Lightness is a Direction (Ronja)
Lightness is a direction. Lightness is an attitude. Inside the arc of flight, there are fine mechanics at work. How do we develop the sensory capacity to read and play with the multiple forces affecting our bodies, in motion, and off our own supports? How do we communicate our constantly changing relationships to these forces with our dance partners, even as they continue to affect our movement? My understanding of the arc of flight in Contact Improvisation is less of a linear arc or wave, and more of a constantly opening, fractal-like spread of potential directions, where our pre-established neural pathways play a great part in our choice-making, and in what kind of dances we end up having.
In this workshop we look at sensing direction through the soft underlayers of the skin, and the rhizome-like network of connective tissue. I want to offer ways to question assumed qualities of our physical bodies, and experiment with embodying imagery that may be contrary to those assumptions, yet equally possible or “true”. A mash up of physics, anatomy, idiokinesis, performance theory, somatics and a whole lot of “what if”, the class offers a framework for your questions to arise and morph into possible directions in an environment of research, listening and play.
Contact Impro : Contemplative Art (Petri)
Principles of contemplative art. How it’s practised differs from subjective art. Using art theory from Gurdijeff and movement poetic inspiration from sufi-master Rumi.
Offering tools which aim to create sense of unity and coherence both inside of the being of the dancer and also outside in present-based temporary movement community.
Tools : Rest, relaxation and awareness. Heart centeredness. Present centeredness. Controlling orientation and content of the mind. Cultivating experience of sensies. Starting with awareness upon physical body and from there learning to expand awareness upon subtle bodies. Improvisation as vehicle for soul to journey in openess trough unknown. Responsibility upon resonance phenomena. Necessity to manifest clarity in boundaries in order for contentment to arrive. Deep study of beauty, truth and harmony unfolding trough dance. Sport, fun and play serving the needs of the expansion of the conciousness. Love as a moral and ethical principle of the movement formation. Intuition as a tool to know which way to walk. Being in contact as a continuous reality check upon the quality of the lived movement life. Community and contact as a supportive poetic gateway for Self knowledge. Dance fulfilling not only physical, emotional or mental needs but also spiritual needs of the dancer. So, dance, potentially experienced also as a gift, as a prayer, as an offering, or as a sacrifice. You, me and our dance as celebration of mystery of who we are. Freedom within.
CI and Individuation (Samuli)
The concept of individuation comes from Jungian psychology and can be loosely defined as a developmental process where the ability to witness, understand and relate to one's own experiences become more precise, elaborate, differentiated and, thus, conscious. In traditional Jungian terms we can also talk about bring unconscious contents into consciousness. This series of two classes explores how CI and other body-involving approaches can inform and facilitate the process of individuation. The classes will be composed of a diverse range of exercises, scores and tasks, involving witnessing, perception, movement, relatedness etc. in solo, duet, and group form.
TRIOS (Terhi, Ilona & Annukka)
Trios can be playful, surprise full and fun. However, in jams, duet are often naturally happening, and sometimes trios can feel tricky. We feel that there is a lot of information in trios which opens opportunities for improvisation and breaking our patterns. We would like to support the dancing in trios in the festival and offer a space to practice trio work and offer some tools. This series of three sessions is for everyone interested in learning and practicing dancing in trios. Join us once or all the three times.
Terhi: We will use structures with clear roles to explore dancing in trios. Sharing tools to start a trio, keep it going and finding one’s place in it. Trying out, who three different individuals meet and how they find something common to share.
Ilona: We use a simple structure of three scores that are building on each other as steps. These scores offer space for a lot of dancing and improvisation.
This class is suitable for everyone.
Annukka: Trio dates: Join us for a trio-work session with a simple score. After guided warm-up we’ll dance in trios for 20 minutes. Without verbal sharing we’ll change the trios 3 times during the session. We’ll end the Trio dates with guided reflection. Duration app. 1,5 hours.
Rolling (Kaisa & Terhi)
Rolling on the floor is the basis for dances on all levels. There is so many things happening in your body when you are rolling! We will focus on aspects that makes rolling smooth, easy and light. Those are finding curiosity and creativity in each moment, sharing weight and learning to regulate and direct your weight in movement and working with the center.
The classes are about curiosity in the movement possibilities that open from the point of contact. We will start with softening on the ground and towards the point of contact. We work with changing directions, tone of the body and keeping your whole body available for new situations. Through exploring different focuses we aim to develop clear movement articulation.
As the title of the class is about rolling, we will stay most of the class on the floor. You are always free to choose your own pace, dynamics and you are encouraged to take care of yourself. Come with long sleeves and pants, lower friction makes rolling (which often involves sliding some part of your body) much easier.
Contact mixer (Panu)
In these classes we warm up some dynamic movement skills and patterns through plays, tasks, drills and explorations. We jump, land, catch, uncatch, lift and fly, support and espace. We learn by doing, we explore familiar and strange new movement patterns, to seek out new dynamics, pathways, openings and new ways of movements, to boldly go where a dancer wants to go.