Contact Improvisation's 36th Birthday Celebration
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Nicolas Cottet
- Male
- santiago de chile
- Chile
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- How long have you been involved with Contact Improvisation?
- 5 years
- Who was your first Contact teacher?
- Florencia Martinelli, Uruguay
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Para listar el evento trayecto, si queres lo hago yo, se que el ingles no es facil xa vos.
Para incluir fotos, podes hacerlo desde tu pagina en ci36 community site, directamente las pueden ver todos. Seria bueno que le spongas el titulo de Trayecto 3,6, para darles un marco claro.
Tabien nos gustaria que adjuntes el afiche (el titulo, poster, trayecto3,6) asi es facil de encontrar, si lo tenes en una resolucion mas alta mejor, xq vamos a imprimirolos para mostrar todos los eventos satellites en juniata.
Si podes tambien bajar el doc del afiche de encuentor ci, en la resolucion que usaste para la imprenta genial!
Si te es mucho lio, o dificil, mandame todo a mi y yo los ayudo.
besossssss
dani
Si tenes el doc del
Bond, a little word that embodies what was created during this experimental Contact week. A modest classroom in Universidad Metropolitana de Ciencias de la Educación (UMCE) welcomed more than 40 people: teachers, assistants, musicians, students, translators and the spectators.
Each day an eight-hour improvisation session, open and free jams, a historical lecture and the more interesting, artistic, gspontaneous and creative Danced Conference I have ever been to.
The classes were headed by seven guides, they were from Germany, Argentina and Chile (Valparaíso and Santiago). The invitation to the teachers was open, each one of them directed their classes freely in terms of what and how they were to teach. Diverse methodologies, practices, approaches, objectives, contents, principles and experiencies emerged and there is no question that all these together cultivated historic reflections about the Contact Improvisation (CI) teaching and learning process.
What is Contact, does it have any kind of definition, how is the material delivered, what is the relation established between teacher and student, does any common methodology exist, is the use of tact necessary, is improvisation essential, which are the CI limits, what group of principles conformn the CI, does it establish any rules? Infinite questions arise but these need not be answered, the single fact of reflexibility about this topic is the greatest achievement of the gathering.
There are two methodological elements that must be highlighted within the process. These elements contributed greatly in creating links between the participants and in the playing out of the an amazingly fast collective learning process. On the one hand, the use of the “swimming pool”: daily space of collective verbalization post class experiences. A free participation space in which we could label sensations, doubts, wishes, comments, complaints, acknowledgments, moods, with any word or sound we wished to be shared with the group. On the other hand, from the daily jam sessions, which allowed us to assimilate the contents in a ludic and destructured way made the material appropriation process more dynamic and at the same time, to stimulated the liberation of contact dance, where the necessary irreverence and irony essential in every improvisation emerges.
It is possible to distinguish fundamental criteria shared by the seven teachers in the gathering. However, differences are what become interesting in themselves. Every vision about the CI is unique, the teachers’ hybrid formation was manifested in each class and the way in which each student embodies the material is different at the same time. Flexibility is essential all the time, when being able to listen to the guide’s proposal, in the presence of the state of our own bodies and with the person with which we establish the dialogue. Within the endless shades and proposals of all the teachers who were accompanying us, it is necessary to thank and try to capture the essence of each point of view from all of them, and to discover the approach of every activity, even simple or explicit ones. Dicovering what distinguishes and what unites them it is essential during this great week.
Cristián Espejo: Pay attention to the generated information every minute in the improvisation: take the gesture and the sensation as movement stimuli. Watch the speech that is proposed by corporality itself and the interpersonal link. Establish the “Emptiness” as absent contact perception, emptiness to be filled with the other, permanent wish in the “otherness” of the body and the incompleteness as the prime mover of CI. Contextualize improvisation, fill it with spontaneous content and reread it from distinct points of view.
Paula Sacur: Agile and ludic transit between CI’s principles and contents. Ability to enter in the material in a direct way, without preambles nor hesitations. The contact as a creation tool, installed in the problem of fixation within improvisation. What happens in the body when it learns a motor of contact scheme, how is it possible to revive memories of the spontaneous event and why does there always appear a tendency to structure the “dance” phenomenon. There is an aesthetic enjoyment in the repetitive perception of what’s taking place and this, at the same time implies a technical ability, the single fact of repetition.
Daniela Marini: Sensitive opening. Extended perception of the organism from its physical layers, bones, organs, fluids, muscles, tissues and skin, towards the fineness of the energetic body. Consciousness is expanded beyond the skin visible limits, the contact is not limited to the touch and the body does not only see with the eyes. Corporal connections exploration and the acceptance of the body’s own speech; dialogue with ourselves, with the other, the space and the perception.
Rocío Rivera: The body-place. The organism is territory to be known, a container and contained. Re-discover the body architectonic possibilities: explore the surface perceiving the interior, using the touch as an element to describe topographically, relieves, private parts, textures, temperature, shape and matter. Stablish contact from the structural organization, the body propose routes because of the simple fact of having a material existence. Undertake journeys in the body landscape of the other.
Alejandro Cáceres: Breath the movement. Connect the corporal systems in one unique dance. Generate the subject’s unity before finding the other. Know the interior, its necessities, possibilities, sounds, rhythms and times. Experience the contact from a distance, which is the limit of the body, what is the space it occupies and how do we have to be linked without the sense of touch. Develop the control of the body in the movement, handling the energy and the effort just to avoid the impact with the ground, nor with the other. Dialogue between the surfaces, circular organization to increase the efficiency of the movement. Experiment the limits of perception.
Daniela Schwartz: Subtlety and consciousness of the area of contact. Be careful and clear with the generated information and develop our ability to listen to the maximum, investigate in the limits of the organism and be surprised by the body’s infinite possibilities. Create space within the corporal space, feel the micromobility and the steps of the movement from one place to another, the body in dissociation and connection. How can we reach a state of opening that allows the other entering in me and entering in itself, be inside and outside at the same time, empty expectations, without preconceiving, lose the mental intention, without waiting for results, live the process and pay attention to the present at every moment.
Eckhard Muller: Devotion and availability in the gathering. Establish corporal connections from the center and towards the center, lose the fear of expansion in the uncertain moments, trust in the body’s ability to re-organize. Feel the direction of the movement and generate oppositions to keep the point of contact and control the weight of the centre. Use the spiral to counter-tense the forces and balance the organism, be flexible without losing alignment and establish the spine’s axis as the movement’s structural support. Be generous in the delivery of information and clear when communicating.
This first CI gathering established a community, a human group with much energy keen on prolonging the exploration beyond the classroom and to making contact a regular practice within our city. We formed bonds with people from neighboringcountries like Argentina and Colombia and we reinforced the link between santiaguinos (Santiago’s inhabitants) and porteños (Valparaíso’s inhabitants). This is the time to promote continuity, the gathering is a landmark, but we must all work to make this a permanent event in time. This is also the moment to create jam sesions, to organize gatherings, to contact teachers, to do classes among “students” themselves, to write and to reflect on the CI or any other aspect of it, to mantain the contact and to create more collective growing moments. In contact and in life, in unity there is strength.
The invitation is open to everyone who participated in this communion and of course, to anyone who would like to join this community. The contact is an opportunity to live here and now, to listen to, to pay attention, to accompany, to guide, to be flexible, to eliminate expectations, to melt the ego, to dialogue in body and word, to be honest, real, concrete, to set limits, to arrive to those limits and go beyond, to be conscious, to respect, to look after, to give and take, to perceive, to accept, to liberate, to know by intuition, to trust and to create a community, to be one with the other and to be one in ourselves.
Rocío Belmar , Contact Improvisation Seminar, Chile.
7 - 11 January, 2008
The reconstruction of the self in the other
To create an experience where diverse people, experiences, stories, apprehensions, interests and sensibilities meet is not common. In our current context individuality is firmly established and it is from there that we perceive the environment, others, and the relations we can stablish. Thus, we believe we know what surrounds us, and consequently that we know ourselves. We immediately judge them based on the image that defines them, almost previous to the image that limits the other.
The contact and improvisation seminar proposes and invites us to reconstruct from the very first act of listening how it is that we relate with ourselves, our surroundings and thus with others, developing a space of atemporality, or, in other words: a time re-evaluation of time as a path to the recognition of “being in the body”.
Beign in the body is an experience where diverse patterns are present (resistances, tensions, fears, etc.). These appear in the collective practices (with others) developing awareness through the corporal bond and the ludic exploration we are allowed thanks to improvisation.
The work with the other is the possibility to see each other mutually reflected and to comprehend that our own difficulties are the ones of the other in terms of complementarieties and opposition. Also, it is possible to understand that these difficulties are the ones that allow the flow and the carrying out of the whole dancing experience.
In constant movement, societal roles are completely driven away and swing, allowing for the dissolution of the dichotomy between the self and the other, finding a balance that does not centers on the acknowledgement of roles, but rather on the constinued presence and listening as a path to the fulfilment of both.
The path through time and space brings forth the dynamic of experience in nothingness, or the readiness of the body whose movement originates in what is provisionally its own center, but which constantly appears as the other, where movement and its musicality are limited to the silence imposes on the meditative experience (similar to the zazen practice).
Maybe this is why it is impossible to define the contact-improvisation experience since it involves a series of levels and layers, that are only understood in terms of the requirements of being corporally present, being, feeling, receiving, flowing, inhaling and exhaling, letting be maybe in the same sense as the Tao-te King:
Simplicity breeds the absence of wishes,
The absence of wishes breeds peace
And with this the World sorts itself out.
(Tao TE King, Lao tse, p. 123, translated by Gastón sublette.)
It seems as if the contact dance style were constantly in a search of sorting itself out, (according to the term in the previous quote). But, we could also add from the experience, that sorting out with the other is a path of constant renewing and encountering, as in a free fall that proposes minute after minute uncertain certainty and the chance to reappear againg in another.
Perhaps, contrary to our everday understanding, to abandon ourselves is necessary, after all, the space of contact puts us where we really exist: in and with the other. This is why the fall is only half a sensation, because we know that we are inevitably - with the other. In the end, there is no dichotomy.
“In order to fly we need to abandon ourselves” 08 January, 2008
Daniela Schwart.
The recent contact improvisation seminar, held in Santiago, Chile was and will be in our thoughts, until a next time. A human event, artistic, and a reflective-conscious time and above all, affective, in an envoironment of silence and passivity we were able to discover each other, look at ourselves, be present and dance.
The teachers Eckhard Muller and Daniela Schwartz created the much needed atmosphere to reflect and practice contact. Perhaps, what we will remember the most is the environment that the group knew how to recognise, where everyone, and when I say everyone, I mean that no matter where we came from, our disciplines, our previous experiences, etc., we managed to establish the necessary conventions to dance in diversity, and to welcome the points of view the teachers were presenting (the same I have mentioned in all previous paragraphs.)
I hope we will be able to remember and every time we dance with each other, we will carry the memmory of this week with its many experiences and many encounters. For an instant, we breathed in the quietness and the joy of the teachers,who captivated in the listening of the group,started to dance.
We are also grateful to the Chilean teachers who supported this initiative, from their own point of view and background, sharing their methodologies, their search and their experiences with the group.
Standing
Still
I breathe
And receive
But I do nothing
And by other moved I move upward
And I descend
I inhale
Exhale
And again standing
Now I open my eyes
There was other
And I always knew
More now
Not only I know
Maybe
I perceive
Maybe not
Maybe there is no other
And the other
Maybe abandons
What I think
And it flies committed
Without wanting to know.
Rodrigo López Allende, Contact Improvisation Seminar, Chile.
7 - 11 January, 2008
subi al site una edicion de fotos del encuentor chile!
besossss!
dani
gracias para trabajar rapidmente en el webci36
ambrazos
te amo
ecki