This New Year, we invite you to Iceland for a journey through movement, connection and exploration. From December 27 to January 1, we will gather at Samskara Retreat Centre to practice, research and share through Contact Improvisation and Contemporary Dance, combining daily intensives, improvisation, jams, live music, conversations and moments of celebration.
Beyond the studio, the Icelandic winter becomes part of the experience — its darkness, cold, geothermal warmth, water, vast landscapes and volcanic history offering another source of inspiration and inquiry. There will be time to rest, share meals, connect, explore, enjoy the hot pot and simply experience the place. We come together not only to dance, but to discover what can emerge when our bodies, our relationships and our movement meet a new territory.
NEW YEAR’S INTERNATIONAL DANCE FESTIVAL — ICELAND
Contact Improvisation • Contemporary Dance • Research • Sharing • Nature
Iceland | December 27 – January 1
OVERVIEW
- Dates: December 27 2026 – January 1 2027
- Location: SAMSKARA, ICELAND (1 HOUR FROM REYKJAVIK)
- Teachers: Maya Schwartz, Pep Nebot, xxxxxxx.
- Format: Intensive, Classes, Jams, Ball, Talks / (Performance).
- Content: Contact Improvisation • Contemporary Dance • Research • Sharing • Nature.
Come and welcome the New Year through movement, dance, connection and creative exploration — surrounded by the extraordinary landscapes of Iceland.
This is a festival for people who are curious about movement and interested in learning, researching and sharing through Contact Improvisation and Contemporary Dance. For several days, we will create a space where technique, artistic research, physical awareness, improvisation, dialogues and community can meet.
But the festival is not only about what happens inside the studio.
We will be immersed in the Icelandic countryside, in a landscape shaped by volcanic and geothermal forces, surrounded by darkness, water, open space and the possibility of witnessing the Northern Lights. We want to allow this extraordinary environment to become part of the experience — an inspirational source for movement, creativity, presence and connection with ourselves, with each other and with the natural world.
Alongside the dance practice, there will be time to rest, enjoy nature, share meals, connect with others, soak in the hot pot, explore the surroundings and simply be.
The festival takes place at Samskara Retreat Centre in Laugarás, offering an intimate environment where dance, nature and the particular energy of Iceland can become part of the same experience.
Physical & Environmental Practice
At this festival, we approach Contact Improvisation and Contemporary Dance as a physical and an exploratory practice — a way of listening through the body, relating to others, and discovering what movement can become in the present moment.
But this time, the practice does not happen in a neutral place.
We are coming to Iceland in the middle of winter, to a landscape shaped by volcanic and geothermal forces, darkness, cold, wind, water, vast spaces and changing light. The environment becomes another element in our research — something we can sense, respond to and be affected by.
How does a place affect our dance?
What happens to our movement when we encounter cold, darkness, warmth, wind, uneven ground, open space or the silence of the landscape? How does geothermal heat change our relationship with the body? How does the scale of the landscape affect our perception, our attention, our sense of distance and connection?
And perhaps, beyond asking how the environment affects us, we can ask:
What does it mean to be affected?
Throughout the festival, we will leave space for these questions to emerge through practice, improvisation, conversation and direct experience. Sometimes the research may happen in the studio; sometimes outside, in the landscape, in the water, in the darkness, or simply through noticing what is happening inside us.
The aim is not to find answers, but to become more available to what the place is offering.
Find more about this questions at the end of this webpage.
Spaces for Dialogue & Sharing
The festival is also a space for meeting, sharing and reflecting together.
Alongside classes, workshops and jams, we want to create moments where experiences can be exchanged openly — about dance, Contact Improvisation, artistic research, embodiment, nature, relationship and whatever questions emerge during our time together.
We believe that learning does not only happen through teaching. It happens through dancing with others, watching, listening, asking questions, sharing experiences, resting, walking, eating together and being part of a temporary community.
In this sense, the festival is not only a programme of activities, but a space for collective exploration.
Learning • Research • Sharing
We come together to practice, to question, to discover — and to see what becomes possible when our dance meets a new territory.
Join us for this journey between earth and air, grounding and flight, body and idea.
01. THE PROGRAM
< from environment to movement >
Program Highlights
01 / DAILY PRACTICE
Daily Contact Improvisation and contemporary dance intensives, laboratories and research sessions — with time to develop both physical skills and personal movement research.
02 / JAMS & IMPROVISATION
Regular Contact Improvisation jams, including sessions with live music, creating space to integrate, explore and share through movement.
03 / RESEARCH & SHARING
Open spaces for reflection, conversation and exchange around dance, embodiment, improvisation and our relationship with others and the environment.
04 / NATURE & COMMUNITY
Shared meals, informal gatherings and time to connect — with each other and with the Icelandic landscape. Between practices, there will be space to rest, explore, experience the geothermal waters, go outside, or simply be present in the winter environment.
05 / NEW YEAR TOGETHER
A special moment to pause, reflect and welcome the New Year through movement, connection, celebration and shared experience.
The festival begins with an opening gathering on December 27 and continues with a combination of morning intensives, evening intensives, Contact Improvisation jams, free time and shared meals.
The rhythm is intentionally spacious.
There will be time for concentrated work as well as time to rest, integrate and enjoy Iceland.
The programme may be adjusted slightly according to the needs of the group and the possibilities offered by the place.
02. FESTIVAL PHILOSOPHY
Learning • Research • Sharing • Connecting
At the heart of the festival is the desire to learn, investigate and share.
We see Contact Improvisation and Contemporary Dance not only as techniques, but as practices through which we can explore perception, physicality, creativity, relationship and presence.
The programme is designed to offer space for both structured learning and open research. Morning and evening intensives will provide tools, practices and questions to work with, while Contact Improvisation jams will allow participants to integrate, transform and explore what they have discovered through their own movement.
Our approach is open and curious. We are interested in the meeting point between technique and improvisation, between individual research and collective experience, between knowing and not knowing.
We want to cultivate an environment where participants can develop their physical and artistic practice while remaining attentive to what is happening in the present moment.
The festival is open to people with different levels of experience. The intention is not to create a single way of dancing, but to offer tools, questions and situations in which each participant can deepen their own practice.
There is no need to arrive with a particular style or level of expertise. Come with curiosity.
The place as part of the practice
There is another dimension that we consider essential to this festival: where we are.
Iceland is a land in which geological forces are unusually visible. Fire, ice, water and geothermal heat coexist in a constantly changing landscape. The area around Laugarás itself is shaped by geothermal activity, with hot water emerging from beneath the ground and sustaining the greenhouses and farms of the region.
We would like to approach this not simply as something beautiful to look at, but as an invitation to sense, perceive and be inspired by our surroundings.
How does the body respond when it is surrounded by vast open landscapes?
What happens to our attention when there is less noise and less distraction?
Can the darkness of an Icelandic winter night invite another quality of listening?
Can the warmth of geothermal water remind us of the relationship between the body and the earth?
Can the changing landscape become an inspiration for movement, composition and imagination?
These are not questions that need to be answered intellectually. They can simply become part of the experience.
And perhaps, on a clear night, the sky itself will offer another kind of dance.
The Northern Lights are naturally occurring and cannot be guaranteed, but December is well within Iceland's aurora season, when long, dark nights create opportunities to see them if the skies and solar conditions cooperate.
We want to leave space for these moments — for the unexpected, the elemental and the magical.
To dance is also to become more available to what is around us.
03. THE TEAM
Marcela Rozanska
Marcela Rozanska is an amateur dancer focused on Contemporary practices and co-organizer and facilitator of the festival, sharing with Pep a deep passion for dance, beauty and art.
Her relationship with Iceland brings another important dimension to the festival. Being connected to the country and its landscape, Marcela contributes to creating an experience that is not simply a dance event transported to Iceland, but a gathering that is rooted in the particular character of the place.
Her role in the festival is also about creating the conditions for a meaningful experience beyond the dance studio: bringing people together, taking care of the atmosphere of the gathering and contributing to a space where artistic practice, human connection, nature and enjoyment can coexist.
Together, Pep and Marcela want to create a festival that feels less like a conventional dance course and more like a shared temporary community dedicated to movement, discovery, connection and celebration.
A place where we can learn from each other, be inspired by our surroundings and enter the New Year with a renewed sense of presence.
Pep Nebot
Co-organizer of the festival, Pep Nebot is a dancer, teacher, choreographer and producer based in Barcelona. His dance journey began with Contact Improvisation, which has remained a central foundation of his artistic and teaching practice. His movement research brings together Contact Improvisation, contemporary dance, floorwork and acrobatics and Butoh.
For many years Pep has been teaching Contact Improvisation through classes, workshops and intensives, and organising dance intensives, festivals and jams, and is co-founder of the Contact Improvisation International Festival EN PROVENCE in France (16 editions). Performed in 2025 with the piece "How to make a dance piece".
Pep approaches dance as a practice of physical research, curiosity and presence. His teaching explores truly falling, gravity, momentum, weight sharing, silence and physical listening, inviting dancers to challenge their limits with awareness and safety. He is interested in the space between technique and creativity, action and observation, grounding and flying — encouraging dancers to become surprised by what emerges rather than always knowing what will happen next.
Before dedicating himself to dance, Pep worked as a lawyer, consultant and entrepreneur and practiced rock climbing and bouldering for around twenty years. These experiences continue to inform his relationship with physicality, risk, exploration and movement. Finding your own curiosity is the key.
More about Pep: www.pepnebot.com
Maya Schwartz
Maya Schwartz is a dancer, choreographer and teacher of Release Technique, Contact Improvisation and Yoga. She is also a certified Ilan Lev Method therapist and co-founder, with Asaf Bacharach, of Larretude, a horizontal study group for dance improvisation. Her artistic practice includes performance, choreography and movement research, with a strong interest in improvisation, presence and the relationship between the body and its environment. She is also the creator of Deep Into You, an ongoing series of retreats combining art, movement and nature.
Her choreographic work explores themes such as presence, impermanence, identity, gravity, resistance and the relationship between inner experience and the outside world. Her work includes both solo and collaborative projects, as well as dance films and site-responsive research.
For the Iceland festival, Maya brings a perspective that connects movement research, improvisation, embodiment and artistic creation, contributing to the festival's broader exploration of how we inhabit our bodies, relate to others and respond to the world around us.
More about Maya: https://www.mayartz.com/
Pola, our COOK
Pola will be taking care of the food throughout the festival, preparing delicious and nourishing vegetarian meals for the group.
More information about Pola and her culinary approach will be announced soon.
MUSICIANS
To be announced soon
Live music and sound will be part of the festival atmosphere and the Contact Improvisation jams.
More information about the musicians will be announced soon.
04. THE WORKSHOPS
MAYA SCHWARTZ — LONG DANCE INTENSIVE
12 hours • 4 sessions • 4 approaches to movement
Across four three-hour sessions, Maya Schwartz will lead a long-form dance intensive moving between different approaches to contemporary dance and improvisation. The sessions will explore how we respond when the expected path disappears: how we fall, redirect, adapt, make decisions, listen to the body and find unexpected solutions.
Rather than working towards a fixed movement vocabulary, the intensive invites participants to practice attention, responsiveness and curiosity. We will work through solo movement, Contact Improvisation, floorwork, duets, trios and group awareness, exploring the relationship between instinct and choice, technique and spontaneity, control and surrender. Each session will offer a different entry point into the practice while contributing to a larger research into how we move, perceive and respond.
SESSION 01 — CONTACT IMPROVISATION
Weight • Instinct • Response
We begin through Contact Improvisation, exploring our ability to respond and make decisions within a constantly changing dance. Working with weight, momentum and physical connection, we will observe our instincts and stretch the quickness of our responses.
Through duets, trios and group awareness, we will practice letting go of expectations about what a dance should be and develop trust in what is actually happening.
SESSION 02 — SOLO CONTEMPORARY & FLOORWORK
Falling • Ground • Momentum
Starting close to the floor, we will explore falling, landing, redirecting momentum and continuing to move through interruptions.
What happens when the expected path disappears? Instead of freezing, withdrawing or assuming that something has gone wrong, we will practice finding another possibility. The floor becomes a constant partner, offering support and information as we explore the intelligence of falling and the body's ability to regenerate movement.
SESSION 03 — PERFORMATIVE PRACTICE
Presence • Observation • Decision
The research moves towards performance: how do we remain present when we are being seen? How does observation change our movement? How can we make choices without losing spontaneity?
We will explore the relationship between performing and observing, working with attention, space, images and physical presence. The aim is not to create predetermined material, but to develop the ability to stay available, make decisions and allow unexpected things to become part of the dance.
SESSION 04 — INTEGRATION & COLLECTIVE RESEARCH
Connection • Composition • Unbelievable Solutions
The final session brings together elements from the previous practices through solo, duet and group work. We will explore how individual choices affect the larger dance and how awareness of others can expand our own possibilities.
We will continue to question expectations and look for “unbelievable solutions” — responses that may not have been planned, but become possible when we trust our bodies, our instincts and the information available in the moment.
Across the four sessions, we will practice falling without abandoning possibility, responding without rushing to decide, and allowing movement to surprise us.
PEP NEBOT 2 CLASSES - LOSING CONTROL
What happens when we stop trying to control every movement? What becomes possible when we consciously allow ourselves to fall, fly, listen, and respond instead of anticipating and directing?
This workshop explores the art of losing control consciously—not as recklessness, but as a practice of trust, awareness, and presence. Through the principles of Contact Improvisation, we will investigate how giving genuine weight, receiving another body with sensitivity, and allowing momentum to guide us can awaken our natural reflexes and expand our movement possibilities.
Rather than relying on habitual patterns or constant mental planning, we will cultivate the ability to not do: to empty the mind, soften unnecessary effort, and let movement emerge from listening. In this state, the body's intelligence comes forward, allowing spontaneous decisions to arise with clarity and precision.
Fear often appears where control begins to dissolve. Together, we will approach this edge with curiosity, gradually transforming the fear of falling, being supported, or becoming unpredictable into confidence, adaptability, and even pleasure. Flying, falling, rolling, and sharing weight become opportunities to experience freedom—not through the absence of awareness, but through a deeper form of it.
Throughout the workshop, safety is the foundation. We will develop clear physical principles for supporting one another, managing weight responsibly, protecting ourselves and our partners, and recognizing our own limits. Conscious risk-taking is only possible when built upon attentive listening, mutual care, and respect.
This workshop is an invitation to discover that losing control is not the opposite of awareness. It is a refined practice of surrendering unnecessary control so that responsiveness, trust, creativity, and joy can emerge.
05. THE VENUE — SAMSKARA, ICELAND
The festival will take place at Samskara Retreat Centre, in the small village of Laugarás in southern Iceland, approximately one hour and twenty minutes from Reykjavík by car.
Samskara is situated in an area known for its geothermal activity. The village of Laugarás developed around a geothermal hot spring area whose abundant hot water is used by the many vegetable farms and greenhouses in the region. Samskara itself grew from an old vegetable farm into a place dedicated to healing, self-reflection, discovery and creativity.
For us, this makes Samskara much more than a practical location for a dance festival.
The place is part of the festival.
The main practice space is a beautiful old greenhouse, creating an unusual and intimate environment for dance and movement. The changing Icelandic light and the surrounding landscape become part of the atmosphere in which we practise, research and create.
The centre also offers cosy communal spaces where we can eat, talk, rest and spend time together outside the workshops.
And then there is the water.
Warmth, water and the Icelandic night
Samskara has its own hot pot, offering a wonderful place to relax after dancing, meet other participants and let the body recover.
Nearby, there is also a river with warm geothermal spots where, depending on conditions and with appropriate care, we can experience the particular pleasure of bathing outdoors in the Icelandic landscape.
Imagine finishing a day of dancing, stepping outside into the cold Icelandic night and entering warm water.
Perhaps the sky is clear.
Perhaps the stars are visible.
And perhaps, if nature decides to offer us the gift, the Northern Lights appear above us.
These moments are not something we can programme or guarantee. They are part of the openness of the experience.
A landscape to experience
Outside the scheduled activities, participants will have time to slow down and experience the surroundings: walk, explore the Icelandic countryside, enjoy the geothermal landscape, rest, read, talk, soak in the hot pot or simply look out at the extraordinary scenery.
We want to encourage participants to experience Iceland not only as visitors, but through their bodies and senses.
To feel the temperature.
To listen to the wind.
To notice the changing light.
To walk through the landscape.
To feel the contrast between cold air and geothermal warmth.
To look at the sky.
To become aware of the ground beneath the feet.
Perhaps these experiences will influence the way we dance.
Perhaps they will influence what we create.
Perhaps they will simply give us a little more space to be present.
The idea is to let the place itself become part of the festival.
A place to celebrate the transition into a new year.
06. FOOD BY POLA
Delicious, nutritious and vegetarian
Food is an important part of the festival experience.
Throughout the festival, we will share delicious and nutritious vegetarian food, prepared to support the physical demands of dancing while also making meals an enjoyable moment of the day.
Meals will be a time to slow down, replenish, talk and connect.
We believe that a festival is not only made of workshops and jams. It is also made of the moments between them — sitting around a table, sharing a meal, laughing, having a conversation or simply enjoying being together.
Food is another way of taking care of the body.
And another way of sharing.
07. HOW TO GET THERE
Getting to Iceland
Iceland is well connected with Europe and North America, and depending on where you are travelling from there are different possibilities and low-cost routes.
Participants travelling from Europe can look for connections through different European hubs, including Poland with Wizz Air, the United Kingdom with easyJet, or France with Transavia, among other possibilities.
For participants travelling from North America, Icelandair offers connections between Iceland and several destinations in the USA.
Flight availability and prices change frequently, so we recommend checking the options from your departure city as early as possible.
From Reykjavík to Samskara
Samskara Retreat Centre is located in Laugarás, in southern Iceland, around one hour and twenty minutes by car from Reykjavík.
There are public transport possibilities from Reykjavík, normally involving a bus connection and a change in Selfoss.
For participants who prefer a simpler option, we will coordinate shared transfers from Reykjavík whenever possible. Depending on availability, we can arrange a car drop-off for a symbolic contribution, especially when several participants arrive around the same time.
Once the group of participants is confirmed, we will help coordinate arrivals and shared transportation.
Our aim is to make travelling to the festival as simple as possible.
08. PRICES & REGISTRATION
FULL FESTIVAL
EARLY BIRD - Until December 1
- 760 EUR
- 105,000 ISK
REGULAR PRICE - After December 1
- 820 EUR
- 113,000 ISK
WHAT IS INCLUDED IN THE FULL FESTIVAL PRICE
- Accommodation in shared spaces. Participants will be distributed according to registration.
- All lunches and dinners, with vegetarian cuisine.
- Basic breakfast supplies: flakes, eggs, milk, coffee and tea.
- Use of the common spaces of the accommodation premises of Samskara.
- Use of the dance and practice spaces.
- All workshops and Contact Improvisation jams.
- Access to the hot pot :-)
ABOUT THE BREAKFAST
Breakfast supplies will be intentionally basic. We invite everyone to bring their preferred breakfast foods to complement what the festival provides. The dining room will be available to all participants at all time. Coffee and tea will always be available, and a refrigerator will also be available for participants.
REGISTRATION AND PAYMENTS
To reserve your place, you must complete the registration form and pay a €200 (30.000 ISK) deposit to confirm your reservation.
The remaining amount can be transferred before the event or paid in cash on the first day of the festival.
When making a bank transfer, please write in the payment reference:
“Your name and surname + Festival ICELAND”
For international transfers, please make sure that the amount sent is free of bank commissions.
Payment methods:
- Bank transfer to an Spanish account: IBAN: ES47 0081 0900 8000 0334 3240 ; SWIFT: BSABESBBXXX (Beneficiary: José Nebot Muns)
- Revolut Spanish Bank Acount: IBAN: ES47 0081 0900 8000 0334 3240 ; SWIFT: REVOESM2 (Beneficiary: Marcela Różańska)
- Paypal: This email address is being protected from spambots. You need JavaScript enabled to view it. If you choose to pay pay Paypal, there is an applyed commission that can vary from 5 euros (Euro zone) to 20 euros depending on the origin. Due the this high quantities, we will ask you to pay us back this commission in cash in the festival. Thanks for understanding.
09. CONTACT & INFORMATION
Catalonia / International
Pep Nebot
+34 685 166 358
This email address is being protected from spambots. You need JavaScript enabled to view it.
Iceland / international
Marcela Rozanska
+354 666 6815
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10. INVITATION LETTER - ENTER THE NEW YEAR THROUGH MOVEMENT
There is something particularly meaningful about beginning a new year through the body.
And to enter a new year not with resolutions, but with presence, curiosity and connection.
We invite you to join us in Iceland for several days dedicated to dance, research, learning, sharing and celebration — in an extraordinary landscape, in a beautiful space, with good food, warm water, winter skies and a community of people interested in moving and discovering together.
Come dance with us.
Come explore.
Come share.
Come connect.
Come welcome the New Year in movement.
Pep Nebot & Marcela Rozanska
11. AN OPEN QUESTION FOR OUR RESEARCH
How does a place affect our dance?
During the festival, we would like to keep an open question alive:
How does a landscape, a territory, a season, affect our dance?
We are coming together in a very particular place and at a very particular time of the year. Iceland in winter is not a neutral background. The landscape, the geology, the darkness, the cold, the wind, the water, the geothermal warmth, the vastness and the relative isolation all create a particular environment around us.
But what does it mean to be affected by a place?
Does the cold change the way we move?
Does darkness change our perception of space or time?
Does the vastness of the landscape change our sense of scale?
Does geothermal heat change our relationship with warmth, relaxation and the body?
Does the volcanic history of the land awaken something in our imagination?
Does being surrounded by fewer visual and social distractions change our attention?
Does the rhythm of the season influence our rhythm of moving, resting and being together?
And perhaps the question goes further:
What is a territory?
Is it only the physical ground beneath our feet?
Or is it also temperature, light, sound, weather, geological history, vegetation, water, distance, culture, memory and the people who inhabit it?
And if our bodies are constantly sensing these things, can they become part of our dance?
What does it mean to be affected?
To be affected does not necessarily mean to imitate what we see.
We don't need to dance like volcanoes, move like the wind or make choreography about the Northern Lights.
Perhaps being affected happens somewhere more subtle.
Maybe the cold changes the quality of our attention.
Maybe darkness makes us listen differently.
Maybe the open landscape changes the way we use space.
Maybe the geothermal warmth invites another quality of weight and surrender.
Maybe the awareness of the earth beneath us changes our relationship with gravity.
Maybe the silence allows us to hear something that is usually hidden.
Maybe nothing changes at all.
Can we notice the difference?
We can approach this as a physical and artistic investigation rather than an intellectual question.
Instead of asking “What does Iceland mean to me?”, we might ask:
What is Iceland doing to my body?
And then:
What is my body doing with that experience?
From environment to movement
During the festival, this question can enter our practice in many different ways.
We can explore how temperature affects tone and muscular organisation, how darkness affects orientation, how wind affects balance, how uneven ground changes our relationship with gravity, or how vast spaces alter our perception of distance.
We can investigate the contrast between cold and warmth, between the outdoor landscape and the intimacy of the studio, between the darkness of winter and the changing light inside the greenhouse.
We can pay attention to the geothermal water: the warmth beneath the earth, the experience of entering hot water after dancing, the contrast between the body and the surrounding cold.
We can notice what happens when we move from the studio into the landscape and back again.
And we can ask whether these experiences influence our movement choices, our attention, our relationships, our improvisations and our artistic imagination.
There is no expected answer.
The research is in the noticing.
12. FESTIVAL EXTENSION IN REYKJAVIK
For those who want to continue the journey a little longer, we may extend our time together in Reykjavik after the official festival programme.
This will be an informal, self-organised continuation of the dance experience — sharing spaces in friends’ apartments, creating jams in a studio, cooking and eating together, exploring the city and simply spending more time together.
There is no fixed programme or commitment at this stage. We will decide together during the festival what feels possible and interesting for the group, depending on who wants to stay, available spaces and the energy that emerges.
A little extra Icelandic time — together, spontaneously and without too much planning.
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CANCELLATION POLICY: If the workshop is canceled for a reason attributable to the organization or beyond its control, the organization has the obligation to refund the total amount paid by the participant. If the participant cancels, we regret that we cannot make any refunds, due to all the administrative work and in order to ensure the sustainability of the event. Make sure you have the dates available.
PROTECTION OF PERSONAL DATA: In accordance with the provisions of current regulations, we inform you that your personal data will be incorporated into a file owned by Associació E Motion Bodies Handstand. You can exercise your rights of access, rectification, cancellation and opposition by writing to This email address is being protected from spambots. You need JavaScript enabled to view it..
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