Contact improvisation

Contact improvisation “jam”

Contact improvisation (CI) is a dance technique in which points of physical contact provide the starting point for exploration through movement improvisation. Contact Improvisation is a form of dance improvisation and is one of the best-known and most characteristic forms of postmodern dance.

History

The first performance work recognized as Contact Improvisation is Steve Paxton's Magnesium (1972) which was performed by Paxton and dance students at Oberlin College at Warner Main in Warner Center. Five months after Magnesium Paxton led the first Contact Improvisation performance series at the John Weber Art Gallery in New York City where dancers performed Contact Improvisation in marathon fashion on mats.

Practice and theory

Contact Improvisation (also referred to as "Contact" or "CI") is a 39-year old dance form^{[citation needed]}, practiced as both a concert and social dance form. In the performance context, Contact Improvisation is used either as a dance practice end-to-itself or as a dance research method for identifying new set choreography. Weekly meetings of practitioners that take place world-wide are called "jams," in which participants participate and watch as they choose over the course of 2-4 hours. Dancers practice both known CI technique and conduct new dance research with different partners or groupings over the course of a Jam session. The name "Jam" is used in keeping with its use by contemporary musicians, who come together to spontaneously explore musical forms and ideas, with some group agreement about structure and duration of the exploration. While there is now an established CI Fundamentals technique, CI dance vocabulary is not closed, so all who practice the form contribute to the constant expansion and greater understanding of the dance form's vocabulary, which is exchanged and taught among practictioners world-wide via regional jams, classes, week-long festivals, both print and online publications and, since its inception, via video in a process of dancing/watching/refining. While CI dancers usually stay touching or in physical contact for much of a dance, a CI dance can occur in which partners never touch yet there is a clear "listening" and energetic connection/intention that creates the "contact" of their shared dance. CI practitioners may also draw on other Somatics and New Dance approaches such as:

• 5Rhythms
• Alexander Technique
• Acrobatics
• Acroyoga
• Adagio
• Body-Mind Centering
• Cognitive science
• Emergence
• Feldenkrais method
• Eutony
• Gymnastics
• Ideokinesis
• Kinetic Awareness
• Laban Movement Analysis
• martial arts, especially Aikido, T'ai chi ch'uan and capoeira
• Newton's laws of motion
• Parkour
• Skinner Releasing Technique
• Tango
• Yoga

When used as a choreographic technique, movement sequences that emerge during Jam research or rehearsals may be adapted and set to form a part of set choreography, or a score (a set of rules or limiting factors and transitions) may be employed to give dancers a structure to navigate through a performance. CI Scores can have few or many rules, (less rules are referred to as more "open" scores, more rules or closer to set choreography are more "closed" scores).

See also

• Steve Paxton
• Nancy Stark Smith
• Lisa Nelson
• Nita Little

• Grand Union
• dance improvisation
• Judson Dance Theater
• Choreographic technique
• List of dance style categories
• choreographers
• List of Contact Improvisation festivals

Further reading

• Novack, C, J. (1990) Sharing the Dance: Contact Improvisation and American Culture. University of Wisconsin Press. ISBN 0-299-12444-4
• Pallant, C. (2006) Contact Improvisation: An Introduction to a Vitalizing Dance Form. McFarland & Company, Inc. ISBN 0-7864-2647-0
• Tufnell, M. and Vaughan, D. (1999) Body Space Image : Notes Toward Improvisation and Performance. Princeton Book Co. ISBN 1-85273-041-2
• Encounters with Contact; Dancing Contact in College (2010); Edited by Ann Cooper Albright, with Katie Barkley Kai Evans, Jan Trumbauer, David Brown and Rachel Wortman. Oberlin College Theater and Dance. ISBN 0-937645-13-3
• Barrios Solano, M. (2004) Posthuman Performance: Dancing within Cognitive Systems. http://dancelab1.dance.ohio-state.edu/~barrios/cord.html
• Paxton, S. (1997) in Fall After Newton. Videoda / Contact Collaborations, Inc. (video)
• Stark Smith, N. (1987) in Fall After Newton. Videoda / Contact Collaborations, Inc. (video)
• Touchdown Dance (2002) Contact Improvisation http://www.touchdowndance.co.uk/graphic/contact_improvisation.html

External links

• Contact Quarterly serving the international dance and improvisation community since 1978, publishing an internationally recognized dance and improvisation journal.
• Article: "Contact Improvisation Comes of Age" - Elizabeth Zimmer, "Contact Improvisation Comes of Age" Dance Magazine, June 2004.
• Making Contact: Contact Improvisation in Israel - Introduction to the Israeli scene of contact improvisation.
• CIRF: Contact Improvisation Research Forum organization based in San Francisco, CA, USA, curates year-round CI training, mentorship services and annual exchange (WeCITE) for teachers, performance and Jam programs, and, since 1987, annual WCCIF festival/symposium each July.
• Contact Improvisation in Sweden - Jams, classes and workshops in Sweden.
• OPAL Contact Improvisation Photo Gallery
• Kontakti-improvisaatio Finland.net - Contact improvisation in Finland. Brief info and timetables.
• www.contactimprov.it - Contact improvisation in Italy - Jams, Classes, Workshops and Performances.
• www.mimecare.com - Contact improvisation and mime in Italy with Francis Calsolaro
• www.contactimprovisacion.com - Contact improvisation in Argentina - Festin Mundial de Contact Improvisacion - Contact Improvisation Worldwide Festin