Drumming Workshop

Alexei Repnikov

What I love most is coming up with ideas and bringing them to life. I work in directing, music, and creative skills development. Lately I've been diving deeper into the world of rhythm — I'm endlessly drawn to drum parts, which form the foundation of almost any piece of music.

I'll be offering a rhythm workshop. In our sessions, we'll develop coordination, improvise, find our groove, and discover our own sound. We'll start with practice pads — learning how to hold sticks, position our hands, and explore different strokes and rhythms. In the second half of each session, we'll move to a full kit and apply everything to real drums. The workshop will culminate in a group performance!

The sessions are group-based, but I always pay attention to each person's individual abilities. Everyone absorbs information at their own pace, and that's perfectly fine. We learn together, but each in our own way.

Theater Workshop «Classics of the Genre»

Anna Zamarina

I trained at the Nissan Nativ and Beit Zvi School of Performing Arts acting schools, and have studied improvisation, on-camera work, and clowning. I perform in theater and performance art projects — recent work includes the role of Velma Kelly in the musical «Chicago» (2025). I also take part in independent theater and film projects in Israel and Georgia, and work as a vocalist, performer, and DJ.

This year, we'll create a show together. We'll start with games, improvisation, and voice and body work to help everyone feel freer and more confident. From there, we'll decide whether to work from an existing text or create our own story. We'll develop characters, build scenes, and learn how to work as a team — exploring how to stay true to yourself while being part of a group, discovering what an ensemble is, and learning how to act on stage through both scripted work and improvisation.

Something important to me: I want to change the feeling that making mistakes is bad. I want to create a space free of judgment, where you can try things, experiment, change your mind, and find your own way. I also want participants to practice listening to themselves, not comparing themselves to others, and finding support within the group.

Narrative Workshop «Dreamers»

Sergei Chernousov

I've been working in film and advertising production for over 10 years. I create environments for developing human potential: philosophical, cultural, and influence-based. I help teenagers design their own paths forward.

Creating a story is a journey toward your own dream — through exploring a character's personality, talents, and motivations. For example, «The Ministry of Intent»: imagine you've been invited to lead a «Ministry», and each person becomes the «minister» of their own domain. From there, we define a direction of impact: which way do I want to change the world around me — and why that direction? The narrative game format means we have a set of given circumstances, and the character's actions unfold within them. This is how we build a complete screenplay through a series of scenes.

Being authentic is important to me as I create a space for others to be authentic too. My values are support, attentiveness to how people show up, to their individuality and uniqueness. If a child thinks a certain expression is silly or undesirable, I don't judge it — I give them space to say it.

Physical Theater Workshop

Filipp Zhevlakov

I have a background in extreme psychology from MSPPU. I've studied clowning with performers from France, England, the US, Turkey, Greece, and Russia. I spent four years performing with a physical theater company — during that time I appeared at CIM, the Theater on Strastnoy, the Gorky MHAT, and even went on tour. I host a podcast called «Bazarov Cut His Finger», where my friend and I discuss literature and psychology, and I'm co-author of a book by the same name, as well as another called «Do Buddhist Monks Get Angry».

I'll be leading the physical theater workshop — where a story is told more through the body than through words. There'll be room for pantomime, clowning, dramaturgy, dance, and exploring what gestures mean and what they can express. We'll spend a lot of time investigating body language and collectively build a short physical theater piece.

My minimum goal is simply for everyone to have a great time together. I'm always in favor of collective creativity and celebrating it — I never dictate the path. I look at what «resonates» or «hurts» within the group and we build from there. Here we are, this particular group of people — what can we do together, how can we support each other?

«Art in Volume» Workshop

Lena Shtemberg

I graduated from Stroganov (the Moscow State Stroganov Academy of Design and Applied Arts) — I have a formal academic art education. Before moving to Israel, I worked extensively at major museums — in the educational department of MMOMA and at Garage, developing and leading children's and family programs, and creating installations for museums and large-scale events (Cosmoscow, Play MMOMA). In Israel, I've been able to continue doing what I love.

In this workshop, we'll explore volume from many different angles. Not just sculpture and clay modeling — the obvious starting points — but also installation, spatial thinking, how to turn something flat into something three-dimensional, unexpected techniques, materials, and combinations. We'll experiment a lot, explore how contemporary artists work with volume, and design and create our own objects and spaces.

When working with children, what matters most to me is building a dialogue that lets me learn about their interests and passions. In my experience, the most original and memorable projects have come from the most unexpected kids' obsessions and discoveries — a ceramic drop-shaped fish, a comic about a cucumber-loving dog, a fashion project for a «grandma-base» bag-holder hat, and so much more.

Dramaturgy Workshop

Nastya Ryabtseva

I'm the founder of the «Progulki project» in Israel, a teacher at the «Wild Kids» animation studio in Jerusalem, a writing circle leader for teenagers, and the author of two published books. One is performed in dozens of theaters across Russia; the other has been translated into six languages.

In this workshop, I want to write short plays together with the kids — exploring our imaginations along the way and figuring out how good stories work — and then, at the end of the session, put on at least a table read, and who knows, maybe even a full performance of what we've written. Let's call it the Dramaturgy Workshop.

The most important thing to me in this work is believing in every child and teenager who comes to me. Genuinely believing in each person and in the fact that everyone can surprise themselves first — with their talent, their idea, their actions, their own inner strength. And never deciding in advance what someone is capable of, while always trying to be on their side.

Good enough camp manager

Nika Vaksenburg

I work with children and teenagers, designing and running residential camps, festivals, and events. I work both as a process organizer and as a camp director — developing creative concepts and training educators. My background includes theater, music, journalism, and director-pedagogy. Outside of education, I've always loved music and have been making it for as long as I can remember.

Lately I've been running choral labs and exploring improvisation. Singing together is an extraordinary experience. At Balagan, we sing in different languages and write songs together. I also sometimes lead workshops on free movement, performance, and event creation.

Balagan is a meaningful project for me. It's a genuine joy to have the chance to meet people from different countries in a safe space, exchange experiences, and create together.

Good enough camp director

Katya Melikhova

I've been working with children and teenagers for 17 years, and our creative art residency Kavardak in Russia has been running successfully for 10 years. We launched Balagan after leaving Russia. I have a psychology degree from HSE University, and I'm constantly learning something new — in the fields of psychology, pedagogy, art, and entrepreneurship.

Every year I choose a new theme for my own workshop at Balagan, and I never stop being amazed by what the kids are capable of. Two years ago I led a songwriting workshop, and many participants wrote their own songs; last year I ran a philosophy workshop, and we discussed many complex dilemmas.

My son and I have been living in Tel Aviv for three years now. Kids and teenagers come to Balagan sessions from all over the world — and that inspires me endlessly. I love international projects.

I’m a circus artist and educator from Argentina. I live in Armenia and work internationally in social circus, performance, and art mediation. I founded Circo Fractal and the South Caucasus Social Circus initiative, bringing social circus practices to schools, villages, and community centers across the region. I also perform professionally at festivals and cultural events around the world.

In this workshop we’ll combine juggling, acrobatics, balance, clowning, and high-energy circus games. We’ll start with a warm-up and body-awareness exercises, then move into technique: juggling with scarves and balls, partner acrobatics, slackline walking, and object manipulation tricks. The focus is on curiosity, creativity, and collaborative exploration—not on perfect results.

Process matters more than an ideal outcome, and circus creates a space where mistakes become part of the game. I pay close attention to each participant’s needs, adapting activities so everyone can engage meaningfully—some jump right into challenging skills, while others need time to build confidence.

I studied acting in Venice and trained at a Lecoq-based school in Brussels to better understand the nature of the mask. In 2018 I met the renowned mask maker Stefano Perocco—he became my mentor, and I spent several years in his workshop learning to work with leather, paper, and other materials. Today we work together as colleagues. I continue to perform with an Italian theatre company and lead mask and theatre workshops for children and adults.

In the workshop we’ll create masks from everyday materials—old newspapers, paper, plastic bottles, tape, and glue. First we build the base on a form, add volume, and apply layers of paper with glue. Once the mask is dry, we remove it from the form and move on to decoration, colour, and character. Last year, both groups created short performances using their masks.

For me, the most important thing is giving children the freedom to create without constraints. I guide them and suggest directions, but when a child discovers their own way of doing things, that’s even better. Children approach things differently from adults: they don’t worry about how they look—they just make. And that always leads to something unexpected.