Compositional Mind: Integrating Contact and Partnering Skills
This course proposes a systematic approach to researching the physical and communicative principles of partner dancing, and practicing this work in performance improvisation. It references contact improvisation, social dance forms, communication theory, architecture, and the principles of mechanics as expressed through evolution, sport, and physics.
The first aim in the work is to create precision, presence and differentiation in our partnering work through the use of limitation and working with “palettes” that facilitate clear perception of what is happening. We will also look at the practical value of distinguishing “contact” forms from other “mover/partner” approaches.
The further aim of the research is to integrate this informed partnering work into group performance scores that have compositional and dramaturgical vigor.
How do we balance the sensing experiences of weight, contact surface and responsiveness with compositional choice-making and inventiveness? We will look beyond the duet-form and beyond the scope of the ‘contact jam’ and address the task of integrating contact skills within performance oriented real-time compositions. Toward this goal we extend an approach to the “6-viewpoints of composition” that assists our observational and decision making abilities.
Every session will end with open score practice where our dance making skills can be practiced.

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Contact & Improvisation: Clarity, Communication & Composition
The aim of this course is that the participants:
1. develop a broader range of experience and skill with which to be more physically defined, present and creative in their partnering explorations;
2. experience the confidence to participate safely in contact jam situations, or incorporating partnering work into their choreographic research; and
3. develop skills for integrating contact and partnering work in performance improvisations
We will question: Is the dance something “I’m doing,” or something “I am”? How do I find personal movement material while remaining true to the dance with my partner? How do I balance the inner experiences of dancing with a sense of composition and invention?

The focus of this work is to describe and extend a system of movement research based upon the mechanical and communicative aspects of touch.

We will investigate the following themes:
? specificity of grips
? signaling 'yes' and 'no'
? the use of selective resistance
? getting in and out of contact situations
? identifying the different types of shared weight situations
? identifying the degree of influence we exert upon our partner
These explorations will be combined with techniques for safety and self-responsibility. One goal is to refine the language of observation and decision-making that we use as the basis for communication while improvising.

 

Contact Improvisation Toolkit:
skills for navigation in jam, audition
and performance situations
This research atelier will propose techniques to enhance the ‘question-asking’ component of partnering.
The aim is to create precision, presence and differentiation in our dancing through the use of limitation and working with “palettes” that facilitate clear perception of what is happening. We will also look at the practical value of distinguishing “contact” forms from other “mover/partner” approaches.
The intention is to integrate this informed partnering work into group improvisation situations with compositional and dramaturgical vigor.

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Movement and Improvisation for Young People
Imagery, Game Structures & Cooperation
In this workshop we will use imagery and movement games to assist young people develop their natural coordination, expand their range of physical confidence, and build trust in their skills of social interaction. Through this play they will exercise their imaginative sense as well as their bodies. Images from the natural world, animals, sports and architecture offer a lively, instructive way of engaging with each other based on cooperation, increasing their sensitivity, and expanding their world and power to create within it.

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Movement Technique: Organic Effects
This class has been developed over the past 14 years as a working synthesis between organic movement patterns and traditional technique training.
Practices are built-up out of Functional understandings of the body, and their experiential resonance. Explorations that focus upon the controlled modulation of muscular tone, a high degree of articulation with the floor, and the connection of center to periphery transform into simple repetitive phrases.
The training emphasizes smooth, powerful spiraling transitions between the floor and standing position--the ability to cover space and change level with logic, ease and power. It also studies leverage, momentum and 3-dimensionality in these transitions, the graduated application of force, and working with the edges of the foot and ankle in non-vertical orientations.
A balance between rhythmical flow and structural integrity is sought to facilitate locomotion of clear bodily structures.

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