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of creating a space for dancing and living in flux... Our days were without structure, except for meals: at the beginning, we planned to keep 90-minute slots for the courses, but the idea was quickly abandoned thanks to a system based on Supply and demand, in which each could suggest a topic to be dealt with and offer to lead a class. These residential events (workshops, festivals, long jams) represent a parallel economy that invited the creation of dedicated spaces of practice, the model of which was provided very early by
Earthdance, a residential center built in 1986 by a Boston community of dancers.
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145:, a martial art form, to explore and push physical relationship with gravity 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 can involve the art of getting to know your movements through the physical point in contact.
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body in relation to others and the space of presence they visit, by using the fundamentals of sharing weight, touch, and movement awareness. It has evolved into a broad global community around "jams" characterized by their welcoming attitude towards newcomers to dance, as well as seasoned practitioners, and its fundaments relate with dancing without being guided by music, instead, the dancers learn to listen to the sounds that the dance itself brings.
266:, a twenty-minute long piece where dancers perform on gym mats, jump and bump into each other, manipulate and cling to one another. "In this performance, dancers usually use their bodies as a whole, all parts are simultaneously unbalanced or thrown against another body or in the air." After about fifteen minutes, the dancers stop and start a "Small Dance" that concludes the performance.
474:, Suzanne Cotto, Edith Veyron and Martine Muffat-Joly attended. Their enthusiasm brought them together, to explore together this new form of dance, to organize new courses by bringing back 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, mostly in pairs.
404:
662:, developed a practice out of her teachings called "the underscore." It consisted of a score serving as a descriptive and prescriptive base for the practice of group improvisations. In this practice, vocabulary is tailored to fit the specific experiences of dancers and benefits from Nancy Stark Smith enmeshment with contact improvisation.
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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 any time integrate the couples and replace one of the two dancers. Dancers are dressed casually (sweat pants, T-shirts)
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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 form, it also owes much to the cameras of Steve
Christiansen and then Lisa Nelson, who documented many moments of
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The exigencies of the form 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
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In Europe in particular, many improvisers were influenced by contact improvisation, especially from the 1980s. Examples of such dancers are JoĂŁo
Fiadeiro from the Portuguese New Dance, British improvisers Julyen Hamilton, Kirstie Simson, and Charlie Morrissey, as well as North American artists who
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The explorations envisaged in the first moments of contact improvisation are not specific to the collective led by Steve Paxton. Many other forms of dance had also experimented with weight, touch and improvisation and examples abound in the 1960s of dancers who practice something similar, but not as
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Every week in dozens of cities that make 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 practice seems to me to work halfway between a bodily meditation, a psycho-kinesthetic therapy, a sports
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The network of social practices or amateurs of contact improvisation has spread to all the continents except
Antarctica, with a particularly intense presence in the Americas, Western and Eastern Europe, Finland, Russia, Israel, Japan, TaĂŻwan, Australia, India, China and Malaysia, as evidenced by the
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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
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Regardless of those aesthetic choices, the central characteristic of contact improvisation remains a focus on bodily awareness and physical reflexes rather than consciously controlled movements. One of the founders of the form, Daniel
Lepkoff, comments that the “precedence of body experience first,
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Since the mid-1970s, regular jams are present in most 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) have been in existence since the late 1970s. Remembers dancer Mark
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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. Many
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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. This stance has been argued to reflect the counter-cultural context in which contact improvisation was
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is a practice of movement research, where improvisation and momentum, relation with gravity and with others are the main focus. This form has been developing internationally since 1972 and it started from the exploration, research and inquiries of Steve Paxton. It involves the exploration of one's
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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
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which continues to be published online by the non-profit
Contact Collaborations (incorporated in 1978) after a final print edition came out in January 2020. The journal, now co-edited by Nancy Stark Smith and Lisa Nelson, brings together different reflections of contact improvisation teachers and
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The body in is accordingly not merely a physical body whose weight and momentum are subject to natural laws of gravity and motion, but a responsive, experiencing body. Here it must be emphasized that despite the use of the term “inward focus” in Novack’s account, the cultivation of kinaesthetic
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One of those aesthetics was the development of smooth, continuous, controlled flow of quality in the late 1970s and early 1980s, running parallel with the opposite trend of interest in conflict and unexpected responses, including previously avoided eye contact and direct hand contact. Says Nancy
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Contact Improvisation involves technical aspects or "moves" that support the duets and create a recognizable style of movements: shoulder and hip lifts, head-to-head improvisation, table-top position (being on all fours, supporting the weight of the partner on the back), surfing (rolling on the
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and later in the day, rehearsals for a performance that he transmitted to a group of young men and whose score is to explore the extremes of movement and disorientation, from standing still to falling, rolling, colliding, and jumping in the air. For these rehearsals, Steve Paxton relied on his
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Women have expressed feeling uncomfortable on the dance floor and in the community, especially with men who overstep intimacy, bringing unwanted sexual energy into the connection. As a result, some people organized #MeToo disruptions of jams. To address sexual harassment issues, many jams are
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In 1975, the dancers working with Steve Paxton considered trademarking the term contact improvisation in order to control the teaching and practice of the dance form, consequently for reasons of safety. This idea was rejected in favor of establishing a forum for communication: this became the
836:. 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 community, a world develops. Contact is not defined as "Paxton's technique", it's an open field, a living form.
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Unlike a structured workshop or a performance, the Contact jam setting allows for open-ended dancing, a mode particularly conducive to dancers with different abilities. For one thing, it is a lot easier to rest or stop and talk with your partner... More than any other genre of dance, Contact
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Lisa Nelson, in that regard, occupied a special place in the effervescence of the development of contact improvisation. Taking distance from the dance, she watched a lot through the eye of the camera and pursued personal research on the collaboration between the senses, in particular on the
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Belgian dancer and choreographer Patricia Kuypers noted in 1999 that, depending on the country and the individual, it has spread more or less rapidly in the world of dance or amateurs. In Belgium, where Steve Paxton had come since the 1980s, invited by the Klapstuk and the Kaaitheater, few
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in relation to the way in which vision works (a practice later known as the "Tuning Scores"). As Patricia Kuypers remarked, "her staggered gaze nourished the maturation of the , developing analysis of the perceptual system and revealing specific questions about how improvisation works."
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In June 1980, Elizabeth Zimmer, organizer and director of the American Dance Guild, put together the conference Improvisation: Dance Considered as Art-Sport. The conference was mainly dedicated to contact improvisation, which had been referred to as an "art-sport" a few years earlier by
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Contact improvisation is now practiced in most major cities of the French metropolis - Paris, Grenoble, Lyon, Marseille, Montpellier, Lille, Rennes all have at least one weekly jam - and is taught in many conservatories, including the National Conservatory of Music and Dance of Paris.
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also perpetuate the work of sensation put forward by contact improvisation while making way for an interrogation on the relations between the genders that contact improvisation tends rather to make disappear behind an equality advocated but not always enforced. Companies like DV8 and
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Improvisation has nurtured and embraced dancing that can integrate multiple abilities and limitations. In fact, many of the most renowned nondisabled Contact practitioners (including Steve Paxton), spend a lot of time teaching, facilitating and dancing with disabled communities.
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Formally, contact improvisation is a movement improvisation that is explored with another being. According to one of its first practitioners, Nancy Stark Smith, it "resembles other familiar duet forms, such as the embrace, wrestling, surfing, martial arts, and the
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In France, contact improvisation (sometimes called "danse-contact", as in French-speaking Canada) was introduced for the first time in 1978, where a contact improvisation course was given by Steve Paxton and Lisa Nelson during the musical festivities of Sainte
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have thus produced choreographies based on a similar anti-mechanistic approach to that of contact improvisation, coupling it with interrogations on gendered roles." Similarly, a number of early contactors – such as Keith Hennesy, Ishmael Houston-Jones,
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and mindful cognition second, is an essential distinction between Contact Improvisation and other approaches to dance.” Another source affirms that the practice of contact improvisation involves “mindfulness, sensing and collecting information” as its core.
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Within the study of Contact Improvisation, the experience of flow was soon recognized and highlighted in our dancing. It became one of my favorite practices and I proceeded to "do flow" for many years-challenging it, testing it: could we flow through
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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 by guest artists, and debates regularly bring practitioners together.
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in the 1960s. It was a dance in which six to seven dancers were invited to form together an agglutinated mass of which one by one they detached themselves to gradually reintegrate it, thus testing the tactile, olfactory and weight sensations.
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In Europe, contact improvisation was presented for the first time in 1973 (from June 25 to 28th) in an art gallery in Rome, L'Attico run by Fabio Sargentini. In the 1970s and 1980s, Steve Paxton and Lisa Nelson were regularly invited to the
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professional dancers regularly practiced it, and apart from certain outbreaks of fever in successful jams, it can not be said that contact improvisation left any lasting trace among professional dancers, except in a choreographed form.
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Steve Paxton insisted on this aspect with the concept of "interior techniques" involving in the dance practice a training of perception, resting on investigations based on the sciences of the senses (physiology, experimental and
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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”.
681:"Skinesphere", the space beneath the skin (as opposed to the kinesphere, which is the space surrounding the body), refers to the inward focus involved in some somatic preparations for the practice of contact improvisation.
156:, Karen Nelson, Nita Little, Andrew Harwood, Peter Bingham, and Ray Chung, thus participated in creating an "art-sport," oscillating between different emphases depending on the moments and personalities who practice it:
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Nancy Stark Smith was key to the organization of the first European Contact Improvisation Teachers Exchange. Subsequent exchanges have been organized since 1985 and hosted each year by a different European country.
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every morning at dawn, a "soft class" involving an exploration that he soon called the "small dance," a form of meditation that is practiced standing, where attention is paid to postural adjustments and micro-weight
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quickly grew to include writings and interviews on postmodern and contemporary experimental dance, somatic movement practices, improvisational dance, mixed-abilities dance, teaching methods, creative process, and
506:, and introduced contact improvisation in the American academic world. Contact improvisation is now taught in a majority of American universities offering a choreographic curriculum (
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but soon began to teach the practice. The syncopated, risky, raw and awkward style of the first performances gave place rather quickly to a variety of aesthetics within the form.
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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
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practitioners and cements an international community by equipping it with a communication organ, as well as hosting several other orders of reflections, including writings by
285:, 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
300:. They presented it in the form of a permanent afternoon practice for five days, at the John Weber Gallery in Manhattan, which at the same time showcased a film by
390:(CQ) began as a forum for discussion of the emerging dance form Contact Improvisation. Serving as a meeting ground for a worldwide network of contact improvisers,
554:, an opportunity for free practice where dancers who do not know each other can meet and negotiate together their dance or observe the practice of their partners.
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and performances can happen in many venues, including theaters, bookstores, galleries. The duration of the concerts can go from 20 minutes to 6 hours.
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friction. They do not strive to achieve results, but rather, to meet the constantly changing physical reality with appropriate placement and energy.
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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
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Many contemporary choreographers today use contact improvisation as a significant resource for movement. This is the case with choreographers
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Various definitions establish in their own ways what was at stake in a contact improvisation duo. Steve Paxton proposed the following in 1979:
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But these are conceived of as the means to an end, which can be described as the dialogue of sensations of weight and touch between partners:
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is the longest living, independent, artist-made, not-for-profit, reader-supported magazine devoted to the dancer's voice. Founded in 1975,
2068:
1345:
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in the 1970s by a group of dancers and athletes gathered for the first time under the impetus of choreographer and dancer Steve Paxton.
1978:
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in Great Britain (where early contacter Mary Fulkerson was part of the dance faculty) and the School for New Dance Development in
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considers her lineage to be in the experimental approach to dance proposed in the early days of contact improvisation history:
17:
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Some have argued that this relaxed space of practice favoured contact improvisation's inclusivity towards disabled movers:
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educational tool (classical training for professional and non-professional dancers in improvisation and in partnering)
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Turner, Robert (2010-08-25). "Steve Paxton's "Interior Techniques": Contact Improvisation and Political Power".
1542:"Respecting Boundaries/Coexisting Genders: A Zine about Women's Experiences of Feeling Unsafe in Contact Improv"
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1041:
866:
2279:
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Some moments of the practice clearly refer to activities explored in the practice of contact improvisation:
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In the 1990s, Nancy Stark Smith, one of the most active propagators of contact improvisation and editor of
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the work (especially in performance) and allow the contactors to observe themselves with meticulousness.
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Caught Falling. The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas
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Caught Falling. The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas
1607:"A Compendium of Contact Improvisation Jam Guidelines and related material from around the world"
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At the end of this week of residency, the group presented a performance which Steve Paxton named
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2010:
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675:"Bonding with the earth" thus refers (in part) to the experience of the "Small Dance"
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678:"Engagement" to the commitment that can be involved in a contact improvisation duet
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Dance As a Theatre Art: Source Readings in Dance History from 1581 to the Present
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regularity of the jams, festivals and weekly courses taught in these countries.
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Nancy Stark Smith, "Back in time", Contact Quarterly, vol.11/1, Winter 86, p. 3
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420:
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Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance
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2095:"Our Own AIDS Time: Keith Hennessy and Ishmael Houston-Jones in Conversation"
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1990:
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871:
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Julyen Hamilton, " Contact Improvisation was a question of my generation ,"
181:, encompassing a wide range of movement from stillness to highly athletic."
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experimental dance (practice-based research organized in dance laboratories)
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with pictographs that represent each phase and subphase of its progression.
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230:
138:
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93:
85:
67:
57:
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449:, which served as transmission belts for contact improvisation in Europe.
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in New York in 1972, the participants scattered to different parts of the
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75:
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233:. For several weeks, he offered Oberlin students two sets of practices:
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founded by Nancy Stark Smith, which evolved into the bi-annual journal
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and his partner Arnie Zane – participated in the struggles for
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theatrical form (improvised performances and lectures-demonstrations)
1902:
Gehm, Sabine; Husemann, Pirkko; Wilcke, Katharina von (2017-03-29).
1806:
Smith, Nancy Start; Koteen, David; Smith, Nancy Stark (2008-01-01).
1732:
1628:
1573:"#MeToo DISRUPTION at the 2018 West Coast Contact Improvisation Jam"
308:, and where spectators could come and go as the practice continues.
141:
originated contact improvisation, drawing from his past training in
1193:"Nancy Stark Smith, a Founder of Contact Improvisation, Dies at 68"
376:
101:
2230:
Contact Improvisation: An Introduction to a Vitalizing Dance Form
997:(1st ed.). Pittsburgh, Pa.: University of Pittsburgh Press.
365:
1878:
The Place of Dance: A Somatic Guide to Dancing and Dance Making
1366:(in Italian and English). Mondadori Electa. 2010. p. 128.
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Smith, Nancy (1998). "A question of copyright - some history".
1245:
Lepkoff, Daniel (Winter–Spring 2000). "Contact Improvisation".
685:
645:
251:
142:
97:
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with Katie Barkley Kai Evans, Jan Trumbauer, David Brown and
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L'attico di Fabio Sargentini. 1966-1978. Catalogo della mostra
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Sharing the Dance: Contact Improvisation and American Culture
1460:
Sharing the Dance: Contact Improvisation and American Culture
907:
Landscape of the Now: A Topography of Movement Improvisation
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establishing jam guidelines and instigating other measures.
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In the mid-1970s, the term "jam" appeared to describe, like
289:, where Mary Fulkerson was a teacher) and Nita Little (from
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training in modern dance (he had danced in the companies of
169:
social dancing (through informal gatherings known as "jams")
198:
2164:"Meg Stuart/Damaged Goods & EIRA | New York Live Arts"
779:(especially in their famous site-specific 2011 production
1854:(1 ed.). University of Wisconsin Press. p. 67.
1782:
Engaging Bodies: The Politics and Poetics of Corporeality
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floor, being "surfed by" the partner), and aikido rolls.
1387:
960:
Cohen, Selma Jeanne; Matheson, Katy, eds. (1992-12-01).
403:
1491:
Deva Davina, "Some notes of a contacter ethnographer",
1163:"The Experiment Called Contact Improvisation - FoundSF"
225:, a collective where he collaborated among others with
1815:. Northampton, MA: Contact Quarterly. pp. 91 sq.
1135:"Contact Editions dance and somatics books & dvds"
407:
Contact Improvisation jam in Montpellier, France (2004
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Paxton, Steve (1975-01-01). "Contact Improvisation".
1346:"Earthdance survives changing vision, changing times"
2070:
The Routledge Companion to Feminism and Postfeminism
690:
2254:
Encounters with Contact; Dancing Contact in College
522:) as well as in many contemporary dance festivals (
193:
1979:"'Sleep No More' Is Theater Embedded With Dancers"
1901:
1852:Composing while Dancing: An Improviser's Companion
1457:
1267:. Aachen (Germany): Meyer & Meyer. p. 93.
1265:Contact Improvisation:Moving, Dancing, Interaction
993:Blom, Lynne Anne; Chaplin, L. Tarin (1988-12-15).
961:
424:Earthdance artist-run residency center in western
217:In January 1972, Steve Paxton was in residence at
968:(2nd ed.). Princeton Book Company. pp.
2326:
1805:
1513:Albright, Ann Cooper; Gere, David (2003-10-24).
1516:Taken by Surprise: A Dance Improvisation Reader
708:systematic as contact improvisation, including
2034:Martha, Bremser; Lorna, Sanders (2011-01-01).
2318:(2014) " Five Ways In' Potolahi Productions.
1280:Contact Quarterly: A Vehicle for Moving Ideas
1262:
959:
758:
262:The meeting of these practices gives rise to
1930:"Art Through Time: A Global View - Meat Joy"
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686:Contact improvisation and contemporary dance
2244:The Experiment Called Contact Improvisation
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1629:"Contact Improvisation and the Lived World"
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995:The Moment of Movement: Dance Improvisation
992:
894:. Middleton, CT: Wesleyan University Press.
814:emigrated to Europe like Benoît Lachambre,
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411:
354:
210:Contact improvisation was developed in the
2270:Nancy Stark Smith et David Koteen (2013),
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1519:. Wesleyan University Press. p. 210.
1186:
1184:
1182:
1094:Nancy Stark Smith et David Koteen (2013),
936:Terpsichore in Sneakers: Post-Modern Dance
2187:Peeters, Meg Stuart Jeroen (2011-01-02).
1881:. Wesleyan University Press. p. 76.
1785:. Wesleyan University Press. p. 88.
892:Terpischore in sneakers: postmodern dance
883:
559:training, and a dance improvised session.
2299:Material for the Spine. A Study Movement
1778:
1065:
694:
532:
419:
402:
379:. According to the magazine's statement,
148:Steve Paxton, along with other pioneers
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1976:
1244:
1190:
1179:
14:
2327:
2285:Journal of dance and somatic practices
2066:
1718:
1675:
1626:
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595:
2313:Videoda Contact Improvisation Archive
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1156:
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2260:. Oberlin College Theater and Dance
1464:. Univ of Wisconsin Press. pp.
1160:
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1024:
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1018:
1016:
1014:
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926:
724:'s San Francisco Dancers' Workshop,
618:, anatomy, and behaviour sciences).
581:
1779:Albright, Ann Cooper (2013-11-20).
1627:Behnke, Elizabeth A. (2003-01-01).
1570:
1539:
537:A contact improvisation trio (2017)
321:Following the first performance of
311:
24:
2208:
1908:. transcript Verlag. p. 150.
1850:Buckwalter, Melinda (2010-12-16).
1604:
1404:
1290:
1253:
1151:
1066:Kamenetz, Anya (3 December 2002).
640:developed (aftermath of the 1960s
137:American dancer and choreographer
25:
2351:
2218:. University of Wisconsin Press.
2036:Fifty contemporary choreographers
1480:improvisation dance as art sport.
1456:Novack, Cynthia J. (1990-08-15).
1085:
1011:
923:
691:Similar simultaneous explorations
2232:. McFarland & Company, Inc.
1546:Contact Improvisation Newsletter
194:History of contact improvisation
2191:. Presses Du Reel. p. 82.
2180:
2156:
2132:
2111:
2087:
2060:
2027:
2011:"DV8- Physical Theatre Company"
2003:
1970:
1946:
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1323:Mark Pritchard, "Country Jam",
1317:
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1238:
1229:
1220:
1211:
1127:
1120:Steve Paxton, "Why Standing?",
1114:
1032:, Univ. Of Wisconsin Press,
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482:
2306:Contact Improvisation at CI 36
2291:
2277:Sarko Thomas and Misri (2014)
1263:Kaltenbrunner, Thomas (1998).
1107:Steve Paxton, "A Definition",
1101:
986:
953:
898:
867:List of dance style categories
630:
342:pass? Could we squeak through
13:
1:
2189:Meg Stuart - Are We Here Yet?
1217:Novack, 1990 op cit p. 156-8.
939:. Wesleyan University Press.
905:Spain, Kent De (2014-07-02).
877:
651:
2067:Gamble, Sarah (2004-11-23).
1875:Olsen, Andrea (2014-01-10).
1191:Kourlas, Gia (27 May 2020).
567:
460:
435:
7:
2252:Ann Cooper Albright (2010)
2214:Cynthia Jean Novack (1990)
1977:Kourlas, Gia (2011-09-06).
933:Banes, Sally (2011-03-01).
840:
120:), Material for the Spine (
39:CI, Contact, Contact Improv
10:
2356:
1436:www.laboratoiredugeste.com
1235:Novack, 1990 op cit p. 152
1098:, Contact Editions, p. xii
759:As a resource for movement
750:, for instance, developed
443:Dartington College of Arts
27:Form of improvised dancing
2340:Free and improvised dance
1499:38-39, Bruxelles, 1999,
1432:"Le Laboratoire du GESTE"
1199:. New York, United States
316:
112:
81:
63:
53:
43:
35:
1954:"Huddle - High Line Art"
1586:(Winter/Spring 2019): 50
1305:. Contact Collaborations
591:Improvisation structures
412:Development of art-sport
355:Languaging and observing
2228:Cheryll Pallant (2006)
2144:www.idamarktompkins.com
2140:"Teaching and research"
1633:Studia Phaenomenologica
1350:Daily Hampshire Gazette
1028:Novack, Cynthia Jean.,
862:Choreographic technique
541:
287:University of Rochester
2242:Keith Hennessy (2008)
1421:38-39, Bruxelles, 1999
838:
775:, or in the companies
704:
669:
611:
579:
561:
538:
476:
428:
408:
397:
348:
323:Contact Improvisations
298:Contact Improvisations
205:Contact Improvisations
191:
1721:The Drama Review: TDR
1660:"Training perception"
1658:Steve Paxton (2006).
1111:, Winter 1979, p. 26.
890:Banes, Sally (1987).
830:
698:
664:
616:ecological psychology
606:
574:
556:
536:
520:Ohio State University
468:
423:
406:
381:
377:somatic practitioners
335:
186:
131:Contact improvisation
31:Contact Improvisation
18:Contact Improvisation
1690:10.1162/DRAM_a_00007
1678:TDR/The Drama Review
1139:contactquarterly.com
1056:), chapters 2 and 3.
857:Judson Dance Theater
787:DV8 Physical Theater
773:Antonija Livingstone
528:Bates Dance Festival
373:contemporary dancers
346:one, and keep going?
271:Judson Dance Theater
64:Famous practitioners
1958:art.thehighline.org
852:dance improvisation
806:in the wake of the
701:Floor of the Forest
596:Interior techniques
510:, Oberlin College,
508:New York University
32:
2315:, Contact Editions
2308:, Contact Editions
2274:, Contact Editions
2168:New York Live Arts
2119:Nouvelles de danse
1983:The New York Times
1645:10.7761/SP.3.S1.39
1639:(Special): 39–61.
1605:Pierce, Benjamin.
1552:(Summer/Fall 2017)
1493:Nouvelles de danse
1415:Nouvelles de danse
1413:Patricia Kuypers,
705:
539:
512:Bennington College
492:Spaces of practice
429:
409:
362:Contact Newsletter
291:Bennington College
172:awareness practice
30:
2320:Research Web page
1760:Nancy Stark Smith
1580:Contact Quarterly
1571:Harrist, Cookie.
1540:Yardley, Brooks.
1325:Contact Quarterly
1247:Contact Quarterly
1161:Hennessy, Keith.
1122:Contact Quarterly
1109:Contact Quarterly
1072:The Village Voice
1036:January 1990 (
1030:Sharing the dance
795:The Cholmondeleys
738:Carolee Schneeman
659:Contact Quarterly
582:Sexual harassment
552:milongas in tango
548:jazz jam sessions
388:Contact Quarterly
384:Contact Quarterly
367:Contact Quarterly
279:release technique
152:, Danny Lepkoff,
150:Nancy Stark Smith
128:
127:
118:Nancy Stark Smith
106:Release Technique
102:somatic practices
72:Nancy Stark Smith
44:Country of origin
16:(Redirected from
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277:and Nancy Topf,
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734:Living Theater
720:'s Workgroup,
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2073:. Routledge.
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2045:9781136828324
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2038:. Routledge.
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1992:
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1834:. Retrieved
1827:the original
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1759:
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1749:
1727:(1): 40–42.
1724:
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1071:
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116:Underscore (
94:martial arts
86:modern dance
68:Steve Paxton
58:Steve Paxton
2292:Videography
1934:learner.org
1438:(in French)
1388:"ECITE.org"
1054:read online
909:. OUP USA.
847:Grand Union
808:AIDS crisis
804:LGBT rights
726:Julian Beck
714:Grand Union
642:Vietnam War
631:Round robin
417:Pritchard,
306:Dr. Chicago
273:years like
223:Grand Union
154:Lisa Nelson
76:Lisa Nelson
2329:Categories
2173:2017-03-08
2149:2017-03-08
2104:2017-03-08
2099:Open Space
2020:2017-03-08
1996:2017-03-08
1963:2017-03-08
1939:2017-03-08
1836:2017-03-29
1765:2019-05-10
1612:14 October
1590:14 October
1556:14 October
1442:2017-03-08
1397:2017-03-29
1309:2 November
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