Contact Improvisation's 36th Birthday Celebration
BRISTOL (Gurt Lush), UK - HARVEST
Alan:
Someone else contributed one of their hairs to my finger painting; it brought a great delicacy to the painting.
Inma:
Something at the beginning was very peculiar. Just by lying on the floor there wasn’t music, but there was music coming from inside of me; all of my emotions started coming up. My fingers flicked and the feelings came through them and a song about the fingers came to my head. I could have stayed there forever, but there were a lot of distractions from outside. I felt that my fingers were making the distractions; it was a dance of inside and outside. My father was there…
Jamus:
A Jigsaw puzzle of limbs, sewing with limbs.
Childhood aggression, yeah, not attached to who wins but enjoying the fight, different creative fights. (Alan felt he had a weird Japanese stylised fight with Jamus. Agneska felt it was more playing than fighting, Itta felt it was very healthy and that it was supported by everything that came before it in the Score.) I felt like the dance with Agneska started and stopped many times, like a thread, it took me through the Score; a thread of learning.
Itta:
In one dance, we were so close, face-to-face. Usually I am careful with my distance, but we were pulling against each other, suddenly the safety disappeared and we were face to face.
Emilia:
Dancing a trio plus a ball was a very round dance. I felt a lot of attraction today, actually to all of you. I felt a lot of softness, lightness, play. I was enjoying it a lot. With Alan I had a steady movement and then these crazy movements.
K’lo:
I found it really difficult to be here. I haven’t been dancing at all for a while. Each time I plan to, I get ill with a cold. What being here effectively did very quickly, was to be put in my body. I started to feel and the wealth of feeling was so strong. I didn’t know how to express the depth of what I was feeling. I feel there is not a lot of space for “emotional contact” and normally I can deal with it in other parts of my life. But today it came up strongly, I couldn’t express it, so I collapsed. I asked myself, “In my collapsed state, what would make me move? I am moving deeply inside. What is it that’s moving?” The answer came, my movement was about pain – physical and emotional. Almost by going into it I was able to come back out of it. I wanted to be here, playful and fun, but actually I am fucking miserable.
I stepped out and witnessed a lot. I saw these amazing accidental shapes and patterns. At one point you were all lined up on the floor – did anyone have a sensation or memory of it? I made a lot of sounds. It was hard to come and yet I’m very glad that I did come. Energy was so lively as well as grounding.
How do you dance through the deep desire for a cup of tea? We decided there needs to be a new symbol especially for the Brits. It should be a picture of a cup and saucer with arrows going in and out. We think it’s the British version of The Gap. We call it “Tea break – the British Gap”.
Jocasta:
As we stood outside in the playground dancing smalley, two cats weaved sensually in front of us, far and near.
Alan:
In the small dance I remember that the air was coming in; the smell of the sea was there. An Atlantic breeze was coming all the way over from America. The sea gulls were crying for us.
Then he turned to Emilia and says,“I hope I’m always there to catch you Emilia when you do those amazing backwards dives”. Emilia replies, “I love to do them with you and I trust that you will always be there to catch me”.
Agneska:
Although it was physical dance, I just disappeared totally. I just forgot. I forgot about gender. I found myself doing something with Jamus which was totally unacceptable. It felt like pushing forward a stream of energy and receiving it back.
www.contactdance.co.uk
Someone else contributed one of their hairs to my finger painting; it brought a great delicacy to the painting.
Inma:
Something at the beginning was very peculiar. Just by lying on the floor there wasn’t music, but there was music coming from inside of me; all of my emotions started coming up. My fingers flicked and the feelings came through them and a song about the fingers came to my head. I could have stayed there forever, but there were a lot of distractions from outside. I felt that my fingers were making the distractions; it was a dance of inside and outside. My father was there…
Jamus:
A Jigsaw puzzle of limbs, sewing with limbs.
Childhood aggression, yeah, not attached to who wins but enjoying the fight, different creative fights. (Alan felt he had a weird Japanese stylised fight with Jamus. Agneska felt it was more playing than fighting, Itta felt it was very healthy and that it was supported by everything that came before it in the Score.) I felt like the dance with Agneska started and stopped many times, like a thread, it took me through the Score; a thread of learning.
Itta:
In one dance, we were so close, face-to-face. Usually I am careful with my distance, but we were pulling against each other, suddenly the safety disappeared and we were face to face.
Emilia:
Dancing a trio plus a ball was a very round dance. I felt a lot of attraction today, actually to all of you. I felt a lot of softness, lightness, play. I was enjoying it a lot. With Alan I had a steady movement and then these crazy movements.
K’lo:
I found it really difficult to be here. I haven’t been dancing at all for a while. Each time I plan to, I get ill with a cold. What being here effectively did very quickly, was to be put in my body. I started to feel and the wealth of feeling was so strong. I didn’t know how to express the depth of what I was feeling. I feel there is not a lot of space for “emotional contact” and normally I can deal with it in other parts of my life. But today it came up strongly, I couldn’t express it, so I collapsed. I asked myself, “In my collapsed state, what would make me move? I am moving deeply inside. What is it that’s moving?” The answer came, my movement was about pain – physical and emotional. Almost by going into it I was able to come back out of it. I wanted to be here, playful and fun, but actually I am fucking miserable.
I stepped out and witnessed a lot. I saw these amazing accidental shapes and patterns. At one point you were all lined up on the floor – did anyone have a sensation or memory of it? I made a lot of sounds. It was hard to come and yet I’m very glad that I did come. Energy was so lively as well as grounding.
How do you dance through the deep desire for a cup of tea? We decided there needs to be a new symbol especially for the Brits. It should be a picture of a cup and saucer with arrows going in and out. We think it’s the British version of The Gap. We call it “Tea break – the British Gap”.
Jocasta:
As we stood outside in the playground dancing smalley, two cats weaved sensually in front of us, far and near.
Alan:
In the small dance I remember that the air was coming in; the smell of the sea was there. An Atlantic breeze was coming all the way over from America. The sea gulls were crying for us.
Then he turned to Emilia and says,“I hope I’m always there to catch you Emilia when you do those amazing backwards dives”. Emilia replies, “I love to do them with you and I trust that you will always be there to catch me”.
Agneska:
Although it was physical dance, I just disappeared totally. I just forgot. I forgot about gender. I found myself doing something with Jamus which was totally unacceptable. It felt like pushing forward a stream of energy and receiving it back.
www.contactdance.co.uk
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Beginning Small dance .jpg, 71 KB -
In the mirror.jpg, 48 KB
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Klo bonds with the earth.jpg, 38 KB
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