Contact Improvisation – Contact Improvisation

Contact Improvisation, Touch, underscore

Week 9: Research questions and scores

Posted on December 2, 2016December 11, 2016 by Rebekah Draper

This week’s session was based around Nancy Stark Smith’s Underscore. We touched on this briefly during our improvisation module last year but we watched GLOBAL UNDERSCORE with Nancy Stark Smith to refresh our memories. Using the underscore to guide our contact jam this week will have a huge influence on the movement as there are rules within the score to follow.

The notion of the underscore made me very anxious to begin with. The idea of having all these things to thing about on top of all the other things my mind must be focused on whilst improvising with another body made me very apprehensive. However, once we began to move this jam fast became the one I have thrived in most throughout my practice thus far. The structure I at first found restricting soon became second nature, and once I could view the underscore as a set of tools to aid my improvisations rather than rules to follow, my movement knew no bounds.

Due to this new set of tools other bodies seemed more willing to experiment with new things. I found myself working not only in a duet or solo but also exploring movement as a trio and even a quartet. Although moving with this many bodies is often difficult, I find the challenge enticing and can’t seem to move away from the exploration once it has begun.

This week I found myself moving through the space without anticipation or fear. The underscore gave me such a wide variety of options to play with movement I found myself not wanting to leave the circle. I had gained a new found confidence and the influence it was having on both my mood and movement was very clear. I found myself in a constant flow of movement, working with new bodies and exhausting all the things I possibly could from the movement before moving onto a new partner. There was no point in which I felt stuck or was worrying about what was coming next, I was completely absorbed in the moment.

Bibliography:

Stover, J. (1989). Some considerations when structuring an Improvisation (to be seen by an audience). Contact Quarterly/ Contact Improvisation Sourcebook II, Vol.14. pp185

Contact Improvisation, Touch

Week 8: Structuring, investigating, performing and reflecting.

Posted on November 26, 2016December 11, 2016 by Rebekah Draper

This week’s session focused on using the pelvis as a point of connection and not allowing boundaries and limitations to stunt our movement flow.

We partook in an exercises to find different frames. During the first exercise we maintained our focus on keeping a front to front connection. The under dancer then created a stable platform for the over dancer to explore movement. The importance was put on keeping the pelvis aligned and allowing it to lead movement for stability. During the second exercises person A created the foundation for person B to explore points of balance. I found this beneficial as I am often comfortable in a position but find it difficult to enter and exit with fluidity into the next movement.

This type of exploration encouraged the class to find new opportunities to play with movement and weight rather than reverting back to body surfing when it becomes difficult. Instead a connection was maintained for longer, and pairs moved more fluidly, as apposed previous classes where the dialogue was interrupted.

As a class we then moved into a score, the only restrictions were that a minimum of two people had to be in the space and a maximum of four. This meant that people who are usually hesitant to enter the space, had to be ready and willing to support the rest of the collective and not rely on the same people to do all the work. Although this score had only a few limitations, I noticed that it created a sense of freedom and play. Once I had established a connection with my partner, I allowed my body to release into the movement rather than overthinking the limitation set in place, as Keefe says that “the boundaries we set for ourselves, limiting space, time, sequence, or body parts provide challenges that inspire invention. Outside of the improvisation, those limits fall away” (Keefe, 2003, 234).

I like the challenge of exploring movement in larger groups, however others are still a little reluctant of this, so interrupting the movement a duet is often difficult when they are unwilling The more you expand with who you work the more apparent it becomes on how differently each body moves. No two people in the class are the same and the opportunities for movement you may shy away from with one body, you may be pushed into by another. Giving you the best chance at exploring everything the space and your bodies have to offer.

“Improvisation happens everywhere” (Keefe, 2003, 234) and it is interesting to study how your daily choices will affect your mood and furthermore the influence that has on your movement. When we focus on the idea that improvisation occurs frequently in our everyday lives the whole concept of it becomes far less intimidating.

Bibliography:

Keefe, M. What’s the score? Improvisation in Everyday Life. In Albright, A. C., & Gere, D. (2003). Taken by surprise: A dance improvisation reader. Middletown, Conneticut: Wesleyan University Press. Pp.229-238

Contact Improvisation, Research Lab, Touch

Week 7: Integration – going up and coming down

Posted on November 19, 2016December 7, 2016 by Rebekah Draper

Through our practice we were given the incredible opportunity to travel to Nottingham’s Dance4 studio to take part in a workshop with Feet off the Ground Dance. The change of environment and new movement material had a clear impact on everyone’s confidence. The positive atmosphere led to some incredible work being performed and allowed us to work strongly as a collective. Applying the techniques we learnt throughout the class into a piece of repertoire, really gave us the confidence to let go of any preconceptions and put everything we had into the movement, “the dance was within us” (Curtis, 1988, p.156). Having these additional techniques has allowed me to be less anxious about entering contact jams and has pushed me to want to experimenting working with new people.

How does a change of pace and momentum affect the movement created during contact improvisation?

Exercise 1: Slow paced movement, starting on a low kinesphere. The aim of the exercise is to allow the dancers to explore all the different points for rolling, anchoring, levering and weight bearing. Discovering new platforms that could be used on different kinesphere or when travelling, “each body […] is unique and presents another opportunity to explore what movement is available” (Curtis, 1988, p.157).

Exercise 2: Travelling across the room. Exercise begins slow paced and is restricted to low and middle kinesphere. The exercise the progresses to fact paced movement and the higher kinesphere is opened up. We wanted to take away thinking time so that there would be no pauses in the movement, “I found my body starting to move in patterns that did not exist in my mind or in my previous experience” (Curtis, 1988, p.156) The aim is that the movement is not rushed, it is just a continuous flow of movement “[…] the internal rhythm of shifting weight, sensation and the communication that goes back and forth between the dancers” (Curtis, 1988, p.158)

Overall Feedback

Did you prefer moving at a slower pace and did it help you find more anchor points?
The slower paced movement helped the dancers explore new points of connection and new movement material. The overall feeling of both exercises seemed to stay at a slower pace, even when bodies should have been moving quicker. The participant explained this was because the movement felt more fluid.

Did the change of pace affect the momentum?
The dancers explained that they found it difficult to go from two slow paced exercises into a quick on with a partner. They suggested that a solo fast paced exercised may have encouraged their movement when in a duet. The music was complement as it helped lift the atmosphere and did have an effect on the movement. The quicker pace led to some difficulty getting started and a demonstration helped to make it clear on what movement was available. There was much more communication in this exercise to keep surrounding people safe.

Does changing pace steer you away from habitual movement?

Our peer discussed that the found it difficult to move at a fast pace because they couldn’t explore the movement. It was made clear that they would become stuck in certain kinesphere’s i.e. bodysurfing, because they forgot about the other possibilities and techniques we had learnt. An overload of things to think about caused a physical block and put everybody’s movement on hold, “when we don’t make fences around our bodies, all movement becomes acceptable” (Curtis, 1988, p.158)

Bibliography: Curtis, B. (1988). Exposed to Gravity. Contact Quarterly/ Contact Improvisation Sourcebook I, Vol. 13. Pp.156-162.

Contact Improvisation, Touch

Week 6: Going Up!

Posted on November 12, 2016November 23, 2016 by Rebekah Draper

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

Contact Improvisation, Touch

Week 5: Structuring, investigating, performing and reflecting

Posted on November 7, 2016November 13, 2016 by Rebekah Draper

Lepkoff describes contact improvisation as ‘the body’s innate ability to respond physically to its environment’. Exploring movement with confidence whilst also working to communicate with your partner is a constant learning process. Things that are successful one week may be a real struggle the next. This is something that I am only just allowing to resonate in my mind and body.

Learning new techniques in class on how to take our partners weight from standing was incredibly interesting. By establishing a good connection, finding the point of resistance and distributing equal weight, movements were able to be performed almost effortlessly. Once myself and my partner had become comfortable with the motion of levering; going down to come up and efficiently finding the different anchor points and platforms needed for weight bearing, we were able to play with the fundamentals to see how the outcome of the movement would change. We discovered that altering pace, momentum and suspension during air time has a dramatic effect on how the movement is performed.

This week’s reading takes us through the process of improvisation, explaining that the whole idea of it is ‘to put the dancers body into unusual, disorientating and often emergency situations […] rather than a predictable and familiar environment of support […] in this situation one is not able to rely on habits, the reflexes take over and the rest is history.’ (Lepkoff, 2008) This is something I have really tried to apply to my practice this week. Rather than finding frustration with the movement that is not working, I was able to allow my body to relax to create the flow of movement. ‘Releasing is not simply release of excess muscular tension but releasing deep physical pre-conceptions as well’ (Lepkoff 1999) without this apprehension in my mind my body felt free to move this not only helped my confidence grow, it also allowed for a stronger connection between me and my partner’s enabling us to experiment with new movement without hesitation.

I hope to eventually be able to confidently explore ‘never-before-seen movement pathways, the never-before-experienced physical sensations, or the never-before-imagined relationships with another person that emerge from the experience of dancing Contact Improvisation’ (Lepkoff, 2008).

Bibliography:

Contact Improvisation: A question? Daniel Lepkoff. May 2008. Full text available at http://www.daniellepkoff.com/Writings/CI%20A%20question.php
What is Release Technique? Daniel Lepkoff. June 1999. Full text available at http://www.daniellepkoff.com/Writings/What%20is%20Release.php