TEACHING
I passionately teach dance, movement research, choreography, design, scenic design, and technical theatre. I teach in the university system and I offer independent workshops. Some descriptions are below. 

Movement classes: While exploring the shared paradigm of the human body in motion, I always begin from the underlying premise of individuation. Each person's level of experience, their abilities or disabilities, injuries, and emotional capacities and changing needs will be taken into consideration. I offer opportunities for everyone to work to their desired level of speed and athleticism. 
DRA 43A
Contact Improvisation (remote/zoom)
Dept. of Theatre & Dance
​UC Davis, USA
Introduction to Contact Improvisation. Investigating fundamentals of contact improvisation and personal, creative, philosophical, and socio-cultural foundations and influences of this practice. Feminist teaching approaches, improvisational exploration of solo and partner work. Perception, connection, balance, gravity,  significance touch, contact, communication and 'being in relation'; collective solitude, ambiguous loss (if remote), safety, biomechanics, and authentic expression.  Taught in person and via zoom/remotely. ​
DRA 14
Intro to Cont. Dance
Dept. of Theatre & Dance
​UC Davis, USA
Considering cultural and social factors for choreographing and dancing.  Focus lies on creativity and personal expression.
The course gives much creative freedom and is meant to inspire creative risk-taking and working on something that is meaningful to the individual student, and/or helps deepen their personal and academic research. When taught via zoom, substantial attention is also be given to technology/cameras/zoom and film-making as a voice in the creative process. Exploration of emergence of authentic movement vocabulary and expression through dance. Improvisation and inter-disciplinarity as creative tools. Taught in person and via zoom/remotely. 
DRA 40A 
Intro to Modern Dance     
​UC Davis, USA
In Beginning Modern Dance we will work creatively and collaboratively. We analyse different dance techniques and explore how they differ from one another and what might have been motivational in their creation. We also create a dance piece together. As a daily practice we will move from the origins of anatomical joint function to explore ways of moving that are based on parameters that orbit around the tri-axiality and multi-directionality.  Taught in person and via zoom/remotely. ​
DRA 40B
Intermediate Modern Dance
​UC Davis, USA
Intermediate Modern Dance focuses more specifically on bio-mechanics and movement technique, illuminating definitions of alignment for the purpose of practicing bodily orchestration that facilitate athletic effortlessness and a refined understanding of the body schema. Exams are detail oriented and collaborative. Final project consist of a personalized project that connects class material to other areas of life/practice. Taught in person and via zoom/remotely. 
DES 001
Intro to Design
Teaching Assistant
​Design Department
​UC Davis, USA
Focus lies on ethics and raising awareness for the substantial responsibility and impact that designers have on social, environmental and cultural landscapes and on communities. In this course I am a teaching Assistant for UC Davis Professors James Housefield and Tim McNeill. I am usually teaching three sections of 25 students each, grading, assisting students with assignments and class goals, guiding them through several class projects, final presentations and the making of process books. In-person and remote/zoom.
DRA 180 
Behind the Scenes - Production Lab
​Dept. of Theatre & Dance
​UC Davis, USA
Through my experience as a scenic designer, stage hand, up-rigger, and carpenter I have had the opportunity to guide students through the online, asynchronous course in Theatre Laboratory (Technical Theatre) that was designed by UC Davis professor Maggie Morgan. Props, scene-shop, costume and wig, stage management, assistant Scenic  Designer, Sound tech, wardrobe, etc, Overview and Introduction to Technical Theatre. The course gives students the opportunity to get an introductory glimpse of all things back stage. I guide students through their unique and individual research papers and grade quizzes.
DAN 220
The Body's Intrinsic Intelligence
​Dance Department, Major in Movement Research
Salem College, ​USA
In this class I teach my approach to effortlessness in movement. The class focuses on movement research 'BII – The Body's Intrinsic Intelligence', and was taught for several years at Salem College, NC, Department of  'Dance & Movement Science'. The course is similar to DRA40B and is an advanced course. The course contributed significantly to laying the foundations for the forming of a Major in Movement Research at Salem College. Within my adjunct appointment at Salem College I had other departmental obligations, I incubated and coordinated a movement research festival, a summer program and ongoing community relations through an event and exchange series.
DES 115 
Typography 
Teaching Assistant
​Design Department
​UC Davis, USA
Introduction to typography. Teaching assistant.
DES 175 
Functional Apparel Design
Teaching Assistant
Design Department
​UC Davis, USA
Teaching assistant.
INDEPENDENT COURSES, WORKSHOPS & MORE ABOUT BII - The Body's Intrinsic Intelligence/Dynamic Bodywork
Movement is the essence of life and our bodies are built for it. 'BII – The Body's Intrinsic Intelligence' seeks to investigate and practice a way of moving that is in harmony with the body's natural design and that allows for optimal structural integrity, coordination, and cooperation in complex athletic movement sequences. Through multi directional exercises, improvisations and anatomical theory we refine our understanding of the human body in motion. Because of its motoric potential and central convergence of nervous tissues I often begin by investigating the anatomy and function of the spine. Tensegrity, functional alignment, mindfulness, elasticity, rhythm, and effortlessness are fundamental concepts upon which my teaching rests.

Swimming through Space

​BII: The Body's intrinsic Intelligence
​FOR DANCERS
Our effort goes towards energy conservation, injury prevention, and reducing myo-fascial pain. We address individual dancer concerns in regards to movement challenges on the one hand and tools for improving virtuosity and athleticism on the other.
We observe the interplay of the body’s individual components in detail, while allowing for a democratic approach in learning and body management. Karola will adapt her class to the individual abilities and needs of the participants, but it is common to have a mixed level group. The class begins slowly and culminates in a multi-directional phrase with floorwork, inversions, and jumps that can be executed at a slower or faster pace.
Inner Waves
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​BII: The Body's intrinsic Intelligence
FOR THE AGING BODY
We explore movement principles that help us  in everyday activities as well as in sports or at the workplace. We address participants' specific questions that could range from walking, getting in and out of bed, to exercising properly at the gym. 
Our effort goes towards energy conservation, injury prevention, and reducing myo-fascial pain, to maintain or reinstate mobility, agility, and overall well-being. We observe the interplay of the body’s individual components in detail while allowing for a democratic approach in learning and body management.  Through multi directional exercises, improvisations and anatomical theory we refine our understanding of the human body in motion.  
Karola will adapt her class to the individual abilities and needs of the participants. 
Embrace

BII: The Body's Intrinsic Intelligence
​DANCER SELF CARE
In this 'Dancer Self Care' workshop we take time to look inward. Our focus lies on injury prevention and recovery through understanding joint anatomy/function while allowing ourselves to be at peace with our individual physical reality. 

​Through multi-directional movement sequences, somatic work, improvisations, studying anatomical models, palpation, and discussion, we observe the interplay of the body’s individual components in detail, and refine our listening and response tools. We will adapt the speed and complexity to each participant's needs, offering a gentle, democratic, and (w)holistic approach to body management and teaching. This class is a slow motion class that introduces somatic principles and exercises to the students for the purpose of giving them options to listen to their pain patterns, to current or chronic injuries to learn from them and to help relieve symptoms. ​
THE MAGIC AND SCIENCE OF WALKING

BII: The Body's Intrinsic Intelligence walking basics

​FOR EVERYONE
Walking is the most common of movements we do every day. But is it fun, or do we focus on 'getting from A to B'? Let's explore how to elevate a simple activity to an enriching and creatively fulfilling one. This workshop addresses intellect and spirit at once: while using walking as a tool for mindfulness we analyze human movement, both in theory and practice. We will examine walking mechanics, the gait cycle, and the three dimensional, multi directional interplay of the body's structures. We will look at anatomical models, imagery and explore walking physically. We will be slowing movements down to analyze individual components and the forces acting on our bodies. Through walking we revitalize the spiral movement patterns that are genetically embedded into our structure: A well coordinated walk allows for mobility in all joints, which reinstates the constant ebb and flow of tension and relaxation that helps us maintain a healthy and vivid dexterity into old age. Discovering the beautiful complexity in something so seemingly simple, we can then play with the transition from walking to creative walking and dancing!         

​The first class meets at a movement studio and subsequent classes will meet at interesting outdoor or indoor locations to walk on flat and irregular surfaces. 
          Day one: theory and basic principle exploration
          Day two: grassy surfaces
          Day three: steps and slopes
          Day four: beach
          Day five: concrete surfaces
          Day six: Creative walking and dancing
MOVEMENT FOR ACTORS
At the high school, college and professional level I teach movement for actors.
We explore body language and find intersections of pedestrian actions and dance. We develop this from an inner process that reflects on the character development in acting and plays with finding original movement to express ourselves non-verbally. 
ARTS EDUCATION
I teach grades 7-12. Focus lies on the artistic process, generating authentic movement, performance quality, and analyzing body language.
Contemporary/Post Modern Dance (Also see DRA 40A and DRA 40B)

A BII approach
Class begins with addressing neural conductivity and warming up the musculo skeleptal and fascial web through oscillating motion and gentle all-directional explorations. Receptors in the surface anatomy and in the muscles are stimulated by touch, breath and movement. Fascial adhesions are gently released, focusing on introducing mobility in all joints of the body by moving through moderate range of motion and multi-directional orientation as appropriate to each joint. The dancer gains increased kinetic awareness and speed of reaction. 

The mechanics of entering and leaving the ground, energy efficiency and using the fascial web for propulsion and feedback, the generation, maintenance and transmission of kinetic energy, as well as individuality, performance quality and dancing in tandem with others are some of the key elements I address in any given dance class. 

I use both set exercises as well as improvisation in order to deepen the understanding of movement principles. With proper attention to detail we dissect phrases into their individual components analyzing the demands, challenges and opportunities for efficient and structurally sound use of the body's components, paving the way for athletic and fast work across, as well as in and out of the floor. Tuning our listening and response tools we explore phrases that are organic, spiraling, undulating, multi-directional, and fluid, using inversions and work with a partner. 

The movement language is specific and chronological, fluid and powerful, which is achieved by finding organic ways to generate kinetic energy and maintaining and channeling this energy through the body's natural pathways by maintaining the greatest structural support value in the participating articular structures.
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More info (philosophy) on BII:
As a movement educator I am responsible for my students and the only body they are given in this lifetime. They might expect me to help them pursue professional careers in dance or become dance educators. Whatever their personal goals are, it is my job that I stay abreast of the latest cross-disciplinary developments in the world of performing arts, and to continuously update my knowledge of kinesiology and biomechanics in order to give my students the tools to strengthen and prepare their bodies and minds for one of the hardest, least protected and most competitive artistic professions: Dance. 

I define technical strength as the ability to move intelligently and within the parameters of anatomical and bio-mechanical guidelines, while developing responsiveness to, and understanding of, the demands of various dance styles, individuality and choreographic goals. 

The body is a community: individual components that are intrinsically interwoven work together, delegating muscular effort and shock absorption, propulsion, joint collaboration, and tension balance. Laying a foundation of movement practice that maintains structural integrity at all times, supports injury-free and long lasting careers in dance.Today's dancer needs to exhibit great versatility and adaptability, open-mindedness and creativity in order to work with the increasing numbers of choreographers that blend disciplines and break new ground on international platforms. 

I seek to maintain a positive and life embracing atmosphere at all times as I believe in greater learning success under positive work conditions. I encourage students to ask questions and enter into a constructive dialogue with me about the principles presented in class. I learn from my students and grow with them, constantly developing my classes and adjusting to new situations, artistic needs and scientific findings. 
DYNAMIC BODYWORK

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          CONTEMPORARY PARTNERING 
My partnering classes teach students how to lift and be lifted off the ground. Classes are designed to inspire confidence and trust. The goal is a complete understanding of the physics of dynamic cooperation. Touch, the connection to another human being, teaches us tremendously much about how we move as individuals. Both share the same principles. We look at the importance of timing, breath, musicality, proper alignment, listening to one self and the other for coordinated take off and landing. Everything is done in duet format, starting with the warm-up to across the floor phrases and combinations. We will build our repertoire of lifts from non-physical connections and unison work via simple weight-sharing, to complex and athletic lifts. Students gain inventiveness, originality and spontaneity with a sophisticated and intelligent approach to lifting that practices technical strength and anatomical understanding. This class includes some improvisational and creative exercises as well as the learning of repertoire. We address the psychology of touch. This class is not gender specific, everybody will be the 'lifter' and the 'lifted', as long as the weight/strength ratio is appropriate for each individual. 
      SCENE DESIGN
Scene Design classes focus on play analysis, building of models to scale, and setting each scene of the play within the model. Photos are taken to illustrate scene changes and lighting looks.

Scene Design is another voice in a play/piece, an important and powerful tool. The scene sets the environment that the actors/dancers live in, it is a work of art, a metaphor, a translation, a visual and haptic expression of the play's soul. The set is not an illustration, but a psychological rendering of a state of mind.

Beginning with play analysis, we move to drafting ideas and building models to scale. Lighting and costumes are part of this process. We spend a lot of time discussing the purpose and impact of each element, whether it is redundant, necessary or foreign, etc to the idea of the play, and to the particular staging of a play; so for one play we can have many interpretations and many set designs.

        FOLK AND CIRCLE DANCES  
This folk dance inspired class focuses on the community aspect of dance, on rhythmicality and musicality, on the intrinsic undulations of the spine. Dances incorporate simple to fast footwork and the teaching is founded on the bio-mechanic principles of walking. 

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          CHOREOGRAPHY and INTERDISCIPLINARY CREATIVE WORK 
Dance is an influential tool as it represents a channel to our innermost needs and desires. I am a detail-oriented, investigative and philosophical teacher/choreographer, basing my classes on a search for uncovering layers of the subconscious to be assembled into works that satisfy the complexity of our human experience. Intellect and instinct are at work in equal measure, and an ongoing exchange between creativity and analysis takes place in a supportive and honest group or partner setting.  
We will pursue the creation of works from a starting point of authenticity. We direct our focus onto the channeling of  visceral and kinetic voices that trace the changeable electricity of thought and sensation that underlies human interaction and interpersonal relationships. We study body language and interpretation skills. We develop thinking methods for the aspiring choreographer to find a direct connection to his or her inner motivation and to channel fragmented  ideas into a coherent form that is understood by the audience on multiple levels. We analyze and apply a number of choreographic tools, such as theme and variation, improvisation, sub texting, script/character analysis, story-boarding and many others to support each participants unique needs.. 


More about Choreography, a bit of philosophy,...
Developing a new work is a process of love that is endlessly rewarding to me. I am enchanted by visceral and fierce kinetic expressions, by spaces that offer transformation, and by materials that resonate within the characters and the story. I love for the space/set design to leave room for the players, so that intricately interwoven relationships and strong personalities can develop and merge with the environment, the lighting, the sound and the costumes to something intimately connected and meaningful. As dancers/choreographers we have an impact on our society and I emphasize the importance that our work bears, not only on individual and private lives, but on our society. Dance is an influential tool as it facilitates a platform for intelligent, emotional and critical exchange and learning, as well as the development of complex social networks. I am a detail-oriented, investigative and philosophical director, basing my work on a search for uncovering layers of the subconscious. Intellect and instinct are at work in equal measure, an ongoing exchange between creativity and analysis. Exploring the precipices of human emotion, I am drawn to friction, confrontation and vulnerability. I do not fear beauty. I avoid illustration. I crave a deep look into the soul of a work and I need absolute honesty within each work. With that, art can change our hearts.

I am interested in visceral and kinetic voices that trace the changeable electricity of thought and sensation that underlies human interaction and interpersonal relationships. My work is athletic and detail oriented and so are my classes. I teach choreography as a complex arrangement of options which are identified as located somewhere in between the visual arrangement of energetic lines created by bodies in space and the underlying motivations/expression, hence: the psychology of movement. We study body language and interpretation skills. My emphasis lies on the exploration of honest, real expression and interaction. 
View:
(video) BII at Salem master Class 'Introductory Series', short excerpt, 2015
(video) BII at Salem master Class 'Introductory Series', trailer, 2015
(video)      'BII - The Body's Intrinsic Intelligence' class, 2014
(video) Karola talk, some theory at beginning of BII class
(video) coming soon, master class at Salem College, BII intoruction class