Contact Improvisation is a form of dance improvisation and is one of the best-known and most characteristic forms of postmodern dance. Regardless of those aesthetic choices, the central characteristic of contact improvisation remains a focus on bodily awareness and physical reflexes rather than consciously controlled movements. In the right hands, repeated phrases and movements … Some people perform it, others do it as a practise or discipline. http://www.youtube.com/watch?v=j3Icyn7qky8 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.[28]. An erotic dance that a stripper performs while straddling a customer's lap. 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. "[25], The "round robin" is the most frequent structure of performances, this happens where small groups of dancers arrive in the center of a supporting circle of other dancers, who can at any time integrate the couples and replace one of the two dancers. A style and technique based on improvisation, in which the dancers support and utilize each other's body weight while in motion; attributed to dance artist Steve Paxton working in the United States, beginning in the 1970's; normally performed as a duet and without music, the emphasis is on touching, falling, lifting, leaning, sliding, counter-balancing, and supporting the weight of another person. Universal and versatile character of Contact Improvisation, its simplicity and positive health impact attract not only artists, but everyone who likes dance, movement and communication with other people. Following the first performance of Contact Improvisations in New York in 1972, the participants scattered to different parts of the United States but soon began to teach the practice. What does lap dance mean? It was a dance in which six to seven dancers were invited to form together an agglutinated mass of which one by one they detached themselves to gradually reintegrate it, thus testing the tactile, olfactory and weight sensations. Steve Paxton, along with other pioneers Nancy Stark Smith, Danny Lepkoff, Lisa Nelson, Karen Nelson, Nita Little, Andrew Harwood, and Ray Chung, thus participated in creating an "art-sport," oscillating between different emphases depending on the moments and personalities who practice it: Formally, contact improvisation is a movement improvisation that is explored with another being. Taking distance from the dance, she watched a lot through the eye of the camera and pursued personal research on the collaboration between the senses, in particular on the organization of kinaesthesia in relation to the way in which vision works (a practice later known as the "Tuning Scores"). The term "contemporary" is somewhat misleading: it describes a genre that developed during the mid-20th century and is still very popular … [21], These residential events (workshops, festivals, long jams) represent a parallel economy that invited the creation of dedicated spaces of practice, the model of which was provided very early by Earthdance, a residential center built in 1986 by a Boston community of dancers.[22]. Though, this is a dance term commonly used to name a dance trend that was born in the late XIX century and lasted till around the 1950s. The dancing is unpredictable and inspired by the physical and energetic contact the partners share. Subsequent exchanges have been organized since 1985 and hosted each year by a different European country. Dance blog Dance. For others, it's a process for finding new choreographic ideas. The first dance associated with hip-hop was break dancing. "[48] Similarly, a number of early contactors – such as Keith Hennesy, Ishmael Houston-Jones, Bill T. Jones and his partner Arnie Zane – participated in the struggles for LGBT rights in the wake of the AIDS crisis of the 1980s. In this form one learns to stay in integrity with each choice, never forcing, never rushing. 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. [32], Contact Improvisation involves technical aspects or "moves" that support the duets and create a recognizable style of movements: shoulder and hip lifts, head-to-head improvisation, table-top position (being on all fours, supporting the weight of the partner on the back), surfing (rolling on the floor, being "surfed by" the partner), and aikido rolls.[18]. There is a sweet surrendering that happens when our bodies stay faithful to what is happening now, and now... and NOW! [43], Simone Forti, for instance, developed Huddle in the 1960s. For several weeks, he offered Oberlin students two sets of practices: The meeting of these practices gives rise to Magnesium,[11] a twenty-minute long piece where dancers perform on gym mats, jump and bump into each other, manipulate and cling to one another. The abdominals include the rectus abdominus, the obliques, and the transversalis. This definition is here only for the sake of those who are surfing the Web and stumbled onto this page. Perform actions or shapes that are similar to but not exactly the same as another dancer’s. [16] One of the founders of the form, Daniel Lepkoff, comments that the “precedence of body experience first, and mindful cognition second, is an essential distinction between Contact Improvisation and other approaches to dance.”[17] Another source affirms that the practice of contact improvisation involves “mindfulness, sensing and collecting information”[18] as its core. Some moments of the practice clearly refer to activities explored in the practice of Contact: The explorations envisaged in the first moments of contact improvisation are not specific to the collective led by Steve Paxton. [20][13] The journal, now co-edited by Nancy Stark Smith and Lisa Nelson, brings together different reflections of contact improvisation teachers and practitioners and cements an international community by equipping it with a communication organ, as well as hosting several other orders of reflections, including writings by contemporary dancers and somatic practitioners. From The Dictionary of Dance Steve Paxton proposed the following in 1979: The exigencies of the form dictate a mode of movement which is relaxed, constantly aware and prepared, and onflowing. 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. Remembers dancer Mark Pritchard, The 1979 Country Jam was a first of its kind in the Contact world: over fifty people from the western United States and Canada came together for twelve days of non-structured existence, life and dance: neither a workshop, a conference or a seminar, but an improvisational gathering, with the sole aim of creating a space for dancing and living in flux... Our days were without structure, except for meals: at the beginning, we planned to keep 90-minute slots for the courses, but the idea was quickly abandoned thanks to a system based on Supply and demand, in which each could suggest a topic to be dealt with and offer to lead a class. b. An implicit attribute of movements such as tendu, glisse, and grand battement. Dance for camera. Contact Improvisation is a dance form originally referred to as a "art-sport" in which the point of contact with another dancer provides the starting point for a movement exploration. It involves the exploration of one's body in relationship to others by using the fundamentals of sharing weight, touch, and movement awareness. Merce used techniques such as dice rolling, coin flipping, and improvisation to create his dances. es v.intr. In 1980, they created the association Danse Contact Improvisation and began to teach themselves, mostly in pairs.[26]. According to one of its first practitioners, Nancy Stark Smith, it "resembles other familiar duet forms, such as the embrace, wrestling, surfing, martial arts, and the jitterbug, encompassing a wide range of movement from stillness to highly athletic."[8]. [36] Dancers are dressed casually (sweat pants, T-shirts) and performances can happen in many venues, including theaters, bookstores, galleries. I've never seen a definition of Contact that I really liked. In fact, many of the most renowned nondisabled Contact practitioners (including Steve Paxton), spend a lot of time teaching, facilitating and dancing with disabled communities. What is Contact Improvisation? The network of social practices or amateurs of contact improvisation has spread to all the continents except Antarctica,[20] with a particularly intense presence in the Americas, Western and Eastern Europe, Finland, Russia, Israel, Japan, Australia, India, China and Malaysia, as evidenced by the regularity of the jams, festivals and weekly courses taught in these countries. They do not strive to achieve results, but rather, to meet the constantly changing physical reality with appropriate placement and energy. It became one of my favorite practices and I proceeded to "do flow" for many years-challenging it, testing it: could we flow through this pass? "[13][37] It consisted of a score serving as a descriptive and prescriptive base for the practice of group improvisations. In the 1970s, Judson Church dancer and choreographer Steve Paxton, in collaboration with other post-modern dancers, developed Contact Improvisation. workshops and classes • moti's FREE (7) Tizabella Dance Pictures. http://www.contactfest.in.ua/eng/about. Its homes were Germany (and surrounding countries) and the United States. As a basic focus, the dancers remain in physical touch, mutually supportive and innovative, meditating upon the physical laws relating to their masses: gravity, momentum, inertia, and friction. Definition of contact in the Definitions.net dictionary. American dancer and choreographer Steve Paxton originated contact improvisation, drawing from his past training in aikido, a martial art form, to explore and push boundaries with his colleagues and students to develop this new practice. Full wikipedia definition and history here. Definition of Contact Improvisation from Wikipedia Modern Dance: modern dance could be considered as a synonym of contemporary dance as in some cases they share aesthetical or ideological characteristics. 1. [33], Steve Paxton insisted on this aspect with the concept of "interior techniques" involving in the dance practice a training of perception,[34] resting on investigations based on the sciences of the senses (physiology, experimental and ecological psychology, anatomy, and behaviour sciences). What is Contact Improvisation? They presented it in the form of a permanent afternoon practice for five days, at the John Weber Gallery in Manhattan, which at the same time showcased a film by George Manupelli, Dr. Chicago, and where spectators could come and go as the practice continues.[12]. An implicit attribute of movements such as tendu, glisse, and grand battement. An egalitarian form, contact improvisation is available to movers of any ability. 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