but I am interested in general - how do you work with oversensitized muscles that kick in and that just gets some other muscles progressively weaker. Even if I try to activate them the slightest move makes the more habitual muscle kick in. Any hints grateful.

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  Poznan, Poland - FEB 15 AS Intensive w/Frey Faust
Posted by: administrator - 12-13-2018, 09:26 PM - Forum: AXIS SYLLABUS EVENTS - No Replies

[/url][Image: 47578001_2290394944324867_24770879766900...e=5C9B1503]

Axis Syllabus Intensive with Frey Faust

    3 Dates · Feb 15, 2019 - Feb 17, 2019
  • FEB15
    Fri10:00 AM
  • FEB15
    Fri3:00 PM
  • FEB16
    Sat 9:30 AM

    AWF Poznań - Akademia Wychowania Fizycznego im. E. Piaseckiego w Poznaniuul. Królowej Jadwigi 27/39, 61-871 Poznan, Poland

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  Frey Faust and Axis Syllabus in BARCELONA 19
Posted by: Candela.r - 12-13-2018, 12:36 PM - Forum: AXIS SYLLABUS EVENTS - No Replies


Frey Faust teaches - The Axis Syllabus

Triangulation, natural genius

Nature's habit of using triangulated collagen fibers as the foundational building block for molecular construction is reflected in the macro-structures of the human body as well. Everywhere we look we see asymmetrical, torsional triangles, and the movements our joints and ligaments suggest are extensions of the paradigm. This observation provides the strongest argument for poly-axial motion as the basic diet for the training and preparation of anyone who plans to move.

In this session, I will point out this geometrical phenomenon in some anatomical structures using images as my reference, and lead you in some direct applications of the observations for moving, whether in improvised, partnered or choreographed solo dancing.


10 to 13 Hs


10 to 13 and 15 to 18 Hs


10,30 to 13,30 Hs


FULL WS (Early birth till 7th of January) 100€

FULL WS (After 7th of January) 120€

EACH WS separately (3 Hours) 30€

In the "Centre Cívic Barceloneta"

Carrer de la Conreria 1, 08003, Barcelona Spain.

Contact and inscriptions


+34 688 918501

Ask for ACCOMMODATION in case you need it. There might be the chance we could help you to find it.

Translation is gonna be provided in Spanish during the WSs



Frey Faust enseña - El Axis Syllabus

Triangulación, genialidad de la Naturaleza

Los hábitos de la naturaleza de usar fibras de colageno trianguladas como bloques fundamentales para la construcción molecular está reflejado en macro-estructuras del cuerpo humano también. A donde miremos veremos asimetría y triángulos torsionados, y así también el movimiento que nuestras articulaciones y ligamentos sugieren son extensiones de este mismo paradigma. Esta observación provee del argumento más fuerte para movimientos poli-axiales como dieta básica de nuestro entrenamiento y preparación de cualquiera que se disponga a moverse.
En esta sesión, voy a exponer este fenómeno geométrico en algunas estructuras anatómicas usando imágenes como referencia, y así guiarte en aplicaciones directas de las observaciones dentro del movimiento, ya sea improvisando, haciendo trabajos en parejas o coreografiando un baile solos.

De 10 a 13 Hs

De 10 a 13 y de 15 a 18 Hs

De 10,30 a 13,30 Hs

WS COMPLETO (Pago e inscriponción antes del 7 de Enero) 100€
WS COMPLETO (Después del 7 de Enero) 120€

CADA WS por separado (de 3 Horas) 30€

En el "Centre Cívic Barceloneta"
Carrer de la Conreria 1, 08003, Barcelona Spain.

Contacto e inscripciones

+34 688 918501

Preguntar por ACOMODACIÓN en caso de necesitarlo. Quizás podemos ayudarte a encontrar algo.

El Taller será traducido al Español simultáneamente.


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Posted by: administrator - 12-04-2018, 08:08 PM - Forum: ASIRN HUBS, VENUES and PROJECTS - No Replies


[Image: 43083191_10216468391209990_5981807970562...e=5C69DBB9]
SAT, DEC 15 - DEC 16
Indagando sotto le forme_Axis Syllabus Intensive
Come for a beautiful work in Turin ..scrivetemi! Barbara Calì

[Image: 45017792_2353621901318969_71845775270320...e=5CA4A4E6]
THU, MAR 7, 2019 - MAR 10, 2019
Resources I make / workshop
LuzzatiLab · Genova, Italy
Roberta Messa

Sara Parisi
Danza in Torretta
Claudia D’Occhio - Roberta Messa - Sara Parisi
QUANDO: da ottobre a giugno ogni martedì dalle 20.00 alle 21.30
DOVE: salita San Gerolamo Inferiore 8 - 16124 Genova
INFO e ISCRIZIONI: 347 7637913 (sms o whatsapp)

[Image: 43746083_10217130688798494_4337769299394...e=5CA27BC3]

Filippo Serra
Ho tradotto in italiano il bellissimo articolo di Lalu Simcik sulle "Ondulazione della colonna vertebrale"
nei commenti il link dove potete trovare la versione originale e la traduzione in Italiano.
Condividete per favore e se volete approfondire il lavoro non esitate a commentare o scrivermi in privato

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  Kate Foley - dancer, choreographer, teacher
Posted by: administrator - 12-02-2018, 10:06 PM - Forum: PERSONALS - No Replies

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[Image: Perform_mainpage_10.jpg][Image: Perform_mainpage_10.jpg][Image: Perform_mainpage_10.jpg][Image: Perform_mainpage_10.jpg][Image: Bar_pictures_home.jpg]

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Photo Effect of IT Band Release surgery... getting the biceps femoris back "online"
Posted by: kathleenrea - 11-30-2018, 09:27 PM - Forum: Comments - Questions - Requests - No Replies

In 2002 I had double knee surgery (yes both knees on the same day). They did an IT Band Release along with a general clean up of cartilage on both knees. Six months after I had surgery, IT Band Release Surgery was discontinued at the sports medicine clinic I went to. It was discontinued because it was deemed to be ineffective and even detrimental. I was a ballet dancer with chronically sore knees and with no understanding of anatomy. When the DR told me this was my best option for my knees I signed up not knowing that the surgery was controversial.

Here is an article about ITB Release Surgery
The main complaint with the surgery is that surgical lengthening the IT Band causes an imbalance in the knee in which there is more pressure on the medial (inside) meniscus and ligaments.

Some 16 years later I am unraveling the mystery of how my body works and I am contemplating the effects of this surgery.

Any pain I do get in my knees currently is on the medial side. The picture I attached to this post, that is from the above article, gives a clear visual as to how this might play out.

I have to say that in general since starting training in the Axis Syllabus, the pain in my knees has gone down by about 80 to 90%. This has been a life changer for me and revitalized my dancing and teaching practice and enabled me to chase my kids!  Figuring out the pain that still lingers in my knees is a project in aging well and in managing my knees in a dance career.… It is not a crisis.

So in unraveling the mystery…. My hamstring seems to have an imbalance in which semitendinosus, semimembranosus fire super strong and quick and my biceps femoris is extremely weak. This is unusual for an ex-ballerina as the level of turnout involved in ballet usually creates a muscle imbalance in the other direction with biceps femoris taking on a bigger workload.

My osteopath thinks that the trauma to the lateral side of my leg caused by the IT Band Release surgery caused the biceps femoris to go “offline.” By "offline" I refer to a challenge in getting it to fire when it is supposed to (i.e for example on heel strike in walking) and a general state of weakness in the muscle. The physiotherapy approach post surgery focused on parallel alignment of the legs and feet in all physio-exercises, walking and stair climbing. This, my osteopath, feels lacked the uses of external rotation (turn-out) that would have helped my biceps femoris come back "online".

The good news is I can see if strengthening my biceps femoris and getting it back “online” might shift pressure off the medial side of my knees.

Any comments, advice or shared experiences are much appreciated.

Attached Files Thumbnail(s)
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  Francesca Pedulla - AS Teacher, Dance Artist, Independent Curator
Posted by: administrator - 11-30-2018, 06:27 PM - Forum: PERSONALS - No Replies

[Image: image.jpg]

Francesca Pedullà

Fascinated by human relationships and curious about successful, unsuccessful and unfinished dialogues, she makes the body the subject and the object of my inquiry. Based in Berlin, but always in movement, she choreographes, performs and teaches throughout Europe, Israel, the USA, Canada, Brazil and Benin.

She is the artistic director of TRACES, study program for dancers based in Ouidah – Benin and co-curator of the European Nomadic College and the Sensing In Festival in Berlin.


For me, the complex and sensitive architecture of the body moving in relationship with space, time and other bodies, represents an archive of information to draw from for social and political investigation.
My latest artistic  and pedagogic work considers the body as an access gate to an archive of ancient and new memories that are written into the body's process of inventing itself. I attempt to hold a space where the body is provided with the time it needs to solve or resolve challenges and to reveal the intrinsic, poetic logic of its internal and external environment.

[Image: image.jpg]

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  Kathleen Rea - Dancer, Choreographer, Teacher
Posted by: administrator - 11-30-2018, 06:02 PM - Forum: PERSONALS - No Replies

[Image: K and M laugh.jpg]


Kathleen Rea 
Kathleen danced with Canada's Ballet Jorgen, National Ballet of Canada & Tiroler Landestheater (Austria). Kathleen is a certified instructor of the Melt Method (Hand and Feet) and teaches Contact Dance Improvisation at George Brown Dance.

She has choreographed over 40 dance works and been nominated for five DORA awards. Her film Lapinthrope, co-produced with Alec Kinnear won Gold Award at the Festival Der Nationen (Austria). Kathleen is also a recipient of a K. M. Hunter Choreographic Award.
Kathleen is a published author (“The Healing Dance”, Charles C. Thomas). She has a Master’s in Expressive Arts Therapy. In January 2015 Kathleen became a candidate teacher of the Axis Syllabus. Recently Kathleen graduated as a Brian Advancement Coach (Pyramid of Potential Method). She is the director of REAson d’etre dance productions who produces both the Wednesday Dance Jam and the Contact Dance International Film Festival.

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