Dance in the City
Contact Improvisation Festival
“Dance in the City is Contact Improvisation festival that is happening in Ljubljana during the International Summer Dance School in July.
The event is co-funded and organised in collaboration and with the support of JKSD (public funds of the Republic of Slovenia for cultural activities).
Dance and Exhibition of Ci
In the Second year of this event, we want to take into account the philosophical foundation of the CI, so we invited our French colleagues to share their teachings.
the program included:
1 intensive class in the morning, 1 class in the afternoon, exhibition of contact improvisation, every day jam in the evening additional program and EXHIBITION of Contact Improvisation, curated by Romain Bige.
MORNING INTENSIVE with Asaf Bachrach (3h/day)
TECHNIQUES FOR WAITING / MATSU GIJUTSU (Japanese)
What does it mean to improvise?
For many people (and dictionaries) to improvise means something like “do or perform on the spur of the moment”. However, the latin origin of the word is in-provisus or unforseen.
So rather than focus on the doing, improvisation invites us to attend to what is yet unexpected or unknown...
In other words, as improvisers we ask how to wait for the un-waited for (French: attendre l’inattendu, Slovenian: čakati nepričakovano).
We will spend our time together collectively contemplating this koan like Proposition.
The French verb ‘attendre’ can be translated in English as ‘wait’ or ‘expect’. The verb ‘wait’ comes from Anglo-French and Old North French waitier "to watch". The verb ‘expect’ comes from the latin ex- "thoroughly" + spectare "to look". Unlike the two English verbs that are associated with vision, ‘attendre’ comes from the latin a-”towards’ + tendere ‘stretch’. A kinesthetic, haptic stance. So how can we wait for, or stretch ourselves towards something if there is nothing there?
In this series of workshops we will develop and share our techniques for waiting together. The work will be inspired by the teachings of Steve Paxton (Contact Improvisation), Lisa Nelson (the Tuning score), Min Tanaka (body weather) and the somatic philosophy of Hubert Godard (Rolfing).
- AFTERNOON CLASS with Romain Bigé & Alice Leguiffant
Practicing Contact Improvisation is not without risks: a dance of reflex and intimacy, it puts us through states of flow, but also of fear and confusion. In this workshop, we’ll endeavour to equip ourselves to survive contact. Everyday of the week, we’ll target one object of survival: surviving weight, surviving falling, surviving flying, surviving boredom, surviving loneliness.
Improvisation is filled with fleeting moments when we don’t know: we don’t know what to do, what we should do, what our bodyminds can do. How do we give ourselves the time and patience to study our own surviving skills? How do we learn to expose ourselves to this vertigo without putting ourselves in danger?
Dance and performance of CI
Nuria Urcelay Martinez (ESP), Davide Casiraghi (ITA-SLO), Nayeli Špela Peterlin (SLO), Dave Murray-Rust (SCO) and Teresa Hunyadi (AUS)
- Elements of Contact Improvisation -
Trough our imagery, somatic descriptions, playfulness and touch we will discover the taste of this dance form.
We will explore fluid movement, rolling, sliding, entering and going out of the floor, flying, moving in contact with oneself and others and improvise together.
- Performing Contact Improvisation -
We will explore the performative aspect of Contact Improvisation, presence, connection with the partner, ecosystem dynamics and relations in and with the space, with and without music.
Working on our state of attentiveness and imagination, we will play with composition tools, images and performative forms to improve our reflexes and our ability to deal with the flow of the things that happens in the environment during the improvisation
LAB & CITY PERFORMANCE
For the teachers and for the experienced dancers that are willing to participate it’s scheduled a research lab and an urban site specific performance in Ljubljana city center on Friday late afternoon.
The aim of the site specific performance is to investigate the relation between city architecture and dance as a part of the same continuum. Looking to buildings as emotionally and personally significant places for individuals, determined as much by the events that go on in them, as by the demarcation of their walls.