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Form of improvised dancing

Contact Improvisation

Besides known as	CI, Contact, Contact Improv
Country of origin	United States
Creator	Steve Paxton
Famous practitioners	Steve Paxton, Nancy Stark Smith, Lisa Nelson
Parenthood	modernistic dance, postmodern trip the light fantastic,[1] martial arts (Aikido), somatic practices (Release Technique)
Descendant arts	Underscore (Nancy Stark Smith), Material for the Spine (Steve Paxton)

Contact improvisation is a form of improvised dancing that has been developing internationally since 1972. It involves the exploration of 1'due south body in relationship to others by using the fundamentals of sharing weight, touch, and move awareness.

American dancer and choreographer Steve Paxton originated contact improvisation, drawing from his past training in aikido, a martial art form, to explore and push button boundaries with his colleagues and students to develop this new practice. Contact improvisation plays with the artistry of falling off balance, counterbalance, finding the shelves of the body, learning the mechanics of the body in order to handle someone else's weight or be lifted, breathing techniques, and tin can involve the fine art of getting to know your partner past the physical signal through the physicality.

Steve Paxton, forth with other pioneers Nancy Stark Smith, Danny Lepkoff, Lisa Nelson, Karen Nelson, Nita Little, Andrew Harwood, Peter Bingham, and Ray Chung, thus participated in creating an "fine art-sport," aquiver betwixt different emphases depending on the moments and personalities who practice it:

• experimental dance (exercise-based research organized in dance laboratories)^{[two] [3]}
• theatrical class (improvised performances and lectures-demonstrations)^[4]
• educational tool (classical training for professional and not-professional dancers in improvisation and in partnering)^[v]
• social dancing (through breezy gatherings known as "jams")^[6]
• awareness practice^[7]

Formally, contact improvisation is a movement improvisation that is explored with another being. According to one of its first practitioners, Nancy Stark Smith, information technology "resembles other familiar duet forms, such every bit the embrace, wrestling, surfing, martial arts, and the jitterbug, encompassing a wide range of movement from stillness to highly athletic."^[8]

Diverse definitions constitute in their own ways what was at stake in a contact improvisation duo. Steve Paxton proposed the following in 1979:

The exigencies of the grade dictate a mode of movement which is relaxed, constantly aware and prepared, and onflowing. 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. They practise not strive to accomplish results, but rather, to meet the constantly irresolute concrete reality with appropriate placement and energy.^[9]

History of contact improvisation [edit]

From Magnesium to Contact Improvisations [edit]

Contact improvisation was developed in the United States in the 1970s by a group of dancers and athletes gathered for the first time under the impetus of choreographer and dancer Steve Paxton.^[half-dozen]

In January 1972, Steve Paxton was in residence at Oberlin College on a bout with Grand Union, a collective where he collaborated amidst others with Yvonne Rainer and Trisha Dark-brown. For several weeks, he offered Oberlin students two sets of practices:

1. every forenoon at dawn, a "soft grade" involving an exploration that he soon called the "small trip the light fantastic toe," a form of meditation that is skillful continuing, where attending is paid to postural adjustments and micro-weight transfers;^[10]
2. and later in the day, rehearsals for a performance that he transmitted to a grouping of young men and whose score is to explore the extremes of motion and disorientation, from standing all the same to falling, rolling, colliding, and jumping in the air. For these rehearsals, Steve Paxton relied on his training in modernistic trip the light fantastic toe (he had danced in the companies of José Limón and Merce Cunningham), in aikido and in gymnastics.

The coming together of these practices gives rise to Magnesium,^[11] a twenty-minute long piece where dancers perform on gym mats, bound and bump into each other, dispense and cling to one another. "In this performance, dancers usually employ their bodies as a whole, all parts are simultaneously unbalanced or thrown against some other torso or in the air."^[six] After almost fifteen minutes, the dancers stop and start a "Small-scale Dance" that concludes the functioning.

In the Spring of 1972, Steve Paxton received a grant from Change, Inc which allowed him to invite dancers to work on the form he was evolving. He invited some colleagues from the Judson Trip the light fantastic Theater years like Barbara Dilley and Nancy Topf, release technique pioneer Mary Fulkerson, as well as students met during his teaching tours, including Nancy Stark Smith and Curt Siddall (from Oberlin College), Danny Lepkoff and David Woodberry (from the University of Rochester, where Mary Fulkerson was a teacher) and Nita Little (from Bennington Higher).^[vi]

At the stop of this week of residency, the group presented a performance which Steve Paxton named Contact Improvisations. They presented it in the course of a permanent afternoon practice for 5 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]

In North America [edit]

Styles [edit]

Following the first operation of Contact Improvisations in New York in 1972, the participants scattered to different parts of the U.s. but presently began to teach the practice.^[13] The syncopated, risky, raw and awkward style of the showtime performances gave place rather quickly to a variety of aesthetics within the form.

One of those aesthetics was the development of shine, continuous, controlled period of quality in the late 1970s and early 1980s, running parallel with the opposite tendency of interest in disharmonize and unexpected responses, including previously avoided eye contact and straight manus contact.^[xiv] Says Nancy Stark Smith,

Within the written report of Contact Improvisation, the experience of flow was soon recognized and highlighted in our dancing. It became 1 of my favorite practices and I proceeded to "do flow" for many years-challenging it, testing information technology: could nosotros period through this laissez passer? Could we squeak through that one, and keep going?^[15]

Regardless of those aesthetic choices, the key characteristic of contact improvisation remains a focus on bodily sensation and physical reflexes rather than consciously controlled movements.^[16] One of the founders of the grade, Daniel Lepkoff, comments that the "precedence of body experience kickoff, and mindful noesis second, is an essential stardom 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] equally its core.

Languaging and observing [edit]

In 1975, the dancers working with Steve Paxton considered trademarking the term contact improvisation in order to control the instruction and practice of the trip the light fantastic form, consequently for reasons of prophylactic. This thought was rejected in favor of establishing a forum for advice: this became the Contact Newsletter founded by Nancy Stark Smith, which evolved into the bi-annual journal Contact Quarterly ^[nineteen] which continues to be published online by the non-profit Contact Collaborations (incorporated in 1978) after a concluding impress edition came out in January 2020.^{[twenty] [thirteen]} 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 past equipping it with a advice organ, as well equally hosting several other orders of reflections, including writings by contemporary dancers and somatic practitioners. Co-ordinate to the magazine's statement,

Contact Quarterly is the longest living, independent, artist-made, not-for-profit, reader-supported magazine devoted to the dancer's voice. Founded in 1975, Contact Quarterly (CQ) began as a forum for word of the emerging dance form Contact Improvisation. Serving as a coming together ground for a worldwide network of contact improvisers, CQquickly grew to include writings and interviews on postmodern and contemporary experimental dance, somatic motility practices, improvisational dance, mixed-abilities dance, teaching methods, creative process, and performance.^[20]

While the development of contact improvisation has benefited greatly from Nancy Stark Smith and Lisa Nelson's editorial work to support the writings of dancers in their exploration of the grade, it also owes much to the cameras of Steve Christiansen and then Lisa Nelson, who documented many moments of the work (especially in functioning) and let the contactors to find themselves with meticulousness.

Contact Improvisation jam in Montpellier, France (2004

Development of art-sport [edit]

Since the mid-1970s, regular jams are present in almost major cities in North America (New York City, Boston, San Francisco, and Montreal). Other multi-day residential spaces (such as the Breitenbush Jam, which has existed since 1981) take been in existence since the late 1970s. Remembers dancer Marker 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 infinite for dancing and living in flux... Our days were without structure, except for meals: at the start, nosotros planned to keep ninety-minute slots for the courses, but the idea was quickly abandoned thank you to a system based on Supply and demand, in which each could suggest a topic to be dealt with and offering to lead a class.^[21]

These residential events (workshops, festivals, long jams) represent a parallel economic system that invited the cosmos of dedicated spaces of practice, the model of which was provided very early by Earthdance, a residential center built in 1986 past a Boston community of dancers.^[22]

In Europe [edit]

In Europe, contact improvisation was presented for the first time in 1973 (from June 25 to 28th) in an art gallery in Rome, Fifty'Attico run by Fabio Sargentini.^[23] In the 1970s and 1980s, Steve Paxton and Lisa Nelson were regularly invited to the Dartington College of Arts in Swell United kingdom (where early contacter Mary Fulkerson was office of the dance faculty) and the School for New Dance Development in Amsterdam, which served equally transmission belts for contact improvisation in Europe.

Nancy Stark Smith was primal to the arrangement of the get-go European Contact Improvisation Teachers Commutation. Subsequent exchanges have been organized since 1985 and hosted each year by a different European country.^[24]

Belgian dancer and choreographer Patricia Kuypers noted in 1999 that, depending on the country and the private, information technology has spread more or less rapidly in the globe of dance or amateurs. In Belgium, where Steve Paxton had come since the 1980s, invited by the Klapstuk and the Kaaitheater, few professional person dancers regularly practiced information technology, and autonomously from sure outbreaks of fever in successful jams, information technology can not exist said that contact improvisation left any lasting trace among professional dancers, except in a choreographed course.^[25]

In French republic [edit]

In French republic, contact improvisation (sometimes chosen "danse-contact", as in French-speaking Canada) was introduced for the outset time in 1978, where a contact improvisation grade was given by Steve Paxton and Lisa Nelson during the musical festivities of Sainte Beaume:

Didier Silhol, Marking Tompkins, Suzanne Cotto, Edith Veyron and Martine Muffat-Joly attended. Their enthusiasm brought them together, to explore together this new course of dance, to organize new courses by bringing dorsum Steve Paxton, Lisa Nelson and by inviting other teachers such as Nancy Stark Smith. In 1980, they created the association Danse Contact Improvisation and began to teach themselves, generally in pairs.^[26]

Contact improvisation is now adept in most major cities of the French metropolis - Paris, Grenoble, Lyon, Marseille, Montpellier, Lille, Rennes all have at least ane weekly jam - and is taught in many conservatories, including the National Solarium of Music and Trip the light fantastic of Paris.

In the world [edit]

The network of social practices or amateurs of contact improvisation has spread to all the continents except Antarctica,^[twenty] with a particularly intense presence in the Americas, Western and Eastern Europe, Finland, Russia, State of israel, Nippon, Commonwealth of australia, India, China and Malaysia, as evidenced past the regularity of the jams, festivals and weekly courses taught in these countries.

Spaces of practice [edit]

Universities [edit]

In June 1980, Elizabeth Zimmer, organizer and director of the American Dance Order, put together the conference Improvisation: Dance Considered as Art-Sport.^[27] The conference was mainly dedicated to contact improvisation, which had been referred to every bit an "art-sport" a few years earlier by Simone Forti, and introduced contact improvisation in the American academic world. Contact improvisation is now taught in a majority of American universities offering a choreographic curriculum (New York Academy, Oberlin College, Bennington College, Smith College, Ohio Land University) as well as in many contemporary dance festivals (Jacob'due south Pillow, Bates Dance Festival).

A contact improvisation trio (2017)

Jams [edit]

In the mid-1970s, the term "jam" appeared to depict, like jazz jam sessions and milongas in tango, an opportunity for costless practice where dancers who do not know each other can come across and negotiate together their dance or find the practice of their partners.

Every week in dozens of cities that brand up an international network, members of this Contact Improvisation "community of experience" meet for a few hours in a dance studio for a jam. This hybrid practise seems to me to work halfway betwixt a bodily meditation, a psycho-kinesthetic therapy, a sports training, and a dance improvised session.^[28]

Jams also occur at multi-day residential courses led by a dancer or a group of dancers at conferences or festivals, where the days can alternate between free practices, courses past guest artists, and debates regularly bring practitioners together.

Inclusion [edit]

Some have argued that this relaxed space of practice favoured contact improvisation's inclusivity towards disabled movers:

Dissimilar a structured workshop or a functioning, the Contact jam setting allows for open-ended dancing, a fashion particularly conducive to dancers with different abilities. For one thing, it a lot easier to rest or stop and talk with your partner... More than any other genre of trip the light fantastic toe, Contact Improvisation has nurtured and embraced dancing that tin integrate multiple abilities and limitations. In fact, many of the most renowned nondisabled Contact practitioners (including Steve Paxton), spend a lot of fourth dimension didactics, facilitating and dancing with disabled communities.^[29]

Sexual harassment [edit]

Women have expressed feeling uncomfortable on the dance floor and in the customs, especially with men who overstep intimacy, bringing unwanted sexual free energy into the connectedness.^[xxx] As a issue, some people organized #MeToo disruptions of jams.^[31] To address sexual harassment issues, many jams are establishing jam guidelines and instigating other measures.^[32]

Improvisation structures [edit]

Interior techniques [edit]

Contact Improvisation involves technical aspects or "moves" that support the duets and create a recognizable style of movements: shoulder and hip lifts, caput-to-head improvisation, table-pinnacle position (beingness 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.^[eighteen]

Simply these are conceived of as the ways to an stop, which tin can exist described as the dialogue of sensations of weight and touch between partners:

The trunk in [contact improvisation] is accordingly not only a physical body whose weight and momentum are subject field to natural laws of gravity and motility, merely a responsive, experiencing body. Here information technology must be emphasized that despite the employ of the term "inward focus" in Novack's business relationship, the cultivation of kinaesthetic awareness cannot be equated with an "introspective" preoccupation with private sensations; rather, the accent lies on sensing-through the responsive body, combining both "internal awareness" and "responsiveness to another".^[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).^[35]

Lisa Nelson, in that regard, occupied a special place in the effervescence of the evolution of contact improvisation. Taking distance from the trip the light fantastic, 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 exercise later known equally the "Tuning Scores"). As Patricia Kuypers remarked, "her staggered gaze nourished the maturation of the [contact improvisation], developing analysis of the perceptual organisation and revealing specific questions about how improvisation works."^[25]

Round robin [edit]

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 whatsoever time integrate the couples and supercede one of the 2 dancers.^[36] Dancers are dressed casually (sweat pants, T-shirts) and performances can happen in many venues, including theaters, bookstores, galleries. The elapsing of the concerts can get from xx minutes to 6 hours.^[3]

Central to the poetics of the form is a desire to create a non-hierarchical way of developing the movement, based on the simple exchange of weight and touch between partners improvising together.^[half-dozen] This stance has been argued to reflect the counter-cultural context in which contact improvisation was adult (aftermath of the 1960s Vietnam War and Hippie movement).^[12]

Underscore [edit]

In the 1990s, Nancy Stark Smith, 1 of the about active propagators of contact improvisation and editor of Contact Quarterly, adult a practice out of her teachings called "the underscore."^{[13] [37]} It consisted of a score serving as a descriptive and prescriptive base of operations for the exercise of group improvisations.^[8] In this practice, vocabulary is tailored to fit the specific experiences of dancers and benefits from Nancy Stark Smith enmeshment with contact improvisation.

As a teacher of Contact Improvisation, she had observed that particular warm-up exercises and movement activities were helpful in bringing dancers to a state of body-mind preparedness for engaging in a Contact duet. The Underscore is a scored collection of those exercises and activities, complete with pictographs^{[38] [39]} that represent each phase and subphase of its progression.^[forty]

Some moments of the practise conspicuously refer to activities explored in the exercise of Contact:

• "Bonding with the earth" thus refers (in part) to the experience of the "Modest Dance"
• "Engagement" to the commitment that can exist involved in a contact improvisation duet
• "Skinesphere", the infinite beneath the skin^[41] (equally opposed to the kinesphere, which is the space surrounding the body^[42]), refers to the inward focus involved in some somatic preparations for the practise of contact improvisation.

Contact improvisation and contemporary trip the light fantastic [edit]

Similar simultaneous explorations [edit]

Trisha Brown'south Floor of the Forest (1964).

The explorations envisaged in the first moments of contact improvisation are not specific to the collective led past Steve Paxton. Many other forms of trip the light fantastic had also experimented with weight, touch and improvisation and examples abound in the 1960s of dancers who exercise something similar, but not as systematic as contact improvisation, including Trisha Brown, Grand Union, Daniel Nagrin's Workgroup, Anna Halprin 's San Francisco Dancers' Workshop, Julian Beck and Judith Malina'southward Living Theater^[6] or Carolee Schneeman'south Meat Joy (1964).^[43]

Simone Forti, for instance, adult Huddle in the 1960s. Information technology was a dance in which six to 7 dancers were invited to class together an agglutinated mass of which one by one they detached themselves to gradually reintegrate it, thus testing the tactile, olfactory and weight sensations.^[44]

As a resource for motion [edit]

Many contemporary choreographers today utilize contact improvisation every bit a significant resource for motion. This is the case with choreographers Bill T. Jones, Wim Vandekeybus and Antonija Livingstone, or in the companies Punchdrunk (especially in their famous site-specific 2011 production Slumber No More ^[45]) and DV8 Physical Theater.^[46]

References to contact improvisation vary: some are inspired by the qualities of the duet styles involving a specific use of touch, while others insist on the acrobatic dimension of contact improvisation and put forward situations of risk as means of reaching adrenalized states of performance.^[47] Many too perpetuate the work of sensation put forward by contact improvisation while making way for an interrogation on the relations betwixt the genders that contact improvisation tends rather to make disappear behind an equality advocated only non always enforced. Companies like DV8 and The Cholmondeleys accept thus produced choreographies based on a similar anti-mechanistic arroyo to that of contact improvisation, coupling information technology with interrogations on gendered roles."^[48] Similarly, a number of early contactors – such every bit 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.^[49]

In Europe in item, many improvisers were influenced by contact improvisation, peculiarly from the 1980s. Examples of such dancers are João Fiadeiro from the Portuguese New Dance, British improvisers Julyen Hamilton,^[50] Kirstie Simson, and Charlie Morrissey, equally well as N American artists who emigrated to Europe like Benoît Lachambre, Mark Tompkins^[51] and Meg Stuart.^[52]

Meg Stuart considers her lineage to be in the experimental approach to dance proposed in the early on days of contact improvisation history:

If I could go back in dance history I would put myself at Oberlin College in 1972, crashing into Steve Paxton and his students as we performed Magnesium. I have always been passionate about Contact Improvisation. It is rare that something experimental and radical is proposed in a dance studio, and out of that research a language, a customs, a globe develops. Contact is not defined as "Paxton'southward technique", it's an open field, a living course.^[53]

See as well [edit]

• One thousand Spousal relationship
• dance improvisation
• Judson Dance Theater
• Choreographic technique
• List of dance style categories
• choreographers

References [edit]

1. ^ Banes, Emerge (1987). Terpischore in sneakers: postmodern dance. Middleton, CT: Wesleyan University Press.
2. ^ Espana, Kent De (2014-07-02). Mural of the Now: A Topography of Movement Improvisation. OUP USA. ISBN9780199988266.
3. ^ ^{a b} Banes, Sally (2011-03-01). Terpsichore in Sneakers: Post-Modern Trip the light fantastic. Wesleyan Academy Press. ISBN9780819571809.
4. ^ Cohen, Selma Jeanne; Matheson, Katy, eds. (1992-12-01). Dance Every bit a Theatre Art: Source Readings in Dance History from 1581 to the Nowadays (2nd ed.). Princeton Volume Company. pp. 222. ISBN9780871271730.
5. ^ Blom, Lynne Anne; Chaplin, Fifty. Tarin (1988-12-15). The Moment of Movement: Trip the light fantastic toe Improvisation (1st ed.). Pittsburgh, Pa.: University of Pittsburgh Printing. ISBN9780822954057.
6. ^ ^{a b c d due east f} Novack, Cynthia Jean., Sharing the dance, Univ. Of Wisconsin Press, one January 1990 ( ISBN 0299124444, OCLC 925081573, read online ), capacity ii and 3.
7. ^ Kamenetz, Anya (3 Dec 2002). "On rest". The Village Vocalization . Retrieved five November 2013.
8. ^ ^{a b} Nancy Stark Smith et David Koteen (2013), Defenseless Falling. The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas, Contact Editions, p. xii
9. ^ Steve Paxton, "A Definition", Contact Quarterly, Winter 1979, p. 26.
10. ^ Steve Paxton, "Why Continuing?", Contact Quarterly, 2015
11. ^ "Contact Editions dance and somatics books & dvds". contactquarterly.com . Retrieved 2017-03-08 .
12. ^ ^{a b} Hennessy, Keith. "The Experiment Called Contact Improvisation - FoundSF". world wide web.foundsf.org . Retrieved 2017-03-09 .
13. ^ ^{a b c} Kourlas, Gia (27 May 2020). "Nancy Stark Smith, a Founder of Contact Improvisation, Dies at 68". New York Times. New York, Usa. Retrieved 9 July 2020.
14. ^ Novack, 1990 op cit p. 156-8.
15. ^ Nancy Stark Smith, "Back in time", Contact Quarterly, vol.xi/1, Winter 86, p. three
16. ^ Novack, 1990 op cit p. 152
17. ^ Lepkoff, Daniel (Winter–Leap 2000). "Contact Improvisation". Contact Quarterly: 62.
18. ^ ^{a b} Kaltenbrunner, Thomas (1998). Contact Improvisation:Moving, Dancing, Interaction. Aachen (Deutschland): Meyer & Meyer. p. 93.
19. ^ Smith, Nancy (1998). "A question of copyright - some history". Contact Quarterly: A Vehicle for Moving Ideas. 23 (1): 35.
20. ^ ^{a b c} "Virtually U.s.a.". Contact Collaborations. Retrieved 2 November 2013.
21. ^ Marker Pritchard, "Land Jam", Contact Quarterly, vol. 5 (1), 1979, P. 36
22. ^ "Earthdance survives changing vision, irresolute times". Daily Hampshire Gazette. 1996.
23. ^ 50'attico di Fabio Sargentini. 1966-1978. Catalogo della mostra (in Italian and English). Mondadori Electa. p. 128. ISBN9788837079574.
24. ^ "ECITE.org". world wide web.ecite.org . Retrieved 2017-03-29 .
25. ^ ^{a b} Patricia Kuypers, Nouvelles de danse, Vol. 38-39, Bruxelles, 1999
26. ^ "Le Laboratoire du GESTE". www.laboratoiredugeste.com (in French). Retrieved 2017-03-08 .
27. ^ Novack, Cynthia J. (1990-08-15). Sharing the Trip the light fantastic toe: Contact Improvisation and American Culture . Univ of Wisconsin Press. pp. 99. ISBN9780299124441. improvisation dance as art sport.
28. ^ Deva Davina, "Some notes of a contacter ethnographer", Nouvelles de danse, Vol. 38-39, Bruxelles, 1999, p. 101
29. ^ Albright, Ann Cooper; Gere, David (2003-x-24). Taken by Surprise: A Dance Improvisation Reader. Wesleyan University Printing. p. 210. ISBN9780819566485.
30. ^ Yardley, Brooks. "Respecting Boundaries/Coexisting Genders: A Zine near Women's Experiences of Feeling Dangerous in Contact Improv". Contact Improvisation Newsletter. 42.2 (Summertime/Fall 2017). Retrieved xiv October 2019.
31. ^ Harrist, Cookie. "#MeToo DISRUPTION at the 2018 West Coast Contact Improvisation Jam" (PDF). Contact Quarterly. 44.1 (Wintertime/Jump 2019): 50. Retrieved 14 October 2019.
32. ^ Pierce, Benjamin. "A Compendium of Contact Improvisation Jam Guidelines and related material from effectually the globe". Retrieved fourteen October 2019.
33. ^ Behnke, Elizabeth A. (2003-01-01). "Contact Improvisation and the Lived Globe". Studia Phaenomenologica. iii (Special): 39–61. doi:10.7761/SP.3.S1.39.
34. ^ Steve Paxton (2006). "Training perception" (PDF).
35. ^ Turner, Robert (2010-08-25). "Steve Paxton's "Interior Techniques": Contact Improvisation and Political Power". TDR/The Drama Review. 54 (iii): 123–135. doi:10.1162/DRAM_a_00007. ISSN 1054-2043. S2CID 57568114.
36. ^ Paxton, Steve (1975-01-01). "Contact Improvisation". The Drama Review: TDR. 19 (1): 40–42. doi:10.2307/1144967. JSTOR 1144967.
37. ^ NSS. "Underscore". Nancy Stark Smith . Retrieved 2019-05-x .
38. ^ Albright, Ann Cooper (2013-xi-20). Engaging Bodies: The Politics and Poetics of Corporeality. Wesleyan University Printing. p. 88. ISBN9780819574121.
39. ^ Smith, Nancy Start; Koteen, David; Smith, Nancy Stark (2008-01-01). Caught Falling (PDF). Northampton, MA: Contact Quarterly. pp. 91 sq. ISBN9780937645093. Archived from the original (PDF) on 2014-06-17. Retrieved 2017-03-29 .
40. ^ Buckwalter, Melinda (2010-12-16). Composing while Dancing: An Improviser'south Companion (1 ed.). Academy of Wisconsin Press. p. 67. ISBN9780299248147.
41. ^ Olsen, Andrea (2014-01-10). The Identify of Dance: A Somatic Guide to Dancing and Dance Making. Wesleyan University Printing. p. 76. ISBN9780819574060.
42. ^ Gehm, Sabine; Husemann, Pirkko; Wilcke, Katharina von (2017-03-29). Knowledge in Move: Perspectives of Artistic and Scientific Enquiry in Dance. transcript Verlag. p. 150. ISBN9783839408094.
43. ^ "Art Through Time: A Global View - Meat Joy". learner.org . Retrieved 2017-03-08 .
44. ^ "Huddle - High Line Art". art.thehighline.org . Retrieved 2017-03-08 .
45. ^ Kourlas, Gia (2011-09-06). "'Sleep No More' Is Theater Embedded With Dancers". The New York Times. ISSN 0362-4331. Retrieved 2017-03-08 .
46. ^ "DV8- Physical Theatre Company". prezi.com . Retrieved 2017-03-08 .
47. ^ Martha, Bremser; Lorna, Sanders (2011-01-01). Fifty contemporary choreographers. Routledge. ISBN9781136828324. OCLC 857382034.
48. ^ Gamble, Sarah (2004-11-23). The Routledge Companion to Feminism and Postfeminism. Routledge. ISBN9781134545629.
49. ^ "Our Ain AIDS Time: Keith Hennessy and Ishmael Houston-Jones in Chat". Open Infinite . Retrieved 2017-03-08 .
50. ^ Julyen Hamilton, " Contact Improvisation was a question of my generation ," Nouvelles de danse, vol. 38-39 1999, P. 198
51. ^ "Teaching and research". www.idamarktompkins.com . Retrieved 2017-03-08 .
52. ^ "Meg Stuart/Damaged Goods & EIRA | New York Live Arts". New York Live Arts . Retrieved 2017-03-08 .
53. ^ Peeters, Meg Stuart Jeroen (2011-01-02). Meg Stuart - Are We Here Yet?. Presses Du Reel. p. 82. ISBN9782840663546.

Further reading [edit]

• Cynthia Jean Novack (1990) Sharing the Dance: Contact Improvisation and American Culture. Academy of Wisconsin Press. ISBN 0-299-12444-4
• Cheryll Pallant (2006) Contact Improvisation: An Introduction to a Vitalizing Trip the light fantastic toe Form. McFarland & Visitor, Inc. ISBN 0-7864-2647-0
• Keith Hennessy (2008) The Experiment Chosen Contact Improvisation, Indance Magazine
• Ann Cooper Albright (2010) Encounters with Contact; Dancing Contact in College with Katie Barkley Kai Evans, Jan Trumbauer, David Chocolate-brown and Rachel Wortman. Oberlin Higher Theater and Trip the light fantastic ISBN 0-937645-xiii-3
• Nancy Stark Smith et David Koteen (2013), Caught Falling. The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas, Contact Editions
• Sarko Thomas and Misri (2014) Contact [and Improvisation], Journal of trip the light fantastic and somatic practices,

Videography [edit]

• (2008) Cloth for the Spine. A Report Move, Contredanse
• (2012) Contact Improvisation at CI 36, Contact Editions
• (2014) Videoda Contact Improvisation Archive [1972-1987], Contact Editions
• (2014) " Five Means In' Potolahi Productions. Research Web folio

External links [edit]

• Contact Quarterly
• Contact Improvisation Global Agenda - Find information near Contact Improvisation events worldwide (classes, jams, workshops, festivals and more)
• A Compendium of Contact Improvisation Jam Guidelines and related material from effectually the earth
• Contact Improvisation - Earth jam map

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