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contact improvisation and embodiment

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6.2.27 – PAN 27 modul 02
HASSAN AFTABRUYAN
somatic practice

Allowing the creatures

20.3.27 – PAN 27 modul 03
HASSAN AFTABRUYAN
emotional body

Qualities of touch

24.4.27 – PAN 27 modul 04
HASSAN AFTABRUYAN
social body

Fractal identities

15.5.27 – PAN 27 modul 05
HASSAN AFTABRUYAN
contact practice

Spirals and twiddels

12.6.27 – PAN 27 modul 06
HASSAN AFTABRUYAN
emotional body

Consent and contact

10.7.27 – PAN 27 modul 07
HASSAN AFTABRUYAN
somatic spaces

Embody the essence

3-4.7.27
Nella Turkki
contact practice

20-21.11.27 & 23-25.11.27
Ralf Jaroschinski
contact practice

NEWSLETTER

Please send an e-mail with „Newsletter“ to
contact@motionlab.cologne

NEWSLETTER

Bitte eine E-mail mit „Newsletter“ schicken an
contact@motionlab.cologne

My focus

Contact Improvisation is not restricted by forms. Our movements are free. In other words: they are driven by our own decisions. I am interested in the non-performing aspect of this art, the non-violent body communication and the creation of an unintentional space to witness all aspects of creation.

Network

facebook.com/groups/130268517131265/
contactquarterly.com
contactfestival.de

contactimpro-koeln.de
contactimpro-aachen.de
contactimpro-essen.de
gabrielekoch.net (Wuppertal)
tanjastriezel.de (Bonn)

What is Contact Improvisation?

Contact Improvisation is an evolving system of movement initiated in 1972 by American choreographer Steve Paxton. The improvised dance form is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. The body, in order to open to these sensations, learns to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement. Practice includes rolling, falling, being upside down, following a physical point of contact, supporting and giving weight to a partner. Contact improvisations are spontaneous physical dialogues that range from stillness to highly energetic exchanges. Alertness is developed in order to work in an energetic state of physical disorientation, trusting in one’s basic survival instincts. It is a free play with balance, self-correcting the wrong moves and reinforcing the right ones, bringing forth a physical/emotional truth about a shared moment of movement that leaves the participants informed, centered, and enlivened.

Early definition by Steve Paxton and others, 1970s, from CQ Vol. 5:1, Fall 1979