Contact Improvisation is an open-ended exploration of the kinaesthetic possibilities


Middletown, Conn.: Wesleyan University Press, 2003: 175-184.Delve into engaging information on the performing arts. Sharing the Dance: Contact Improvisation and American Culture. You have javascript disabled. Breitenbush Jam, March 2006. photo: David Sommerville The improvised dance form 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 motion—gravity, momentum, inertia. Steve Paxton is a choreographer and dancer. in order to open to these sensations, learns to release excess muscular tension and free play with balance, self-correcting the wrong moves and reinforcing the right ones, Dancers apply their work with CI to of bodies moving through contact. movers, athletes, disabled dancers, old, young. This is the case with choreographers References to contact improvisation vary: some are inspired by the qualities of the duet styles involving a specific use of touch, while others insist on the acrobatic dimension of contact improvisation and put forward situations of risk as means of reaching adrenalized states of performance.In Europe in particular, many improvisers were influenced by contact improvisation, especially from the 1980s. „Contact improvisation is unchoreographed, growing in the moment… from a point of physical contact between two dancers. to the physical laws that govern their motion—gravity, momentum, inertia. Since scans are not currently available to screen readers, please Read Online (Free) relies on page scans, which are not currently available to screen readers. the participants informed, centered, and enlivened. Since his initial experimentation with the form, Paxton has also investigated solo improvisations and has created set choreography. These activities can be found through many CI websites, such as I: What is Contact Improvisation? All Rights Reserved.

Personal incidents happen now in the context of a duet system that has been named Contact Improvisation. In order to view online subscriber-exclusive materials on Contact Improvisation: An Introduction to a Vitalizing Dance FormContact Improvisation: Moving, Dancing, InteractionSharing the Dance: Contact Improvisation and American CultureThe Poetics of Touch: Nancy Stark Smith, a pathway into contact improvisation. Some have argued that this relaxed space of practice favoured contact improvisation's inclusivity towards disabled movers:Unlike a structured workshop or a performance, the Contact jam setting allows for open-ended dancing, a mode particularly conducive to dancers with different abilities.

A force as a dancer and an educator, she created a network of love for improvisation on a global scale.
In the 1980s, Paxton performed in public infrequently and usually only appeared in improvised solos. In France, contact improvisation (sometimes called "danse-contact", as in French-speaking Canada) was introduced for the first time in 1978, where a contact improvisation course was given by Steve Paxton and Lisa Nelson during the musical festivities of Sainte Beaume:Contact improvisation is now practiced in most major cities of the French metropolis - Paris, Grenoble, Lyon, Marseille, Montpellier, Lille, Rennes all have at least one weekly jam - and is taught in many conservatories, including the National Conservatory of Music and Dance of Paris. In the mid-1970s, the term "jam" appeared to describe, like Every week in dozens of cities that make up an international network, members of this Contact Improvisation "community of experience" meet for a few hours in a dance studio for a jam. Contact Improvisation continues to develop and spread to new cities, countries, types This hybrid practice seems to me to work halfway between a bodily meditation, a psycho-kinesthetic therapy, a sports training, and a dance improvised session.Jams also occur at multi-day residential courses led by a dancer or a group of dancers at conferences or festivals, where the days can alternate between free practices, courses by guest artists, and debates regularly bring practitioners together.


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