Month: October 2017

The use of weight shifts and incorporating tools learnt over previous sessions .
I found a phenomenological approach to choreography when finding flow and fluidity. I searched my thoughts and opinions focussing upon the mind/body and how they work in an intrinsic accompaniment approach. We are told about ‘body doing’ and ‘mind doing’ (Sheets-Johnstone,M. 2017 p9) From these inclinations I found it necessary of how both create a full perception of movement. Creating a ‘mindful body’ showing there is no separation and therefore work together.

I found great attentiveness with this reading ‘A Question?’ (Lepkoff, D. 2008) we are informed that ‘Perception follows attention.’ (Lepkoff, D. 208) I feel that this argues consciousness of phenomenal experiences, questioning the consciousness and attention; to explore the form of feelings, sensations, perceptions and memories. This quote made me think back to our session on Lead and follow, drifting through the space with eyes closed, initiating the movement from the head, the partner moving the head for us. I had no vision, so was I conscious or unconscious during this process?

‘Stuck in table top’ a reading given to us by Kirsty earlier in the week. I can certainly relate to this feeling of being stuck in table top I definitely did in the first Jam this week. I was thinking too much instead of just ‘letting go’. We are told ‘No one ever said they table top is a static position or a destination point’ (Richard, 2012) I approached this idea during my improvisations, realising how often I do hold table top, so I attempted more fluidity to enhance momentum for on going explorations.

Tools:
Pebble
Aikido roll/table top
Surf& roll
Table top- roll backwards/forwards
I was super excited when told we’re going ‘up’ using the middle kinesphere of the body. I struggled to lift people smaller than me, as there was a lot of pressure on my knees, I was therefore aware that I have weak knees. There was difficulty amongst lifting a body that is different shape and size to me, when trying to jigsaw my spine.
I found the first Jam daunting and felt challenged when attempting to use the tools within an improvisation. However I pursued and fought through the journey, playing with movement tools creating fluidity, unfortunately on numerous occasions we fell on each other or bodies gave way so was hard to concentrate and keep focus, however we composed ourself after a times.
I was anxious about the second Jam as to how it would go as the initial did not go as I’d of hoped however I was really pleased with the second, I worked with the quality of movement finding the relaxation and sensations within the tools, fluidly moving into explorative ideas, trying out new ways of movement. I found I had more play within my improvisations today.

 
I was curious how to enter space when a duet is in process, can it be disturbed?
Will we work as a trio?
Will someone leave the space? What movement tools can we use?

How explorative can we be with more than 2 bodies?
I involved myself, I entered the space sitting back to back with Jess M and Charlie awaiting who would initiate movement. The anticipating was intriguing. We shuffled across the floor, Charlie left the space, so myself and Jess connected and reformed our contact, Jess moved my left arm and created interesting explorations of lead and follow, testing the touch improvisation of taking turns until a tool explored. I had never improvised with Jess M before, I did thoroughly enjoyed finding myself and partners limitations. We were fully engaged throughout and listened to one another’s body. We took influence from previous sessions building a challenged contact improvisation, I felt reassured by my partners contact, I worked positively within this Jam and took a lot of understandings from trial and error.

Lepkoff, D. (2008) Contact Improvisation: A Question, 1-2. Available from: http://www.daniellepkoff.com/Writings/CI%20A%20question.php [accessed 25 October 2017]

Richard (2012) You don’t have to stop moving in table top- be an underdancer [blog] 22 December. Available from: http://contactimprovblog.com/you-don’t-have-to-stop-moving-in-table-top-be-an-under-dancer/ [accessed 25 October 2017]

Sheets-Johnstone, M. (2017) Thinking in Movement. Contact Quartely, Vol 42:1, pp.7-12Ok

I was invited to the space to delve into a creative research lab, I was partnered with Hannah, a new body that I had worked with,  working with manipulation of one another’s movement by initiation. Firstly we improvised with vision (eyes open) and were later advised to close the eyes, throughout this exercise I felt I had limitations to explore. Therefore because I was unable to see where my partner was, I tried to avoid the vulnerable parts of the body such as the ankles and legs. I also had sensations and connections with the floor, I felt safer to be grounded so this is why I did so. I was also concerned of other bodies in the space, my partners and my own. The group administering the instructions spoke clearly and were easy to understand, when asked to stand in a line we were informed we would be placed with new partners I was curious to who my partner would be, however I initiated movement by my hand attempting to sense my partner and due to this I knew it was Hannah as I had just danced with this body and just touched this persons hand. I fully relaxed and tried to keep concentration throughout as we did stumble into other bodies a few times as our eyes were closed, so at times this broke focus but the group taking this research lab had thought about safe practise and this as a risk and they helped gravitate myself and my partner away from other bodies by touch, I was comfortable during this exercise as I felt the group had our best interests and would take care of our bodies when our vision was out of use.

Enhancing the. knowledge of surfing and rolling during our Thursday jam session, attempting new variations from seated positions, keeping the connectivity and not allowing the bodies to loose contact, following the movements with fluidity. Exploring the weight transference from table top to rolls exchanging weight through both bodies, relaxing the full body weight to acknowledge the quality of movement and sensations.

Kirsty informed us that” The quality of movement will depend on grade levels” so I will work in this mannerism as I did today to concentrate for safe practise and enjoying the challenges which arise.

Throughout this lesson I felt the ‘Sensing weight in movement’ (Ravn, S. 2010) reading made more  sense when challenging my body to relax into another body, feeling the sensations of movement rather than what it looks like, taking time to connect and finding contact. I was able to think about weight tranference and how to move with the weight, I enjoyed this session. We are informed that ‘across the different qualia and content of the dancers’ subjective experiences two dimensions of self-consciousness could be recognised. In one dimension the physical mass of the body is objectified and related to scrutinisation of sensations’. I understood this as examples of how the body move, with the sensations of smaller movements(1-D)  it is harder to notice the sensations and relation to the body, however it is easier to see the sensations with a 2-D movement as it is usually bigger and initiates from a body part, making the sensations more noticeable than small(1-D) internal movements.

‘Sensing weight in movement’. Full text available by: Ravn, Susanne Journal of Dance& Domatic Practised, 2010, Vol. 2 Issue 1, p21-34,14p.

Focus was drawn to the head and eyes during this session, I thoroughly enjoyed learning new interesting experiences, and having the thought of how to create work that makes people think, as I learnt from discussion of Simone Forti.

What do viewers think when show my improvisations?

Can viewers notice my mindful acknowledgement to specific body parts?

Observing Steve Paxton’s ‘magnesium’ (1972) I realised the quick movement stemmed from momentum, the dynamics of throwing and chucking were used. There was many tricks and skills of flying and falling. I saw great opposition to the Blake Neils and Brando piece (2010) as the movement was clearly based upon feeling the sensations of the partners body, how different touch techniques, such as brush, tap, swipe, push, pull can stimulate new explorations of movement.

I enjoyed the relaxing feel of holding the head with a partner and allowing the skull to have freedom off the shoulders, I experienced this with Kirsty, I was repetitively told to give my weight and relax my head, I imagined my head sinking into slime, nestling the head into the floor, I was lay on the floor visioning sinking in the floor. Until I experienced controlling my partners head I did not realise how heavy the head is. Within the reading ‘Steve Paxtons’s Interior Techniques’ (Turner, R. 2010) we are informed about ‘Hierarchial power relation’ (p125) understandably meaning to be controlled and to control, also thinking about no one being the leader. I questioned how no one is the leader, I concluded that there is equal hierchary during an improvisation if followed without the rule of controlled and controller.

We explored the findings of the head leading, with eyes closed. Our partner followed us around the space as we moved with our head, exploring with the head was an unusual experience, I didn’t quite enjoy this sensation however with my eyes closed I did feel more comfortable leading by the head rather than with eyes open.

We used the engagement of the pelvis also to relax on the spine, feeling the soft relaxing connection, this was in a pebble shape created by the body and in downwards dog. Understanding the body to give weight and transfer it correctly has been a big learning curve for me. I also enjoyed two bodies connected by the skull rolling with consistency and accuracy to remain safe during practise.

The last task we explored was a headstand over another body using enough momentum to get to the opposing side. I was terrified as I had never done a head stand and feared falling or injuring myself, Rayanne however influenced me to try and I did and I was pleased with myself that I did it, but I realised finding the correct placing on the spine is very important as the back may collapse. Overall this lesson was linked in contrast to the eyes and head using new ideas and concepts.

 

Forti, S. (2005) The Movement of Attention. The Movement Research Performance Journal, 29 (Spring), Available from http://daniellepkoff.com/writings/Daniel%20Simone%20Interview.php [accessed 15 October 2017]
Paek, S. M, (2015) Beginning, approaching, practicing, dancing. Contact Quarterly, Vol 40: 1, pp. 36.
Steve Paxton (2010) Interior Techniques: Contact Improvisation and Political Power. Full Text Available By: Turner, Robert. TDR: The Drama Review, Vol. 54 Issue 3, p123-135

 

 

 

Discussions surrounding the reading Touch: Experience and knowledge (2011) informs us of touch being a lead, a stimulus.  I personally feel that this article informs a lot of knowledge however comes across as repetitive just wrote differently. I also have strong opinions about safe practise and making touch meaningful this reading shows this clearly, adding on to this we are told about quality and quantity therefore suggesting the sensations of touch.

‘Touch has a concept of what exists outside us, this is based upon a sensation’ (P218) I experienced this during class when focussing on surfing and rolling, I had my eyes closed to concentrate and focus on sensations fully, I felt my partners clothes brush against me. I flowed through the movement with a relaxing manner.

The reading influenced how I feel within an improvisation, focussing on absorbing the feeling to experiment future engagements and trusts with others. We have been told in many readings and by Kirsty that ‘when you are touching something, it is touching you back’, this is called the reversibility concept, I used this method of thinking during class and made it my focus, how touch leads to a connection and connection leads to trust? I have not yet arranged an answer to this question however I assume I will in further movement experiments.

We communicated amongst the concept of ‘what is performance?’, everything is performance. I reminisced on our past experiences with ‘what is performance’ from last year with improvisation, it was clear to me that many things can be performance and there does not always have to be a correct answer.

I stumbled across this word in the reading and was mentioned during discussion, ‘Proprioception’ I understand this as sensations of movements caused from a felt sense, so touch as an example and how the touch has been placed with the pressure and speed used, how this can change an intention or idea with movement within our conscious and unconscious mind. Sensory receptors feed the body information about movement or placement pressure. I reminded myself to think openly about sensations in the body for Jam to experience ‘Proprioception’.

I explored that I needed breath to initiate the movement ‘Surfing and rolling’ over a partner’s abdomen and spine, which I previously mentioned within this blog. Finding the spinal connection when sitting with the waist arch, communication was used throughout with the partner to discuss weight transference and to check the partner was comfortable. I was sat observing other bodies move, noticing their habitual movements.

 Observations of bodies with habitual movements.

 Witnessing the connectivity of ‘Surfing and rolling’.

Jam; I was first to enter the space in jam, Chloe joined me. I could feel the anticipation for someone to enter. I felt very anxious, although I attempted my own improvisations connecting with just eye contact with Chloe, I then became more adventurous and comfortable during the space. I entered and exited 4/5 times, I found myself forming new or different relationships with bodies I had not explored with before and bodies I had. I appreciated responses bodies gave to me. I used the movement tool ‘surfing and rolling’ which we had learnt in the previous class, I negotiated with the bodies when and who would administer each role throughout the improvisation.

I thoroughly enjoyed our first jam and I received positive feedback from peers, Georgia stated ‘you make nice relationships with everyone you improvise with’ Rayanne said ‘your improvisations were really good today, it looked nice in your body’ these comments made me feel more confident about my improvisations and I will take them into consideration when exploring in future.

Touch:Experience and knowledge. Full Text Available By: Bannon, Fiona; Holt, Duncan. Journal of Dance & Somatic Practices, 2012, Vol 3 Issue ½, p215-227

https://www.google.co.uk/amp/s/cpdfordanceteachers.com/2012/05/31/what-is-proprioception/amp

Proprioception Definition- ‘The unconscious perception of movement and spatial orientation arising from stimuli’

www.dictionary.com/browse/proprioception

 

Interesting associations I found from the reading Moving from the Skin (p258) “We can never touch just one thing; we always touch two at the same instant, an object and ourselves” therefore I questioned my clothing, the awareness of how clothing may influence movement as a connection of touch, also the floor and walls how can I inform movement from my surroundings, exploring different textures. How can this create stimulus?

I am aware of expecting the unexpected when exploring the method of contact improvisation however watching Angela Donny and Athos; my eyes were opened to the understandings of risks and the felt connection of partner/contact work. Both dancers are professionals which is shown clearly through the compatibility with one another, however when a surprise appears they didn’t become awkward they followed on and read each other’s body, awaiting for something to give, I learnt from this that even if a movement or reaction does not fit, carry on and explore with it as far as possible and keep the flowed motion.

https://www.youtube.com/watch?v=F0OmQaLaj6c

Throughout our first session we incorporated partner work and focussed our learnings moving with new bodies, I came across new experiences they felt very natural and the task undertaken fulfilled the questions I initially had, when asked to move by ‘Lead and follow’, How will I continue if I forget to initiate movement or touch my partner in a procedure by taking turns? What if I do not connect with my partner? I took these in to consideration with each new task, I felt questioning my choices after I had undertaken the activity was helpful for my learning process.

Important views from my peers during discussion for feedback, “Execution, fluidity and correct points of contact” I explored the same point of contact a few times but experimented in how I touched the point (push/pull/drag/pointing/finger walks). I wanted to find how the difference in touch influences new movement for my partner.

I felt I had to find myself during explorations of contact, continuously making own choices without thinking about how and where to move. “Gel well with Sammy, there is chemistry/connection” I agree with this comment, I feel that our bodies link well together. When observing other partners I realised my own movements are grounded and focussed to the floor.

Each exercise we attempted was formed by trust. Some bodies I gelled with well but others I did no. I enjoyed finding this information from the bodies I didn’t connect well with as I may try to explore this further at another time. I now know my habitual movements as I could feel that I was trying to think when working with bodies I could not gel with. Although the bodies I connect well with allowed instincts to respond and move naturally to flow, feeling the connection.

Weight bearing exercises were challenging, I found some bodies had different risk levels this was a good experience, and I found out that my body allowed more risk than other bodies did. I found that in the reading leading& Following by Hassmann, J (p44) speaks about the stretch “I can explore the maximum stretch before the point of contact starts sliding, and I can play with a sense of swimming in and under my skin when frequently changing directions” I understand this as exploring how far the contact can be challenged within touch and direction, Hassmann speaks of his own experiences and how he explored the stretch of limits and boundaries with one partner.

Concluding my first session of contact improvisation; it has been a learning curve, that of many questions I have enjoyed the experience and look forward to learning many more skills. The readings have become clearer after class, it therefore helps my understandings.

Hassmann, J. (2017) Leading & following: focusing on the communication in and under the skin. Contact Quarterly, Vol 42: 1, pp. 44

Heitkamp, D. (2003). Moving from the Skin: An Exploratorium. Contact Quarterly/ Contact Improvisation Sourcebook II, Vol. 28:2. Pp.  256- 264