Wild Moves
Unlock Your Creative Potential Through Movement
In this series of movement classes and hands-on workshops, Wild Moves invites you to connect with your body in new and intuitive ways. Come explore how movement can open up new avenues of creative expression, whilst also serving as a language of self-discovery. Through practical exercises, case studies and reflective discussions, each session reveals fresh insights into what it means for a performer to sense, feel, and move with purpose.
Whether you’re experienced or a beginner, Wild Moves meets you where you are and supports you in developing your own toolkit of physical theatre and choreographic skills. In this collaborative environment, individuals of all dance experience levels can build creative habits that will last a lifetime, whilst discovering new ways to move, think and express themselves as artists.
PROGRAMME DETAILS
Spanning seven weeks per term, Wild Moves is an energising movement programme for anyone with a genuine interest in dance, movement or theatre, including all performers, teachers, and choreographers. No prior experience is required.
Duration: January – December
Schedule: Mondays, 7 – 10pm
Structure: 4 Terms (7 weeks each)
Each term is an exciting new journey in rediscovering the intelligence of your body – Join us at any time!Â
This course is recommended for individuals aged 18 and above.
Embodied Landscapes: Movement, Metaphor and Site (12 January – 2 March 2026) [Registration Closed]
In this term, participants will explore themes such as Body as Metaphor, where physicality and meaning intersect; Notation, focusing on ways to compose and record movement inspired by symbols, figures and written systems; Chance, inspired by the work of trailblazing dancer/choreographer Merce Cunningham and his collaborations with John Cage; House, examining the concept of space as a symbol of the self; Gesture, using gesture as a form of movement vocabulary; Site-Specific, creating and performing in unique locations; and The Four Elements, exploring Air, Earth, Fire, and Water.
In a special session, guest lecturer Angela Liong, co-founder and current Artistic Director of ARTS FISSION, will introduce Site-Specific Dance and explore approaches to creating and performing in unique locations.
Course Outline
| Embodied Landscapes: Movement, Metaphor and Site (12 January – 2 March 2026) | |||
| 1 | Mon, 12 Jan | 7pm – 10pm | Elements: Exploring Air, Earth, Fire, and Water |
| 2 | Mon, 19 Jan | Chance: John Cage and Merce Cunningham | |
| 3 | Mon, 26 Jan | Gestures: a form of movement vocabulary | |
| 4 | Mon, 2 Feb | Body as Metaphor; Physical Poetics | |
| 5 | Mon, 9 Feb | House: Space as a Symbol of the Self | |
| 6 | Mon, 23 Feb | Guest Session: Angela Liong (Artistic Director of The Arts Fission Company) | |
| 7 | Mon, 2 Mar | Site-Sympathetic Choreography & Presentation | |
Note: Training sessions take place every Monday evening from 7 to 10pm, with the exception of Monday, 16 February, when there will be no class as the date coincides with the eve of the Lunar New Year.
Registration for Embodied Landscapes: Movement, Metaphor and Site is now closed!
[Register Now] Sensation and Structure: Choreographing the Everyday (16 March to 27 April 2026)
In this term, participants will explore themes such as Five Senses, activating sight, sound, touch, taste, and smell to inspire movement; Quality of Movement, integrating Laban’s Effort and Shape principles with Serra’s Verb List to refine dynamics and expression; Twyla Tharp, merging precision with spontaneity through structured improvisation; Keith Bain, cultivating harmony between the body and its environment; Shape, exploring movement through geometry, abstraction, and spatial design, as inspired by the Bauhaus Ballet; Walking, transforming everyday movement into rhythm, intention, and storytelling; and Yvonne Rainer, embracing task-based movement, repetition, and everyday gestures to challenge performance hierarchies and expand choreographic possibilities.
Course Outline
| Sensation and Structure: Choreographing the Everyday (16 March – 27 April 2026) | |||
| 1 | Mon, 16 Mar | 7pm – 10pm | Keith Bain: The Body and Its Environment |
| 2 | Mon, 23 Mar | Laban & Serra: Quality of Movement | |
| 3 | Mon, 30 Mar | Twyla Tharp: Keep It Moving | |
| 4 | Mon, 6 Apr | Shape: Oskar Schlemmer & Bauhaus Ballet | |
| 5 | Mon, 13 Apr | Yvonne Rainer: Judson Dance Theater | |
| 6 | Mon, 20 Apr | Walking as Art: Movement, Time, and Trace | |
| 7 | Mon, 27 Apr | Five Senses: Activating Sensory Awareness | |
Note: Training sessions take place every Monday evening from 7 to 10pm.
Join our mailing list to receive updates on registration details and Early Bird discounts for this term!
Transformative Tools: Ritual, Practice and Creative Flow (24 August to 5 October 2025)
In this term, participants will take inspiration from influential makers and their methods to establish their own rituals and practices whilst constantly nurturing creativity in their movement work.
Renowned choreographers in our syllabus include Deborah Hay, whose work treats all dance as sacred – a fusion of body and consciousness through spontaneous, invented rituals that cultivate attention, presence, and transformation; Anna Halprin, known for participatory works like The Planetary Dance, which unite healing, social action, and personal myth through communal ritual; Gabrielle Roth, who developed The Five Rhythms, a movement meditation that takes practitioners on a journey through Flowing, Staccato, Chaos, Lyrical and Stillness; and Maija Hirvanen, who proposes performance magic through ritual-like “recipes and spills” that conjure presence and rich sensory worlds.
The programme will also explore the Eight Classic Centers of Motivation, a framework of archetypes and mythic energies – from survival instincts to spiritual transcendence – that constitute a toolkit for transformation in performance. A special session will be helmed by guest lecturer Zarina Muhammad, who introduces Antidotes for Surviving Eclipses: Myth, Magic and Ritual as Resistance.
Course Outline
| Transformative Tools: Ritual, Practice and Creative Flow (24 August – 5 October 2026) | |||
| 1 | Mon, 24 Aug | 7pm – 10pm | Eight Classic Centers of Motivation Week 1 |
| 2 | Mon, 31 Aug | Eight Classic Centers of Motivation Week 2 | |
| 3 | Mon, 7 Sep | Deborah Hay | |
| 4 | Mon, 14 Sep | Anna Halprin | |
| 5 | Sun, 20 Sep | Guest Session: Zarina Muhammad | |
| 6 | Mon, 28 Sep | Gabrielle Roth | |
| 7 | Mon, 5 Oct | Maija Hirvanen | |
Note: Training sessions take place every Monday evening from 7 to 10pm, with the exception of Session 5, which will take place on Sunday, 20 September, from 7 to 10pm.
Join our mailing list to receive updates on registration details and Early Bird discounts for this term!
Choreographic Lineages: Approaches to Making and Meaning (26 October to 14 December 2026)
In this term, participants will deepen their choreographic thinking and expand their movement vocabulary through the study of influential makers and methods.
Participants will get to know the work of renowned choreographers such as Jonathan Burrows, who offers tools to navigate the overwhelming choices faced by choreographers; Mary Overlie, who applies Horizontal (deconstructive) and Vertical (integrative) practices for performance-making; Doris Humphrey, who posits the choreographer as a maker of meanings in establishing the foundations of choreographic composition; and Anne Teresa De Keersmaeker, whose seminal book, A Choreographer’s Score, offers insights into investigating music, mathematics, geometry, and the architecture of movement.
In a special session, guest lecturer Dr. Stephanie Burridge will introduce The Choreographic Notebook – a hands-on approach to generating ideas, applying choreographic tools, and documenting creative processes through scoring and reflection.
Course Outline
| Choreographic Lineages: Approaches to Making and Meaning (26 October – 14 December 2026) | |||
| 1 | Mon, 26 Oct | 7pm – 10pm | Mary Overlie Week 1 |
| 2 | Mon, 2 Nov | Mary Overlie Week 2 | |
| 3 | Mon, 16 Nov | Guest Session: Stephanie Burridge | |
| 4 | Mon, 23 Nov | Doris Humphrey | |
| 5 | Mon, 30 Nov | Anne Teresa De Keersmaeker | |
| 6 | Mon, 7 Dec | Jonathan Burrows | |
| 7 | Mon, 14 Dec | Presentation | |
Note: Training sessions take place every Monday evening from 7 to 10pm, with the exception of Monday, 9 November, when there will be no class as the date coincides with Deepavali.
Join our mailing list to receive updates on registration details and Early Bird discounts for this term!
Programme Fees for Wild Moves: Sensation and Structure (exclusive of GST)
Early Bird: $450 (Valid until 9 February 2026)
Standard: $525
APPLY FOR WILD MOVES: SENSATION AND STRUCTUREÂ TODAY!
Course dates: 16 March – 27 April 2026
Please submit your application for Sensation and Structure: Choreographing the Everyday via the form below, either in written text or as a spoken audio recording, in which you share with us:
- Your artistic background and interestsÂ
- The aspects of movement or creative practice you’d like to develop through Wild Moves
- Any access needs or requests you have
We recommend keeping your answers to a maximum of 200 words each (approximately two minutes in audio format).Â
Your application must also include:
- CV in PDF format
- A recent headshot
All applications must be submitted by no later than 11.59pm on Monday, 2 March 2026.
CONNECT WITH US
Join our mailing list to get updates on our training programmes and workshops.
TESTIMONIALS FROM OUR PAST PARTICIPANTS
“Wild Moves helped me unlock new ways of moving that I had never accessed before – opening my eyes to the infinite sources of inspiration that can inform choreography.”
“Even after 20 years of working in theatre around the world, everything I learned from Edith was new and inspiring – an exceptionally professional, finely coordinated experience.”
“Wild Moves helped me realise that movement in theatre is not as scary and inaccessible as I used to feel. Inspiration can come from anywhere – experimentation can be really inspiring too.”
“It was a beautiful reintroduction to my body – both the bounds and the boundlessness of it.”
“If you ever find yourself in a rut, especially a choreography-related one, Wild Moves will ensure you have many tools at your disposal to literally move yourself out of it.”
About Our Programme Director
Edith Podesta is a director, theatre-maker, and choreographer based in Singapore. She trained in Acting and Movement Studies at the National Institute of Dramatic Art (NIDA) and holds a Master of Arts in Fine Arts from LASALLE College of the Arts. She is currently the Associate Artistic Director of Young & Wild, a division of Wild Rice.
A founding member of the award-winning ensemble A Group of People, Edith’s work spans performance, direction, and choreography. The group’s 2010 production A Cage Goes in Search of a Bird was named Production of the Year at the Straits Times Life! Theatre Awards. She received the Best Actress award in 2014 for Illogic, directed by Natalie Hennedige, and her original works – BITCH: The Origin of the Female Species (2017, M1 Singapore Fringe Festival) and Leda and The Rage (2019, Esplanade) – both won the Straits Times Life! Theatre Award for Production of the Year.
As a director, Edith has led the Southeast Asian premieres of André Previn’s Penelope, Zemlinsky’s Der Zwerg, Mozart’s Idomeneo, and Bellini’s La Sonnambula with The Opera People. Her other operatic credits include La Cenerentola and La Bohème for Esplanade’s Cool Classics with OperaLab; The Last Silent Voice by George N. Gianopoulos for L’arietta Productions; and Wagner’s Die Walküre (2020) and Bernstein’s Mass (2018), the latter of which was named Classical Concert of the Year by The Straits Times. She also directed Humperdinck’s Hansel and Gretel for The Orchestra of the Music Makers in collaboration with Esplanade.
Her choreographic work includes The Immortal Sole (M1 Singapore Fringe Festival); Indices of Vanishment (RAW Moves); Dog Woman: Sleeping on Her Owner’s Coat (LASALLE), MTV’s Australian Music Awards; Jazz in the Domain, Dardanus and The Fairy Queen (Pinchgut Opera); Three Furies (directed by Jim Sharman for the Sydney Festival); and Cosi Fan Tutte (directed by Patrick Nolan for the Sydney Conservatorium of Music).
Edith has lectured at LASALLE College of the Arts, the Nanyang Academy of Fine Arts, the Yong Siew Toh Conservatory of Music (National University of Singapore), the National Institute of Education at Nanyang Technological University, and the School of the Arts, Singapore. In Australia, she taught at NIDA, the Sydney Conservatorium of Music, and the University of Technology Sydney.