Not so gentle (Panu & Otto)
This class we Explore material that is dynamic, hitting, cutting, blocking; Swirling, spiralling, turning. Towars the core. But always listening. Impulses travel through. What kind of dance we make of it?
We aim to be specific and technical, offering tools to use and dynamise our dancing.
My idea was to come together and talk through what kind of interest people have towards dance. We form small groups to explore/co-teach/dance/discuss/… and hopefully share our findings with others.
Would be super if everyone could understand English. Translators are ofcourse welcome!
How to keep my boundaries in contact dance? (Kaisa)
A class about being clear of my needs and communicating them to the people I dance with.
We will do physical and verbal excersices, dance, as well as share experiences of keeping one’s boundaries in the contact dance and a jam.
Contact Improvisation Research Jam (Malcolm)
A supportive structure in which to practice and research contact improvisation.
The idea is to arrive with questions and observations about contact improvisation about the form or about one’s personal relationship to it. At the beginning we take a little time to share those with others.
Then we jam. For the first 20 mins there will be a perceptual warm-up which you can incorporate into your dancing if you like … or just ignore.
During the jamming we agree not to use language – you can be as focused or focused, silent or noisy, as you like – just no words!
At the end, we’ll switch back into language mode to come back together to share any insights we gained through dancing.
_“We’re all alone in this together”_
Steve Paxton from a class in 1995
We always move in relation to the earth (ground), from which we
get support, and in relation to the air (space) which invites us to
move through it.
When we dance, we receive the support of the earth mostly through
the floor. There might be some objects in the studio that offer
other possibilities of support; that we could lean against or hang off, sit on or climb up onto.
CI offers the possibility to play with the support of the earth as it presents itself to us through other living bodies. It’s similar to enjoying the additional possibilities of leaning against a wall or sitting on a chair, but much more interesting since this
support is warm and contoured, constantly and dynamically in motion, and that motion controlled by a nervous system similar to mine.
In this sense, CI can be considered as a solo practice. I experience myself having a dance, a solo, with the earth (ground) and the air (space) however it presents itself. I dance in, and offer my dancing body to, an environment which includes others.
This has the advantage of removing psychology from the dance. I don’t have to worry if others are having a good time or not. I just work with the support of the earth as it presents itself through people’s structures.
It’s interesting since people
channel the support of the floor differently through themselves.
Paradoxically, the more clearly I’m working with the sensation of the support of the earth through the other person’s body, the less
interested I am in them as a person in that moment, then the safer we will both feel. A jam becomes a continuous ongoing solo though a living moving playground of possibilities.
In these two classes, we’ll play with the idea of CI as a solo practice and see what the brings us, both in the the study of technical aspects of the dance and as a tool for jamming.
TAGS: OPEN; PHYSICAL SKILLS, SCORES, TECHNIQUE, SAFETY
Head to head, hand to hand, shoulder to shoulder (Mirva & Ilona)
Contact improvisation is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their movement; gravity, momentum, inertia. The body, in order to feel these sensations, learns to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement. This class will include rolling, falling, being upside down, following a physical point of contact, supporting and giving weight to a partner.
CI and values (Annukka & Mirva)
Values represent our guiding principles: our broadest motivations, influencing the attitudes we hold and how we act. Values are defined as important insights that are obtained the choice making in dancing, the way of thinking and the way of performing in CI community. Often a value gets essential when there is a lack of it. For example, if there is lack of trust in dance, that suddenly is seen as important value.
In this class we’ll look deeper into our personal values and how they are present in our ci-practice. We will introduce different theoretical perspectives and viewpoints by various movement-based exercises (solo, duet and group work).
When we are practicing our awareness, the ability to perceive bodily sensations becomes sharper. The sensorial world and bodily awareness are working together to remain aware of each other and simultaneously reflect each other.
Experiential Anatomy and CI (Iiris)
Anatomical knowledge can greatly contribute to our experience of moving through deepening the felt sense of our bodies and giving understanding how to articulate movement more wisely. We want to respect the natural range of movement of each joint and find ease and functionality in our expression. Hands on work provide a useful tool in the process of transforming the anatomical theory to become our personal experience. a class/lab