This week’s class was focused on recapping the different techniques we have gained throughout our exploration of contact improvisation. Rediscovering rolling points, anchoring, levering and weight bearing and how we could apply these techniques into giving and receiving weight whilst standing. Allowing us to locate our center of gravity and how it impacts our movement flow, “I don’t sense directly where my center of gravity is. I sense some results of where it is, as the pressures on my feet as my weight shifts around, and other sensations.” pg.48
One of the key aspects to contact improvisation is allowing the bodies reflexes to affect the flow of movement. “A steady state of watching the reflexes. Let the reflexes figure out how to deal with the unpredictable.” (Paxton, 2003, p.180.) By having preconceptions and planned thoughts of where the movement may go, all authenticity in the moment is lost and the dialogue between bodies becomes interrupted. When sharing weight with another body we must allow our centre of gravity to change to accommodate for the shift in balance. “In contact improvisation, we purposely change centre of gravity in order to move” (Woodhull, Centre of Gravity, 1978-79) without this self-awareness we allow room for error and put safe practice at risk.
The Play of Weight
During ‘the play of weight’ (Neige Christenson, 2009) the movement that is created has constant fluidity with almost no moments for pause. The pair look as if they work together quite frequently as their movement appears almost habitual and safe, with almost no exploration of the unknown. It’s clear as an observer that Keogh is initiating the movement, taking the role of the under dancer and making each decision on where the movement will go. The dancers do have moments of internal connection rather than physical, complementing the ones movement with something of contrast or flocking.
Contact Improvisation
During ‘Contact improvisation’ (omegabranch, 2011) the exploration of the unknown was much more present and clear. Both dancers took the opportunity to give and take weight without hesitation. There is a clear dialogue between both bodies which allows one to trust the other, enabling them to work through points that may become stick with ease “contact is about communication and sharing, and one element is playing with the consequence of physical laws” pg.48. The interchangeable role of the under and over dancer is existing throughout the improvisation with a constant, uninterrupted flow of movement.
With each exercise we did this week I felt much more comfortable and confident with the movement. My body is finally becoming accustom to being relaxed into my partner, rather than holding unnecessary tension through each movement. I have found that in order for me to release these points of tension, I need to use my breath. By allowing myself to relax and focusing in on my breath as each move is initiated, I am able to remove points of tension I may have been unaware of otherwise. This new found confidence I managed to carry with me through the jam this week enabled me to push myself to point I would normally shy away from. Experimenting with new partners, spending more time in the circle and exploring movement I would usually be hesitant of.
Bibliography:
Martin Keogh and Neige Christenson. (2009). The play of weight. [Online Video]. 29 April 2009. Available from: https://www.youtube.com/watch?v=Ltq6y06E8ew. [Accessed: 12 November 2006].
Mirva Makinen and Otto Akkanen. (2011). Contact Improvisation. [Online Video]. 1 March 2011. Available from: https://www.youtube.com/watch?v=YMLbWxujoGw. [Accessed: 12 November 2016].
Woodhull A. Center of Gravity. Contact Quarterly/ Contact Improvisation Sourcebook I Vol. 4. Pp. 43-48
