Wednesday, September 29, 2010

Personal Reflection from CITE

July 17, 2010

Reflections on Contact Improvisation in the Academy: An essay review of CITE

From June 17-20, 2010 I attended the Contact Improvisation Teachers’ Exchange (CITE): Contact in the Academy at Connecticut College with about 25 other teachers from around the US (most of whom were teaching in the academy). The following are some of the thoughts and questions that have stayed with me since that conference. I am eager to share them because I have found that, in teaching in academia, it is easy to be isolated and that CQ and CITE events are fantastic ways to reconnect to the truth of the form we love. What I explore in this essay is how the academy is changing my views of dance and teaching. Specifically, post-conference, I am left with these questions:

1. What is important about CI? What is the essential nature of CI that I am trying to teach?

2. How are the values of CI and the academy different yet, on the surface, similar?

3. How does this conflict in values affect me as a teacher? What is the most efficient way to navigate this conflict?

4. How does the form of CI change because the human experience of the teacher has changed?

5. How can the academy better support subjective subjects (such as dance and somatics)?

One of the most important reminders that came out of the CITE discussions was how contact improvisation prioritizes teaching people to be themselves. As those who are familiar with CI know, this idea of self is expressed through community, physical expression, and verbal/artistic sharing. As I travel away from the conference I wonder (perhaps idealistically): Why can’t these important aspects of contact improvisation be an integral part of how the academy functions?

On the surface the academy and CI have very similar goals. Both want to improve the lives of others through information, understanding, fairness/justice, and connection. But, the values and goals of how dance functions within the academy are often not as concurrent as they might seem from the outside.

One of the themes of the conference was framed by the organizers in the form of a question: Will CI be kept alive by the academy? In my opinion, the short answer is, yes, CI in the academy will survive so long as teachers are willing to fight for it. Because of budget concerns, dance is often encouraged to be a part of a larger department so as to not be cut. Thus, dance within the structure of the academy is often set up as a second class citizen to theater, physical education or, in some cases, kinesiology. With the right leadership these subjects can really work well together but the reality is that dance is a deep and intricate subject with several sub-subjects within itself. Therefore mergers and reorganizations (that often seem to benefit the “corporate” interests of the academy more so than the students) frequently can cause dance faculty to veer away from the inherent goals of the subject.

Many of us in the dance world already know that dance (especially dance improvisation) is not a priority to our culture but we keep doing it because it is essential to our way of being. It is easy for a dance teacher within the academy to find herself caught up in the cultural climate such that the ideals of dance and CI are no longer important. “The academy will kill the CI teacher” was how one member of the group from the conference put it. Although teachers are resilient in many ways, the question is clear: Does the form change because the teacher is no longer able to truly model the philosophical cornerstones of CI when forced to meet the corporate regulations of the academy? Again, from my point of view, the answer is still yes. The emotional skills of intimacy that are (hopefully) taught in CI, in the right environment, can transform the identity of the person teaching and learning the form. If these skills change because of the demands of the corporate academy, then the way the teacher teaches changes and thus the form changes.

Although I teach in a small department in a very large public university – where the corporate model is in full effect – I know this model can also have similar influence in a small liberal arts environment. Although on some level this challenge could be for the better (e.g. provoking creativity in the face of competition), it seems to me that it is frequently for the worse because of the human toll - often translating into oppression in the work place. This oppression, in turn, often creates a contradiction of values. It is important for the teacher to interact with the students in the same way in which she interacts with co-faculty and administrators. All to often, however, the teacher is not able to practice what she preaches in the classroom or in the conference room. To model the CI form, one must model community on all levels in order to make the work the in the classroom and the academy effective. Because the CI philosophy of being one’s self and investigating the unknown is the way I want to be and the way I want the world to be, I find the oppressive nature of teaching in an environment that does not prioritize the human effect of the operation very difficult to traverse and transcend.

I frequently ask myself these questions about the academy: How can we as teachers in the academy stay true to the form and survive such tense relations either with other faculty or administrators who have different values? As it was suggested at the conference, we can invite administrators to our concerts and to our classes but when they don’t show up (and often don’t even know where to begin to engage with dance as art) the cycle of hopelessness is easy to accept. We can educate the academy as well but do they know or actually really care about the value of the education that comes through a subjective form like CI? How do we as a CI community convince them?

For most contact teachers the form is personal and essential. The academy, including classical modern dance teachers, doesn’t always connect to something so subjective. This is why it is difficult to fight for improvisational dance in the academy and all the reason more one must try. The fight can ruin teachers and it can also save teachers.

The main CI personality trait that I see changing in people that go into academia, and a topic discussed at the conference, is generosity. Academics often do not tend to be generous toward each other. The ubiquitous in-fighting and political posturing creates an oppressive environment that can only be changed through proactive leadership. Even then, if one is lucky enough to have a proactive leader for dance, it is rarely a stable situation as administrators are often cut or resign and are tested unfairly through the bureaucratic system that leads most to a depleted spirit. How can a system of depleted spirits teach the true meaning and essence of CI?

The real question for me is how can I remain true to myself in this type of environment that does not prioritize the values that I see so vibrantly in most contact communities? How can I help change this type of environment in academia? Can I be one of the surviving contactors that still models the spirit of CI even if I am surrounded by situations that will take advantage of my generosity, courage, listening, vulnerability, and openness? Or, will these traits slowly change under this pressure forcing me to no longer be able to be the person I want to be?

The reality that a dance teacher (especially a female dance teacher) is replaceable and that arts are often a lower priority is a fact that makes one have to work extra hard to fight for his or her job, and/or live in fear that one’s department will be cut. Since higher education institutions are the leaders of the humanities and are the main cultural support and frequent promoters of subjective inquiry, it is surprising to me that the human (emotional/moral) impact of the academy on the faculty is not a top priority of operation. I have noticed in working at different schools that if teachers feel secure and supported in their roll by the institution then they often pass this way of being to the students. Since CI is about support and connection, CI can model an ideal way of operation for the academy, if they are open and willing to listen.

CITE gave me an opportunity to see that there is some hope that the academy is able to listen. The challenges will be ongoing as CI finds its place in the academy.

Tuesday, September 28, 2010

Audience feedback from my new dance presented at DNA

These are comments from the audience at the premier of my new solo "Caught. Catching" at Dance New Amsterdam in NYC on 9/18.

"In the first section you looked like someone caught in a rainstorm, unsure of where to find shelter. The "ding" element to the music was synced well to your movements. When I saw your face on the screen, it was jarring an broke an illusion, or mirrored your physical presence, in a way, but I interpreted it as you thinking about your self."

"Precision is awesome = sound and movement, the little "tings" that match your action. More of this! Screen images are interesting but too much white space. I really like the moments when you face the audience. Great use of space and floor."

"Human movements to non-human sounds. Snooze button: in and out, off and on. White noise."

"Reminded me of sad/painful memories one would try to leave behind, but maybe that is just me. I liked the rain sound/image... it had some comfort in it..."

"The precise starts and stops of motion with the light/sound of light and the chime stood out and was so impressive. I could see more of those in the piece."

"Very intriguing- Was curious to see more on the screen so it kept my attention. The soft rain sound with the bell sound was unique."

"What's the connection between the screen and the dress? Really like the light and music noise."

"Alone in personal storm. Moments of stillness/reflection. Rich/vibrant. Made me want to breathe deeply to feel the moisture in air."

"I enjoyed when the images on the screen were more faint, ghostly. The beginning of the piece reminded me of a storm at sea, someone trying to gain control. The dress for me was reminiscent of the Wizard of Oz. I don't know why you left the stage at the end. I liked the interaction of the dancer and the sound/images person."

Wednesday, September 22, 2010

dance  writing, reviews and discourse

Texas Dance Improvisation Festival

by Nichelle Strzepek

September 20, 2010

Don't call it improv. Not only does it look like a typo in print but, as Leslie Scates, one of Houston's leading improvisational dance artists will tell you, “using "improv" continues to connote the work as casual.” In fact, it takes a particular kind of dexterity, vital to today's dancer, to go beyond auto-pilot in improvisation and the preparation that goes into pulling off a spontaneous masterpiece is anything but casual. It's no surprise then that The Second Annual Texas Dance Improvisation Festival (TDIF), to be hosted by Rice University October 7-9, is filling up with registrants from the widespread cities of Texas.

“Improvisational dance is a form that demands as much practice, intention and craft as any other dance technique,” says Rosie Trump, co-facilitator of this year’s event and Assistant Director of Rice University Dance Department. Addressing the need for a Texas-based event, she adds, “This is a legitimate form with a recognized lineage and secure future. Although TDIF is a relatively young festival, there are dance improvisation festivals that happen all over the country and internationally.”

The event, conceived by Jordan Fuchs, was facilitated in its inaugural year by he and Sarah Gamble at Texas Women’s University Department of Dance. As an attendant of that event, it was Scates who advocated for bringing the traveling festival to Houston for its sophomore assembly.

Funded in part by grants from the City of Houston Mayor's Special Initiatives Grant program of the Houston Arts Alliance, TDIF will kick off with an improvisation jam at 6pm on Thursday, October 7.

Two full days of improvisation classes will follow. Movers of all types and improvisational novices are welcome to register for the festival classes. “Because you define the physicality in your dancing while improvising, it can be very appealing to all levels,” says Trump. "We have a variety of sessions to suit registrants at different stages of experience."

Describing what even veteran performers and students have to gain from studying the craft of improvisation, Scates says, “Improvising teaches them to pay attention to choice-making in their dancing brain. It turns their bodies into 3D dancing instruments rather than instruments that constantly get and require feedback from a mirror or a particular ‘front.' It teaches them to craft movement for repeatable choreography, improvise with other bodies and vocabularies, and to see other people as source material providers and not competition." She points out that the related practice of contact improvisation "provides ample technique for creating partnering and becoming a versatile post modern dance machine.”

This year, TDIF will welcome Los Angles based dancer, improviser and arts activist, Meg Wolfe as its featured guest. “She is this visionary force in the LA dance scene,” explains Trump. Adding that “Southern California is a difficult place to navigate as a dance artist," Trump explains that Wolfe curates Anatomy Riot, a regular choreography showcase; organizes a master class series called DanceBANK; co-edits the L.A. dance journal, and is the coordinator for a new grant program in Southern California. "I am very excited about what she will be able to share with the Texas dance community, because so much of what she has initiated has been done without institutional or traditional support systems,” remarks Trump.

In addition to classes, two evening jams and a panel discussion will all take place at Rice University’s Barbara and David Gibbs Recreation Center, 6100 Main St, Rice University.

A performance and closing jam will be presented Saturday, October 9 at Barnevelder Movement Arts Complex, 2201 Preston, in downtown Houston.

Though the movement will be unplanned, Scates insists that there is no “phoning it in” during true performance, improvisational or otherwise. “Improvisers rehearse. Improvisers create scores so that the craft of improvising choreography has a setting, limits, definition and intent. Improvisers learn to capitalize on a brilliant moment and develop it.” The public is welcome on a first-come, first-served basis (with priority given to registrants) to attend the performance and jam at Barnevelder for an unrepeatable, "improv"-free evening.

Participants must register though the Texas Dance Improvisation Festival is completely free of cost.

Find more information or sign up for the full or partial event at tdif.rice.edu.

Wednesday, September 8, 2010

Caught Catching at WIP at DNA in NYC

I am performing a new solo called "Caught Catching" at DNA on Sept 18th at 4:30pm!

Works In Progress

Works In Progress provides choreographers the opportunity to expose new pieces to an audience for the first time and to receive written and oral feedback from the audience to take with them as they continue on in their creative process.
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September 18th and October 23rd

Works in progress is at 4:30pm in the Theatre

http://www.dnadance.org/site/

Thursday, September 2, 2010

2010 Dumbo Dance Festival Schedule Announced!


  • Alenka Cizmesija


  • Anabella Lenzu


  • Catch Me Bird


  • Cecilia Marta Dance Company


  • DemaDanceCompany


  • Enzo Celli


  • Jennifer Muller


  • Jeremy McQueen


  • JuMo Dance


  • Michael-Mao-Dance


WHITE WAVE presents the 10th Anniversary of the DUMBO DANCE FESTIVAL from September 23rd -26th at the WHITE WAVE John Ryan Theater 25 Jay Street, Brooklyn. WHITE WAVE’s Artistic Director Young Soon Kim founded the Festival in 2001, and presented the first event a scant month after 9/11. Now a decade on, the DUMBO DANCE FESTIVAL is a vital component of New York’s contemporary dance scene, featuring the work of young dance artists who have gone on to become important figures in emerging dance. WHITE WAVE has presented over 1200 companies and 5000 performers from over a dozen countries to an audience of more than 52,000 people... so far. Presented in conjunction with the 2010 DUMBO ARTS FESTIVAL, a multi-disciplinary celebration of the neighborhood’s diverse artistic community, the DUMBO DANCE FESTIVAL features exciting work from dance artists in Brooklyn’s vibrant contemporary dance scene, on a bill with rising choreographers from throughout the United States, Europe, and Asia. There are no reservations or advance ticket sales, all seats are first come, first served and all Festival performances are presented FREE/pay-what-you-will.

Thursday, September 23rd at 7:00pm

GALA Performance

Artists / Company NameTitle of Work
Cecilia Marta Dance GroupKush
Loni Landon On The Fence
Michael Mao DanceWeaving
Catch Me Bird (CA)Anvil
Jennifer Muller/The WorksAria (excerpt)
ENZO CELLI (ITALY)IRRITANTE (VEXATIONS)
Christie Zimmerman/z3movement project (IN)Untitled
WHITE WAVE Young Soon Kim Dance CompanyShanghai Dream



Friday, September 24th at 7:00pm - 10:00pm

John Ryan Theater at WHITE WAVE, 25 Jay Street

Festival Performances – Friday, September 24, 7:00pm - 8:00pm

Artists/Company NameTitle of Work
Jennifer PhillipsThe Invasion
Inclined Dance ProjectTrain of Thought
Kristin A. KapustikOn the Porch
Amos PinhasiSans Saens
Sin Ae Park Project (KOREA)The Story of Relationship
ELEA GORANA DANCE COLLECTIVEPas De EVE (solo)
BARKIN/SELISSEN PROJECTOnce
Summation Dance CompanyHeat

Festival Performances – Friday, September 24th, 8:00pm - 9:00pm

Artists/Company NameTitle of Work
Loni LandonOn the Fence
Pascal Rekoert/ FlexicurveWash
Se-Yong KimConflict
Natalia MesaMITOSIS
Christie Zimmerman/z3movement project (IN)The Keyhole
ENZO CELLI (ITALY)PARACASOSCIA
WHITE WAVE Young Soon Kim Dance CompanyShanghai Dream

Festival Performances – Friday, September 24th, 9:00pm - 10:00pm

Artists/Company NameTitle of Work
Tomomi ImaiAbyss
Spark Movement CollectiveTiming
Thomas/Ortiz DanceFrayed Ends
Allison JonesI would Sing
Ilana Webber DanceGo Zeo!
JuMo Dance (UTAH)Prison of Form
Mise en Place Dance (MI)Primary Conduit
Jackie O'Toole and Dancers (PA)Second Star to the Right



Saturday, September 25th, 2:00pm - 4:00pm, 5:00pm - 7:00pm, 8:00pm - 10:00pm

John Ryan Theater at WHITE WAVE, 25 Jay Street

Festival Performances – Saturday, September 25th, 2:00-3:00 pm

Artists/Company NameTitle of Work
Hyung Ji YuAttonement
Christie Zimmerman/z3movement project (IN)Untitled
JIL GUYONWidow's Veil
Palindrome Performance Group (CA)Reflect, Defect, Transfer
Noemi Di GregorioFor Rosa
Blue Muse Dance Maze of the Mind
Anne Burnidge DanceAscent
xodus dance collective25th Hour

Festival Performances – Saturday, September 25th, 3:00-4:00 pm

Artists/Company NameTitle of Work
Anne-Marie Mulgrew and Dance Co.The Big Dance
ANAHATA DancePigeon City (excerpt)AprŽs Moi
Brittany AntleAsslema/Beslema
York Dance WorksScale in Grey
Elinor HarrisonFrank and Mamah
DeMa Dance Company POEMA 15 (I Like For You To Be Still)
Rastro Cancionero
Dawn L. BohnExposed
Meredith HainesInc.

Festival Performances – Saturday, September 25th, 5:00-6:00 pm

Artists/Company NameTitle of Work
Anabella Lenzu/DanceDramaIlusions de Percantas
Flamenco: Inside OutIn the Key of Rhythm
Nicole von ArxImpact
Dawn RobinsonPhoenix The Rising
Yuka KamedaPassion ( Tap X Japanese Instrumental)
Eunhey JangThe Circle
Tzu-Ying LeeThe Land Between Us
Artis SmithChickadees Titmice & Nuthatches

Festival Performances – Saturday, September 25th, 6:00-7:00 pm

Artists/Company NameTitle of Work
MegLouise Dance (OH)To Live is so Startling
Rainy DemersonUgly
Becca Alaly + Dancers in collaboration with Mike DonahueTHE PERFECT Little BOULDER
Ellie Leonhardt (TX)Encapsulating
Barbara Mahler Makes DancesDisplaced Damsel
Yoo & DancersCatwalk
Lauren Elizabeth PanzicaNot What It Seems
Angelo Dance ProjectVenia
Alenka CizmesijaIn Between Beneath and Above

Festival Performances – Saturday, September 25th, 8:00-9:00 pm

Artists/Company NameTitle of Work
Catch Me Bird (CA)Anvil
Brittany Antle...do us part
Otis Donovan HerringAttempting to Reconcile
Mare HieronimusSpun
Mise en Place DancePrimary Conduit
Mari Meade Dance CollectiveIndirectly In, Directly
ENZO CELLI (ITALY)IRRITANTE
Lyndsey VaderA Shell of Herself
WHITE WAVE Young Soon Kim Dance CompanyShanghai Dream

Festival Performances – Saturday, September 25th, 9:00-10:00 pm

Artists/Company NameTitle of Work
Sasha Soreff Dance TheaterShoelaces
Michael Mao DanceWeaving
Nu Dance TheaterElle d' Elles ( her from Hers)
Tap into the Soul (CT)Man In the Mirror
Palindrome Performance Group (CA)Dancing Larry
Jeremy McQueenLamentation
Kathleen Dyer/ KDNYEvergreen (excerpt)
Amanda Selwyn Dance TheatrePassage



Saturday, September 25th, 11:00am - 7:00pm

Site Specific Performances – (Along the Pier 1 Waterfront)

Click for Site-Specific Performance Schedule PDF




Sunday, September 26th, 1:00pm - 2:00pm *

* Outdoor performances will take place in the Brooklyn Bridge Park (on the waterfront under the Manhattan Bridge)

Outdoor Festival Performances – Sunday, September 26th, 1:00-2:00pm

Artists/ Company NameTitle of Work
Meredith HainesInc.
xodus dance collective25th Hour
Loni LandonOn the Fence
Sasha Soreff Dance TheaterShoelaces
Ilana Webber DanceGo Zeo!
Amanda Selwyn Dance TheatrePassage

Outdoor Festival Performances – Sunday, September 26th, 2:00pm - 3:00pm

Artists/ Company NameTitle of Work
Theodora BoguszewskiCommunion
Simone SobersAll She Can Carry (excerpt)
Mari Meade Dance CollectiveThe Dirt Belies Us
Dawn L. BohnExposed
Blue Muse Dancethe maze of the mind
Angelo Dance ProjectVenia
Cecilia Marta Dance CompanyKush



Sunday, September 26th, 4:00pm - 7:00pm

John Ryan Theater at WHITE WAVE, 25 Jay Street

Sunday, September 26th, 4:00pm - 6:00pm

Artists/ Company NameTitle of Work
Sue Bernhard DanceworksTerritory
Theodora BoguszewskiCorridor
Catey Ott Dance CollectiveMidnight Potion
Sin Ae Park Project (KOREA)The Story of Relationship
Ellie Leonhardt (TX)Encapsulating
Allison JonesJaw Grind
DeMa Dance CompanyPOEMA 15 I like for you to be still
Simone SobersAll she Can Carry (excerpt)



Sunday, September 26th, 4:00pm - 7:00pm

John Ryan Theater at WHITE WAVE, 25 Jay Street

Sunday, September 26th, 5:00pm - 6:00pm

Artists/ Company NameTitle of Work
Carley EckertCircumstance, Chance, Situation
Ebex DanceI is for...
EDGAR CORTESUnicornius (solo from full length piece)
Lindy SchmedtAmbient Forms
Rainwater DancesThis is What I Think of Your Love
Carlos Fittante/BALAM Dance TheatreThe Melon Peel
JuMo Dance (UTAH)Prison of Form
CPD PlusDo Lord
Cecilia Marta Dance CompanyKush



Sunday, September 26th, 8:00pm - 10:00pm

Grande Finale Performances – Sunday, September 26th, 8:00pm at Fulton Ferry Landing

Artists/ Company NameTitle of Work
Sobers & GodleyLe Chord-on Bleu
Theodora BoguszewskiCommunion
DeMa Dance CompanyPOEMA 15 (I Like For You To Be Still)
Jennifer Muller/The WorksIsland (excerpt)
ENZO CELLI (ITALY)Paracasoscia
Mana Kawamura/ Kawamura the 3rdcloudburst
WHITE WAVE Young Soon Kim Dance CompanyShanghai Dream



Special Thanks to our supporters:

NYCT

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The festival includes works by:

Alenka Cizmesija

Allison Jones

Amanda Hinchey & Dancers

Amanda Selwyn Dance Theatre

Amos Pinhasi

Anabella Lenzu/DanceDrama

ANAHATA Dance

Angelo Dance Project

Anne Burnidge Dance

Anne-Marie Mulgrew and Dance Co.

Artis Smith

Barbara Mahler Makes Dances

BARKIN/SELISSEN PROJECT

Becca Alaly + Dancers

Blue Muse Dance

Brittany Antle

Carley Eckert

Carlos Fittante/BALAM Dance Theatre

Catch Me Bird

Catey Ott Dance Collective

Cecilia Marta Dance Company

Christie Zimmerman/z3movement project

CPD Plus

Dawn L. Bohn

Dawn Robinson

DeMa Dance Company

Ebex Dance

EDGAR CORTES

ELEA GORANA DANCE COLLECTIVE

Elinor Harrison

Ellie Leonhardt

ENZO CELLI

Eunhey Jang

Flamenco: Inside Out

Hyung Ji Yu

Ilana Webber Dance

Inclined Dance Project

Jackie O'Toole and Dancers

Jennifer Phillips

Jeremy McQueen

JIL GUYON

JuMo Dance

Kathleen Dyer/ KDNY

Kristin A. Kapustik

Lauren Elizabeth Panzica

Lindy Schmedt

Loni Landon/ Nomadic Dance

Lyndsey Vader

Mare Hieronimus

Mari Meade Dance Collective

MegLouise Dance

Meredith Haines

Michael Mao Dance

Mise en Place Dance

Natalia Mesa

Nicole von Arx

Noemi Di Gregorio

Nu Dance Theater

Otis Donovan Herring

Palindrome Performance Group

Pascal Rekoert/ Flexicurve

Rainwater Dances

Rainy Demerson

Rastro

Sasha Soreff Dance Theater

Se-Yong Kim

Simone Sobers

Sin Ae Park Project

Spark Movement Collective

Sue Bernhard Danceworks

Summation Dance Company

Tap into the Soul

Theodora Boguszewski

Thomas/Ortiz Dance

Tomomi Imai

Tzu-Ying Lee

WHITE WAVE Young Soon Kim Dance Company

xodus dance collective

Yoo & Dancers

York Dance Works

Yuka Kameda

Azul Dance Theatre

Front Street Dance Theatre

Jamal Jackson Dance Company

James R Atkinson

KALAMANDIR DANCE COMPANY

Kawamura the 3rd

Kuan-Yu Chen

Liz Piccoli

Movement of the People Dance Company

Neva Cockrell/ Raphael Sacks

Rebecca Patek

Sobers & Godley

Spark Movement Collective

Wan-Jung Wei

Yuki Nishiyama






MAC

I am looking forward to teaching at the Greenwich Arts Council for the Moving Arts Collaborative (a multi-generational dance group) directed by the amazing Meryl Green.... in September.... Here is a photo from one of their classes.... Beautiful!
On September 21st, I'm excited to have Ellie Leonhardt coming to be a Guest Teacher. Here's some info about her and what she'll be doing with us...
Ellie Leonhardt, MFA, BA, is a Lecturer of Dance at the University of North Texas. Contact Improvisation, the Erick Hawkins Modern Dance Technique, YogaLink, and Authentic Movement are some of the movement forms that have influenced Ellie's pedagogy and movement vocabulary. She will be in New York the week she comes to us mainly to perform in the Dumbo Dance Festival on Saturday, September 25th at 6:00 p.m. and Sunday the 26th at 4:00 p.m. http://www.whitewavedance.com/
Authentic Movement is a physical practice, a contemplative form, and a developmental tool for self-transformation whereby we gain access to personal movement material and inner knowing. It is this inner exploration that allows one to express a somatic reality that can inspire creative process and choreography. In this workshop, an overview of AM forms will be explored including moving spontaneously from outer and inner impulse, traditional dyad form and the long circle form. There will be time for writing, drawing, reflection and sharing.
http://www.greenwicharts.org/classes.asp