Contact Improvisation 25/03/14

Here is an entry from my Artist Journal of what I recorded from a partner graphic we did in today's lesson.

I was really delighted that I was able to let go and give up the weight and responsibility of my skull, as I normally really struggle with tasks like this, especially due to me holding so much tension in my jaw.

I felt such a difference in my skull and enjoyed the experience that much that I am going to take Katye's advice and repeat this graphic outside of the lesson as I loved being able to "give my skull a break". I also think its an experience everyone should be able to enjoy so I am going to share the graphic with my family, as I know my mom will definitely appreciate it like I did.

It was also an accomplished feeling being a successful supporter and hearing that Angie felt safe in my care and was also able to let go without a feeling of doubt or nervousness.

Contact Improvisation 11/03/14

Today we had a guest teacher Jenny Coogan who lead our contact improvisation lesson. We addressed a variety of things in the lesson, including the relationship between ourselves and the floor and how that can vary with a range of points of contact. We also performed an exercise of curving the body whilst lying on the floor.

Whilst doing the movement, Jenny came over and offered me some feedback: similar to a principle we are working upon as a group in Natalie's Release-based contemporary class, I need to work on "quiet ribs", and therefore not over-arching in my spine which inevitably sticks my ribcage out. After a mini group discussion in Natalie's class, we concluded that as dancers, it is a habit of most of ours to present ourselves to our audience and therefore this can lead to things such as pulling the shoulders back, the ribcage forward, and an over-arch in the back. I have been told this various times and I know it is a downfall of mine, but with each movement studies class I feel I am gaining more of a concious control over this habit, and so I can feel myself progressing, which I am happy about.

 

We also added a section on to the set material that we have learnt with Katye. This material is based around spiralling; and therefore my points to focus on include the "quiet ribcage", keeping the spiral continuous without hesitation (which also links with my movement memory), and a 'soft' body in general with less tension. 

Contact Improvisation: Katye & Charlie 21/01/14

Today we were working with Charlie as well as Katye on contact improvisation.

The exercise in the video involves 2 people staying in contact with eachother whilst turning. Both mover's pelvis' come stay in contact which also involves the ribcage also sometimes coming into contact. The arms are left suspended in the air to allow the movement and specific point of contact to occur. It was interesting to work this way with a partner, but also made me feel quite dizzy as we were spiralling alot in this exercise and throughout the lesson on a whole.

In addition to this, we also did another partner-based exercise which involved partner A being on there hands and knees, and partner B finding ways to use that person as a form of support.
I really enjoyed this exercise as it introduced a new way of moving for me. It made me feel very supple, and therefore eager to experiment with new ways of moving when in a duet. It was extremely interesting when a new instruction was introduced of both partners moving, and I felt really embodied and intrigued by what was being produced.